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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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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The main focus of this article is on performance anxiety and stage fright in musicians, seen through the lens of biographical research. In short, biographical research deals with research into learning, taking as point of departure that important learning always needs to be understood in relation to the biography of the learner (Alheit 2009, p. 116). Within biographical learning people can act as their own change agents. This article discusses biographical findings on musicians’ generic leadership when coping with profession-related health issues and the transformative and transitional learning evolving from this.
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Article on the emergence of the community musician in particular the project Music for Life of Wigmore Hall in London is described. The biographical learning and the learning processes are examined in detail and examples of the interactions between musicians and people with dementia are given as well as the interactions between musicians in the debriefs after the workshopsessions with the Music for Life projects. Emphasis on the biographical learning processes and how this is applicable in art.
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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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Music can touch people deeply, and lead to wellbeing as an all-encompassing word for everything that makes life worth living, or at least can make it liveable. Musicians can play an important role in these processes, not as pseudo-therapists, but from their own artistic identity, with an approach in which they profoundly understand the social contexts to which they respond. In essence this is about connecting as a musician with those who, due to whatever circumstances, are vulnerable, and/or those who do not easily get into contact with live music.This requires new qualities and skills from such “new audience musicians” who want to engage with people in contexts beyond the concert hall, jazz club or church, like schools, hospitals, nursing homes, prisons, or e.g. the corporate world.Underpinning engagement with those new audiences is first and foremost a set of values that implies that music can work as a catalyst for communication between various groups of people from different cultural and social contexts, and can bring about social change, no matter how small (Smilde 2018: 673). Point of departure is the idea that artistic processes can have transformative potential which can bring about a sense of community, inclusion and collective identity.In this chapter, research into musicians’ engagement with new audiences will be explored through examples in the field of music and healthcare. I will do that from a biographical perspective, where the musicians’ personal and professional development is strongly influenced by their experiences in their artistic practice. Here, biographical learning processes are at the core of what we might term, musicians’ “professional performance” (Lombarts 2010).Two examples are discussed in this light, a research into the project “Music for Life”, on music and dementia, taking place in elderly care homes, and another, termed “Meaningful Music in Healthcare”, which is on music in the hospital. After that the chapter will address what everything learnt means for learning and teaching in higher music education, embracing the idea of engaging with new audiences and the potentials of Musikvermittlung.
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In this article we build a theoretical framework with which to analyse trendsetting learning biographies, i.e. biographies that are prototypical realisations of a cultural script about how young people learn and live in late modernity. In the current debate on lifelong learning in knowledge-based societies learners are interpreted in an economical and psychological sense. Notions from youth, life course, and generation sociology are, however, needed to fully understand trendsetting learning biographies. We selected 14 Dutch younger adults (varying by class and gender) with these biographies, analysed their biographical narrations, and explored the importance of structure and agency in their learning biographies. Their life stories reveal a structured interrelation between an integrated life conception, special forms of social capital, and the key competence of biographicity. We conclude with some thought on the complications of theory building when interpreting learners in a biographical sense.
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Within a study on ‘musicians as lifelong learners’, explorative biographical research was used. When analysing the learning biographies informed by grounded theory, the emergence of profession-related health issues was striking. More than half of the portrayed musicians suffered from both physical and psychological problems, the latter mostly consisting of performance anxiety (stage fright), which was often connected to low self-esteem.However creative coping strategies were also frequently found by the musicians, showing their extensive use of metacognitive skills. This paper addresses the coping strategies found and relates it to musicians’ transformative learning.
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Posterbijdrage conferentie EARLI SIG 14, 11-14 september 2018, Genève Although literature shows the important supportive role of experienced colleagues to stimulate novices’ workplace learning, the question of how this support is provided is usually answered in general terms (e.g. Mikkonen et al. 2017; Tynjälä 2008). Therefore, this study aims to explore how members of vocational communities, both individually and as a collective, enact specific pedagogic practices to contribute to novices’ learning. The systematic literature review that will be presented in the interactive poster session is the first study of a PhD project and provides an overview of situational pedagogic practices which attempt to support novices’ learning at the workplace.
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