This study employed an exploratory approach by applying practice theory to insights gathered throughthe triangulation of interview, document analysis and observation methodologies to 1) map the SacredHarp Singing practice scope and give a nuanced picture of its performativity in the Netherlands, witha particular focus on the Sacred Harp group from Amsterdam comparing it to one from Bremen and 2)investigate the underlying rise of transformative emotions, the social, secular, and religious meanings, andthe sense of belonging to an international community. The findings suggest that Sacred Harp enthusiastsin the region are keen on retaining the legacies of the traditional singers by establishing similar singingatmospheres and by following the practice’s historical customs and practices, including the communalsinging in the “hollow square” and the affinity towards democratic participation. The findings alsoindicate that while there is a noticeable level of commitment and excitement among local enthusiasts,the growth of the groups’ memberships is hampered by a lack of interest by the general public, possiblyin connection with insufficient strategies for publicizing the practice. Therefore, the existence of thesebarriers could imply that the practice would probably grow at a relatively slow pace in the region.
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People with voice problems can seek advice and therapy from a speech-language pathologist. Besides having problems with the speaking voice, a number of them are also amateur choristers. In addition to her standard examination, the speech-language pathologist has to specifically describe the use of the singing voice during choral singing and to assess the amount of mutual influence of speaking and singing voice. In therapy, a healthy phonation is learned. In today's practice, the therapist tends to confine herself to training the sepaking voice. It is known that pitch variation influences phonation. As pitch is a complicating factor in singing, the therapist could make the client aware of this influence by using exercises that alternate speaking and singing voice. Reference to and cooperation with singing teachers is essential. A network of speech-language pathologists 'with an ear for singers' and singing teachers should be built up.
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When teaching singing clients, it is very important for speech therapists, singing teachers and choir conductors to work in close cooperation. To prevent any misunderstandings, the three professional groups should clarify the dividing-up of job responsibiities. Basic assumption is the healthy voice; every singer should learn to phonate as healthy as possible within his of her own idiom.
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This paper presents the search for a categorizing framework that can be used to identify and discuss teacher quality. Both policy documents on national and European levels and academic literature show a remarkable variation in categories that are used to describe teacher education. As part of a larger study where the voice of teachers is used en strengthened on the topic of teacher education, there was the need to find a categorizing framework that can be used to analyze responses from teachers on the most important qualities that teachers need.The search for a categorizing framework combines a study of academic literature on categories for teacher quality and the use of international focus groups for the development of categories for teacher qualities. Both the outcomes from the literature survey and the results from the focus groups show the complexity of defining a coherent framework for teacher qualities. Two main approaches can be identified: one by using an analytical framework with mutual exclusive categories, based on Bloom’s categories, and one based on a task analysis of the work of teachers, focusing on specific roles or identities. In both approaches, both the literature and the focus groups emphasize the importance of personal qualities of teachers.Based on the outcomes a coherent framework for teacher qualities is presented, where both approaches are combined. This framework that might help in creating a shared language for discussing teacher quality among different stakeholders and different countries.
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In primary music education a key question is what teachers can do to stimulate students’ musical creativity. For the answer, delving into teacher-student interaction during the creative processes in the naturalistic setting of primary music lessons is required. Twenty-six music lessons from thirteen teachers and their classes of seven Dutch schools were recorded to explore the relation between teachers’ autonomy support and students’ divergent and convergent thought & action. Quantitative sequential analysis and thematic analysis were combined to examine this relation, using a framework offered by Complex Dynamic Systems theory and Enaction theory. In contrast to classical correla-tional analysis, sequential analysis focuses on the dynamics, and thus on the temporal relation in classroom interaction. The results show that mostly lower-level autonomy support was offered. Es-pecially in creative lessons, higher-level autonomy support is more likely to lead to higher-level student divergent thought and action. For convergent thought and action, the results were less con-clusive. An implication of the findings is that (research into) music education could benefit from interventions aimed at enhancing autonomy support in primary school music.
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An emerging body of research indicates that active arts engagement can enhance older adults’ health and experienced well‐being, but scientific evidence is still fragmented. There is a research gap in understanding arts engagement grounded in a multidimensional conceptualization of the value of health and well‐being from older participants’ perspectives. This Dutch nation‐wide study aimed to explore the broader value of arts engagement on older people’s perceived health and well‐being in 18 participatory arts‐based projects (dance, music, singing, theater, visual arts, video, and spoken word) for community‐dwelling older adults and those living in long term care facilities. In this study, we followed a participatory design with narrative‐ and arts‐based inquiry. We gathered micro‐narratives from older people and their (in)formal caregivers (n = 470). The findings demonstrate that arts engagement, according to participants, resulted in (1) positive feelings, (2) personal and artistic growth, and (3) increased meaningful social interactions. This study concludes that art‐based practices promote older people’s experienced well‐being and increase the quality of life of older people. This study emphasizes the intrinsic value of arts engagement and has implications for research and evaluation of arts engagement.
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Verslag van de eerste ervaringen die zes docenten hebben opgedaan met het toepassen van begrippen en praktijken uit het dynamisch gerichte TalentenKracht project binnen instrumentale lessen op het Prins Claus Conservatorium.
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Introduction: The notion of autonomy in Self-Determination Theory is at the core of intrinsically motivated learning, and fulfilment of the need for autonomy is essential for thriving at school. Therefore teacher-provided autonomy support has grown into a key concern in educational research. In the present study into primary school music education, the notion of creative autonomy support is introduced. Research into autonomy support is typically focused on verbal interaction. However, from an enactive perspective, teachers’ gesturing, bodily movement, facial expression, and musical action form an integral part of the socially situated interaction in music lessons, inherently involving autonomy support. In the present study, a distinction is made between creative verbal autonomy support and creative musical and non-verbal autonomy support.Methods: Applying a process-based time-serial methodology, rooted in a Complex Dynamic Systems and Enactive perspective, the effects of an intervention with Video Feedback Coaching for teachers were investigated. Video data of 105 music lessons of 18 teachers (intervention and control condition) from six primary schools was gathered, to examine teachers’ creative autonomy support at both the individual and group level.Results: The findings show that teachers in the intervention condition, compared to the control group, achieved a meaningful increase in their ability to offer creative autonomy support verbally. Teachers also showed development for the non-verbal and musical aspects of offering creative autonomy support. However, particularly for offering higher-level creative autonomy support in the non-verbal and musical mode, significant results were found for less than half of the intervention teachers.Discussion: These results underline the importance of embracing and studying the bodily dimension as an integral part of teacher autonomy support, aimed at emergence of students’ musical creativity, in primary school music education and in teacher training. We explain how these results might be relevant for autonomy enhancing musical activities in vulnerable groups.
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Dit artikel bespreekt een dynamische benadering van de muzikale (talent)ontwikkeling bij jonge kinderen (Steenbeek, Van Geert & Van Dijk, 2011). Volgens een theoretisch, dynamisch kader is ontwikkeling een emergente eigenschap. Talent kan bij elk kind ontstaan als er een opwaarts dynamisch proces tot stand komt in de interactie tussen kind, volwassene en de activiteit. Het gebruik van Expressed Pedagogical Content Knowledge (EPCK; vgl. Geveke, 2017) door de volwassene is de sleutel om een positieve talentspiraal tot stand te brengen. Een dynamische kijk op ontwikkeling gaat terug op het werkvan pedagogen als Vygotsky, Piaget, Bruner en Dewey, en is verbonden met het sociaal-constructivisme. Daarnaast hebben de ecologische theorieën van Bronfenbrenner en Gibson er een belangrijke invloed op gehad. Verder is deze visie op macro-theoretisch niveau verwant aan theorieën over motivatie, zelfbeschikking en zelfregulering (Deci & Ryan, 2000), en over self-efficacy (Eraut, 2004). Het doel van deze studie is het beschrijven en evalueren van een inventarisatie van onderzoek naar muziekeducatieve praktijken voor jonge kinderen vanuit een dynamisch perspectief. Bij wijze van kwalitatieve inhoudsanalyse is een literatuurstudie uitgevoerd naar muziekeducatieve praktijken bij jonge kinderen. Deze studie heeft verschillende voorbeelden opgeleverd van veelbelovende praktijken die dynamische kenmerken vertonen. De resultaten geven aan dat onderzoek vanuit een dynamisch oogpunt naar betekenisvolle muziek-educatieve praktijken internationaal ‘in de lucht hangt’. Door een gebrek aan gedetailleerde analyses binnen de studies van activiteiten op de microtijdschaal blijft de kracht van EPCK echter meestal een blinde vlek. Door te focussen op EPCK kan onderzoek bijdragen aan kennis over hoe professionals meer ontwikkelingskansen voor kinderen kunnen creëren.
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