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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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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This paper will explore types of learning, which takes place when musicians work in situations where they have to connect to community contexts.It will first address musicians’ changing professional roles in the changing sociocultural landscape and the need for lifelong learning and emergence of life wide learning which this brings about. It will then go into the rise of the ‘community musician’ and the leadership this requires to exercise, illuminated through an exampleof musicians working with people living with dementia and their care staff.Based on this example perspectives of these musicians’ learning are discussed, where especially transformative learning, where the musician needs to change her frame of reference (Mezirow) and transitional learning, brought about by small changes in musicians’ life world and biography, seem at stake.Keynote address: Royal College of Music in Stockholm: symposium titled: Students' ownership of learning: a meeting place for teachers and students in higher music education,15-17 September 2010
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Within the study ‘Musicians as Lifelong Learners: Discovery through Biography’, biographical research was used to examine key developments in the professional lives of musicians, focusing on the relationship between their life, educational and career span ant their learning styles. This resulted in a collection of 32 narrative learning biographies of musicians from different countries and with various careers. Musicians with a performing career, music pedagogues, and musicians with a portfolio career, who combine different roles within various areas of engagement, are portrayed. The main thread throughout the biographies is the question of how these musicians learn as ‘lifelong learners’.
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This essay is based on research promoted by INDIRE, Italian NationalInstitute for Documentation, Innovation and Educational Researchin Education, and is developed under the research on ‘Professionalnetworks, Educational models and School principal’s profile in Italy’. Onthe basis of observation and analysis of research data, a new theoryis assumed and new characteristics are defined, belonging to bothprofessional networks and educational models applied to all typesof professional networks. The characteristics so far identified are:plastic nature of networks, network punctuated equilibrium, networkconnectivity, emergent behavior and sociality of network members.It is also shown how the knowledge shared in a network materializes inEvents that produce Event Capital. The theory will be complemented byan experimentation phase.
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This essay addresses the relationship of improvisation and identity. Biographicalresearch that was conducted by the author into professional musicians’ lifelong learning showed the huge importance of improvisation for personal expression. Musically, the concept of sound appeared to serve as a strong metaphor for identity. In addition, ethnographic research conducted as part of the project Music for Life in London, and published by Smilde, Page and Alheit in 2014, where musicians work in creative music workshops with people with dementia and their caregivers, shed light on the use of improvisation as an expression of the identity of ‘the other’ (i.e. the person with dementia). Sound again appeared to serve as a metaphor for identity. The essay draws on the work of George Herbert Mead on identity, which distinguishes between the personal ‘I’ and the social ‘Me’, and points out that both aspects are essential for the self. In this sense, improvisation can be conceived as a means of communication thatconnects the personal with the social. Furthermore, drawing on Paul Ricoeur’s Oneself as Another (1992), it is shown that this concept of improvisation in relation to personal and social identity may be transferred to forms of community engagement through music. However, despite its huge importance, improvisation is still often marginalised in specialist higher music education, particularly in conservatoires, and the essay finishes with a strong plea for conservatoires to take up their role in the midst of society and embed improvisation in the core of the curriculum.
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Biographical information of Jan Floris de Jongh
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Today, Intellectual Capital plays a principal role in the delivery of corporate performance. This importance is reflected in the fact that companies, without the force of any regulations, start to produce intellectual capital statements to communicate their performance; accounting guidelines are being developed and standards are being questioned and reviewed; software companies such as SAP, Hyperion, Oracle, or Peoplesoft are developing applications to address this, and even governments are beginning to measure the intellectual capital of cities, regions, and countries. Accenture writes that today's economy depends on the ability of companies to create, capture, and leverage intellectual capital faster than the competition. Cap Gemini Ernst & Young believes that intangibles are the key drivers for competitive advantage. KPMG states that most general business risks derive from intangibles and organizations therefore need to manage their intangibles very carefully. PricewaterhouseCoopers writes that in a globalized world, the intellectual capital in any organization becomes essential and its correct distribution at all organizational levels requires the best strategy integrated solutions, processes and technology. Even though the leading management consulting firms recognize the importance of intellectual capital – they seem to suffer from the same predicament as the field as a whole. Intellectual capital is defined differently and the concept is often fuzzy. In this special issue of the leading journal in the field we would like to bring together the definitions, approaches, and tools offered by the leading management consulting firms. It will be a unique opportunity to disseminate your understanding of this critical area of management and allow you to illustrate your approaches and tools.
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