De ontwikkelingen en veranderingen in de gezondheidszorg maken het noodzakelijk dat verpleegkundigen door middel van bij- en nascholing hun deskundigheid op peil houden. Deskundigheid is de basis waarop herregistratie in het BIG-register zal gaan plaatsvinden. Per 1 januari 2009 moeten zorgverleners na vijf jaar hun deskundigheid aantonen door te voldoen aan de werkervaringseis en, als ze daar niet aan voldoen, de scholingseis1. Deskundigheidsbevordering en Lifelong Learning - levenslang leren - gaan hand in hand. Lifelong Learning is het principe dat mensen gedurende hun hele leven in staat en gemotiveerd zijn om te leren en dat de omgeving daartoe mogelijkheden biedt2, 3. E-learning wordt geassocieerd met leeractiviteiten die plaatsvinden op een zelfgekozen moment waarbij een met een computernetwerk verbonden computer interactief gebruikt wordt. ‘Any place, any time’ is een wezenlijk aspect van e-learning. E-learning is belangrijk voor het levenslang leren van verpleegkundigen.
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The concept of lifelong learning refers to the several skills able to provide forneeds of music graduates. Such as it occurs with other areas, the domain ofmusic is in constant modification, either for the incorporation of new technologies, either had the cultural demands or for the multiplicity of activities that music has accumulated. Observing the deficits in the formation of the students, the lifelong learning appears as an alternative to enable the acquisition of tools which improve continuously the professional. The lifelong learning includes a new notion of knowledge that brings together the formal, non-formal and informal teaching, making possible experiences of knowledge objective and practical, as a way to consider the several challenges that appear to the profession. To hold the lifelong learning in the Music Colleges as an objective many changes are requested, and all the structures of the Music Colleges must be engaged.
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In order to meet the challenges of rapidly changing cultural life in the 21st century, professional musicians have to be lifelong learners, drawing on a wide range of knowledge and skills. To be successful in a variety of roles, they need a reflective and responsive attitude to change.This chapter addresses the concept of lifelong learning and its meaning for professional musicians, as well as the ways institutions and teachers can facilitate attitudes and capacities for lifelong learning. A biographical perspective will provide a lens through which concepts of lifelong learning can be seen through the interconnection of musicians' personal and professional development. Lifelong learning in the aggregate complex of music education, (i.e., educational organizations and learning environments, teachers, students, and graduates) is especially relevant and will be addressed. The chapter finishes with some recommendations related to implementing the concept of lifelong learning in music education.
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This Framework is intended to act as a guide for those individuals and organisations seeking to develop forms of lifelong learning and professional development that are rooted in a culture of reflective andreflexive practice.
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In order to meet the challenges of rapidly changing cultural life in the twenty-first century, professional musicians need to be lifelong learners, drawing on a wide range of knowledge and skills. To be succesful in a variety of roles, they require a reflective and responsive attitude to change. This chapter addresses the concept and meaning of lifelong learning among professional musicians, as well as the ways institutions and teachers can facilitate attitudes and capacities for lifelong learning.
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This article considers four learning biographies from professional musicians. Each musician holds a different portfolio career and is from a different age category. The key questions I ask are: "How does one learn as a musician?", "What knowledge, attitudes, values and artistic skills are necessary to function effectively and creatively as a contemporary musician?", and "What is the necessary framework of lifelong learning in music education?" My findings are analysed in the light of lifelong learning for musicians with a focus toward teaching and learning.
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In this reflective handbook, Rineke Smilde clarifies fundamental concepts of Lifelong Learning in Music through examples of research projects which were explorative and innovative. She identifies several key themes such as reflective practice, artistry, excellence, reciprocity and artistic response. She gives special attention to the notion of the ‘reflexive conservatoire’, which is rooted within the framework of lifelong learning and includes attention to tacit knowing, artistic excellence and the crucial connection to the outside world. In the end, Smilde makes a strong case for all musicians developing an informed social role that reflects their own identity and underpins their professional performance.
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This chapter gives an overview on the Healthy Ageing research portfolio of the research group Lifelong Learning in Music (Hanze University of Applied Sciences Groningen, the Netherlands). Lifelong learning enables musicians to respond to the continuously changing context in which they are working nowadays, and ageing is one of the major societal changes for many western societies in the 21st century. Musicians are asked by society to contribute to healthy ageing processes, and such a contribution in turn generates possibilities for innovative musical practices with the elderly. We present a three-layered model to look at such innovative practices, which places the musical practice itself in the context of communicative characteristics of working with elderly people and in broader societal and institutional contexts. We then outline four concrete research projects: learning to play an instrument at an elderly age, creative music workshops for elderly in residential home settings, the competencies of creative music workshop leaders working with frail elderly people, and musical work with severely ill elderly people in hospitals. We describe some background values and methodological notions behind our work, and finish the article with a more extensive description of our project on Music and Dementia.
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Lifelong learning is necessary for nurses and caregivers to provide good, person-centred care. To facilitate such learning and embed it into regular working processes, learning communities of practice are considered promising. However, there is little insight into how learning networks contribute to learning exactly and what factors of success can be found. The study is part of a ZonMw-funded research project ‘LeerSaam Noord’ in the Netherlands, which aims to strengthen the professionalization of the nursing workforce and promote person-centred care. We describe what learning in learning communities looks like in four different healthcare contexts during the start-up phase of the research project. A thematic analysis of eleven patient case-discussions in these learning communities took place. In addition, quantitative measurements on learning climate, reciprocity behavior, and perceptions of professional attitude and autonomy, were used to underpin findings. Reflective questioning and discussing professional dilemma's i.e. patient cases in which conflicting interests between the patient and the professional emerge, are of importance for successful learning.
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This article describes musicians' lifelong and lifewide learning as it was investigated through biographical research. Key developments in the professional lives of 32 musicians were examined, focusing on critical incidents and educational interventions in their life, educational and career span. The main thread was the question of how these musicians learn. After analysis, three conceptual entities were established in the biographies, the first being musicians' artistic, generic and educational leadership; second, the interconnection between their varied learning styles; and third, their need for an adaptive and responsive learning environment within a reflexive and reflective institutional culture. Two biographical examples of musicians suffering from performance anxiety are described, focusing on their leadership, learning styles and subsequent transformative and transitional learning when developing coping strategies. The article concludes with directions for teaching and learning that can be extrapolated from the findings of biographical research.
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