The main objective of this dissertation is to examine, both theoretically and empirically, the specific requirements of a blended learning instructional model aimed at facilitating higher education adult-learners into online interaction. Three objectives were formulated: Objective 1: to investigate adult-learners’ perceived satisfaction in relation to blended learning and the factors that foster their interaction with the ‘added’ online mode; and a thorough understanding of adult-learners’ educational needs and learning characteristics derived from theory. Objective 2: to understand the factors of social presence and convergence, and how these can be ingrained into design principles that foster online interaction. Objective 3: to explore the specifics of an instructional model for the design of a blended learning environment for adult-learners in higher education, both theoretically and empirically, and how said principles can be actualised in a validated model.
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Sports are activities enjoyed by many across the globe, regardless of age. The existence and promotion of youth sports has often been based on various assumptions about its value and role in society. Sports participation is assumed to be fun and good and is assumed to contribute to the development of young people. As a result, sports are often seen as an essential part of life for youth. Participation in sports and physical activity is assumed to help young people to develop in a context in which they are able to learn important positive societal values (Fraser-Thomas et al., 2005; Holt, 2008). Although there is a widespread belief in the positive dimensions of sports participation for young people, there is a need for research and theory that identifies and critically looks at the processes through which sports participation by youth is experienced and shapes their lives (Coakley, 2011). I return to this critical perspective after I elaborate on the ways sports are viewed as important effective activities for positive youth development.
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The Salvation Army has been battling social problems in the Netherlands for more than 125 years. Over the course of this period, the Dutch Salvation Army has developed into a well-known faith-based organization as well as an important professional social service provider. These two characteristics: religious work and social work, are regarded by the Army as essential to its identity, and are considered distinct but in – separable. However, as this study shows, during much of the Army’s history this bilateral character created an inescapable field of tension. This became explicitly clear with the development of the Dutch social policy system during the twentieth century, when the evolving relationship between the Salvation Army and the Dutch government created certain problems for both actors. How would the government cooperate with a valued social service provider that had an explicit faith-based identity? And on the other hand, how did the Army cope with this relationship in relation to its identity? The work presented in this thesis was supported by the University of Applied Sciences Utrecht (HU) and the VU University Amsterdam.
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mechanism for fostering innovation competenceThis dissertation focuses on fostering students’ innovation competence in higher education. The research is aimed at developing instructional strategies based on theoretical design principles to aid teachers in higher education foster innovation competence in their classrooms and assess students’ innovation competence. The research was implemented within the existing curriculum of three Netherlands universities of applied sciences in which developing students’ innovation competence was the target learning goal. To aid innovation competence learning, an innovation competence teaching mechanism was developed following education design research steps. The research includes four independents sub-studies which used different research methods. This thesis shows that students’ innovation competence can be positively influenced by instruction. The findings of this study suggested that development of students’ innovation competence takes place through explicitly coordinated teaching and learning activities, design, assessment, and reflection. It was found that this innovation-supportive learning environment influenced the actual innovation competence of students and that the way of teaching (especially a better structured, balanced and more student-centred constructivist approach to teaching) had a positive influence on students’ development of innovation competence. This dissertation has shown that every student has the potential to be innovative, and that teachers can fulfil their role in recognizing the innovation potential of students by creating a teaching and learning environment that promotes and encourages innovation competence.
In leaving the more traditional territories of the concert performance for broader societal contexts, professional musicians increasingly devise music in closer collaboration with their audience rather than present it on a stage. Although the interest for such forms of devising co-creative musicking within the (elderly) health care sector is growing, the work can be considered relatively new. In terms of research, multiple studies have sought to understand the impact of such work on musicians and participants, however little is known about what underpins the musicians’ actions in these settings. With this study, I sought to address this gap by investigating professional musicians’ emerging practices when devising co-creative musicking with elderly people. Three broad concepts were used as a theoretical background to the study: Theory of Practice, co-creative musicking, and Praxialism. Firstly, I used Theory of Practice to help understand the nature of emerging practices in a wider context of change in the field of music and habitus of musicians and participants. Theory of Practice enabled me to consider a practice as “a routinized type of behaviour which consists of several elements, interconnected to one another: forms of bodily activities, forms of mental activities, ‘things’ and their use, a background knowledge in the form of understanding, know-how, states of emotion, and motivational knowledge” (Reckwitz, 2002, p. 249). Secondly, I drew the knowledge from co-creative musicking, which is a concept I gathered from two existing concepts: co-creation and musicking. Musicking (Small, 1998), which considers music as something we do (including any mode of engagement with music), provided a holistic and inclusive way of looking at participation in music-making. The co-creation paradigm encompasses a view on enterprise that consists of bringing together parties to jointly create an outcome that is meaningful to all (Prahalad & Ramaswamy, 2004; Ramaswamy & Ozcan, 2014). The concept served as a lens to specify the jointness of the musicking and challenge issues of power in the engagement of participants in the creative-productive process. Thirdly, Praxialism considers musicking as an activity that encompasses “musical doers, musical doing, something done and contexts in which the former take place” (Elliott, 1995). Praxialism sets out a vision on music that goes beyond the musical work and includes the meanings and values of those involved (Silverman, Davis & Elliott, 2014). The concept allowed me to examine the work and emerging relationships as a result of devising co-creative musicking from an ethical perspective. Given the subject’s relative newness and rather unexplored status, I examined existing work empirically through an ethnographic approach (Hammersley & Atkinson, 2007). Four cases were selected where data was gathered through episodic interviewing (Flick, 2009) and participant observation. Elements of a constructivist Grounded Theory (Charmaz, 2014) were used for performing an abductive analysis. The analysis included initial coding, focused coding, the use of sensitizing concepts (Blumer 1969 in Hammersley, 2013) and memoing. I wrote a thick description (Geertz, 1973) for each case portraying the work from my personal experience. The descriptions are included in the dissertation as one separate chapter and foreshadow the exposition of the analysis in a next chapter. In-depth study of the creative-productive processes of the cases showed the involvement of multiple co-creative elements, such as a dialogical interaction between musicians and audience. However, participants’ contributions were often adopted implicitly, through the musicians interpreting behaviour and situations. This created a particular power dynamic and challenges as to what extent the negotiation can be considered co-creative. The implicitness of ‘making use’ of another person’s behaviour with the other not (always) being aware of this also triggered an ethical perspective, especially because some of the cases involved participants that were vulnerable. The imbalance in power made me examine the relationship that emerges between musicians and participants. As a result of a closer contact in the co-creative negotiation, I witnessed a contact of a highly personal, sometimes intimate, nature. I recognized elements of two types of connections. One type could be called ‘humanistic’, as a friendship in which there is reciprocal care and interest for the other. The other could be seen as ‘functional’, which means that the relationship is used as a resource for providing input for the creative musicking process. From this angle, I have compared the relationship with that of a relationship of an artist with a muse. After having examined the co-creative and relational sides of the interaction in the four cases, I tuned in to the musicians’ contribution to these processes and relationships. I discovered that their devising in practice consisted of a continuous double balancing act on two axes: one axis considers the other and oneself as its two ends. Another axis concerns the preparedness and unpredictability at its ends. Situated at the intersection of the two axes are the musicians’ intentionality, which is fed by their intentions, values and ethics. The implicitness of the co-creation, the two-sided relationship, the potential vulnerability of participants, and the musicians’ freedom in navigating and negotiation, together, make the devising of co-creative musicking with elderly people an activity that involves ethical challenges that are centred around a tension between prioritizing doing good for the other, associated with a eudaimonic intention, and prioritizing values of the musical art form, resembling a musicianist intention. The results therefore call for a musicianship that involves acting reflectively from an ethical perspective. Doctoral study by Karolien Dons
