Grounded in self-determination theory, the present study examines the explanatory role of students' perceived need satisfaction and need frustration in the relationship between performance grading (versus non-grading) and students' motivation and fear in a real-life educational physical education setting. Grading consisted of teacher judgments of students' performances through observations, based on pre-defined assessment criteria. Thirty-one classes with 409 students (Mage = 14.7) from twenty-seven Flemish (Belgian) secondary schools completed questionnaires measuring students' perceived motivation, fear and psychological need satisfaction and frustration, after two lessons: one with and one without performance grading. After lessons including performance grading, students reported less intrinsic motivation and identified regulation, and more external regulation, amotivation and fear. As expected, less need satisfaction accounted for (i.e., mediated) the relationship between performance grading and self-determined motivational outcomes. Need frustration explained the relationship between performance grading and intrinsic motivation, as well as less self-determined motivational outcomes. Theoretical and practical implications are discussed.
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 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.
Students in Higher Music Education (HME) are not facilitated to develop both their artistic and academic musical competences. Conservatoires (professional education, or ‘HBO’) traditionally foster the development of musical craftsmanship, while university musicology departments (academic education, or ‘WO’) promote broader perspectives on music’s place in society. All the while, music professionals are increasingly required to combine musical and scholarly knowledge. Indeed, musicianship is more than performance, and musicology more than reflection—a robust musical practice requires people who are versed in both domains. It’s time our education mirrors this blended profession. This proposal entails collaborative projects between a conservatory and a university in two cities where musical performance and musicology equally thrive: Amsterdam (Conservatory and University of Amsterdam) and Utrecht (HKU Utrechts Conservatorium and Utrecht University). Each project will pilot a joint program of study, combining existing modules with newly developed ones. The feasibility of joint degrees will be explored: a combined bachelor’s degree in Amsterdam; and a combined master’s degree in Utrecht. The full innovation process will be translated to a transferable infrastructural model. For 125 students it will fuse praxis-based musical knowledge and skills, practice-led research and academic training. Beyond this, the partners will also use the Comenius funds as a springboard for collaboration between the two cities to enrich their respective BA and MA programs. In the end, the programme will diversify the educational possibilities for students of music in the Netherlands, and thereby increase their professional opportunities in today’s job market.
Due to their diverse funding sources, theatres are under increasing pressure to demonstrate impact on society. The Raad voor Cultuur (2023) for example advised the secretary of state to include societal impact as an additional evaluation measure next to artistic value. Many theaters, such as the Chassé Theater and Parkstad Limburg Theaters, have reformulated their missions to focus on impact of performances on visitors. This is a profound transformation from merely selling tickets and filling seats, and requires new measurement instruments to monitor, manage, and improve impact. Currently available instruments are insufficient, and effective monitoring is crucial to larger future projects that theaters are currently planning to systematically broaden impacts of performances on their communities. The specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data from student projects conducted at the Chassé Theater about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. We will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. These will be measured in questionnaires developed with project partners Chassé Theater and Parkstad Limburg Theaters and administered before and after performances across a wide range of genres. The resulting data will enable comparison of new questionnaire items with benchmarked measures of valued societal outcomes. The final product of the project will be a brief impact questionnaire, which within several brief self-report instruments and just a few minutes can effectively be used to quantify the impact of a performing arts experience. A workshop and practice-oriented article will make this questionnaire implementable, thereby mobilizing the key enabling methodology of monitoring and impact measurement in the performing arts sector.
Due to their diverse funding sources, theatres are under increasing pressure to demonstrate impact on society. The Raad voor Cultuur (2023) for example advised the secretary of state to include societal impact as an additional evaluation measure next to artistic value. Many theaters, such as the Chassé Theater and Parkstad Limburg Theaters, have reformulated their missions to focus on impact of performances on visitors. This is a profound transformation from merely selling tickets and filling seats, and requires new measurement instruments to monitor, manage, and improve impact. Currently available instruments are insufficient, and effective monitoring is crucial to larger future projects that theaters are currently planning to systematically broaden impacts of performances on their communities.The specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data from student projects conducted at the Chassé Theater about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. We will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. These will be measured in questionnaires developed with project partners Chassé Theater and Parkstad Limburg Theaters and administered before and after performances across a wide range of genres. The resulting data will enable comparison of new questionnaire items with benchmarked measures of valued societal outcomes. The final product of the project will be a brief impact questionnaire, which within several brief self-report instruments and just a few minutes can effectively be used to quantify the impact of a performing arts experience. A workshop and practice-oriented article will make this questionnaire implementable, thereby mobilizing the key enabling methodology of monitoring and impact measurement in the performing arts sector.Societal issueThe specific goal of this project is to empower theaters to monitor and improve impact by developing a brief experience impact questionnaire, taking existing data about performing arts experiences on one hand, and experience impact theory innovations on the other, as starting points. Benefit to societyWe will develop potential items to measure and benchmark against established measures of valued societal outcomes, such as subjective well-being and quality of life. Collaborative partnersChassé Theater N.V., Parkstad Limburg Theaters N.V.
