De ontwikkelingen en veranderingen in de gezondheidszorg maken het noodzakelijk dat verpleegkundigen door middel van bij- en nascholing hun deskundigheid op peil houden. Deskundigheid is de basis waarop herregistratie in het BIG-register zal gaan plaatsvinden. Per 1 januari 2009 moeten zorgverleners na vijf jaar hun deskundigheid aantonen door te voldoen aan de werkervaringseis en, als ze daar niet aan voldoen, de scholingseis1. Deskundigheidsbevordering en Lifelong Learning - levenslang leren - gaan hand in hand. Lifelong Learning is het principe dat mensen gedurende hun hele leven in staat en gemotiveerd zijn om te leren en dat de omgeving daartoe mogelijkheden biedt2, 3. E-learning wordt geassocieerd met leeractiviteiten die plaatsvinden op een zelfgekozen moment waarbij een met een computernetwerk verbonden computer interactief gebruikt wordt. ‘Any place, any time’ is een wezenlijk aspect van e-learning. E-learning is belangrijk voor het levenslang leren van verpleegkundigen.
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The concept of lifelong learning refers to the several skills able to provide forneeds of music graduates. Such as it occurs with other areas, the domain ofmusic is in constant modification, either for the incorporation of new technologies, either had the cultural demands or for the multiplicity of activities that music has accumulated. Observing the deficits in the formation of the students, the lifelong learning appears as an alternative to enable the acquisition of tools which improve continuously the professional. The lifelong learning includes a new notion of knowledge that brings together the formal, non-formal and informal teaching, making possible experiences of knowledge objective and practical, as a way to consider the several challenges that appear to the profession. To hold the lifelong learning in the Music Colleges as an objective many changes are requested, and all the structures of the Music Colleges must be engaged.
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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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This Framework is intended to act as a guide for those individuals and organisations seeking to develop forms of lifelong learning and professional development that are rooted in a culture of reflective andreflexive practice.
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Professional musicians and music educators are faced with a lot of change in the profession, which in the end reflects change in society. This creates a huge challenge for institutions training future music performers and educators. In the Netherlands the research group Lifelong Learning in Music (from here: LLM) of the Prince Claus Conservatoire (Hanze University of Applied Sciences in Groningen) has been active since 2004 in trying to address the question what exactly are the changes in the music profession and, following from that question, how institutions can contribute to the development of young music students into responsible, pro-active and innovative practitioners. And from there questions have risen like what engaging with new audiences means for the different roles of musicians.
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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 intends to focus on those critical issues arising from the Connect case study (Renshaw, 2005) that have wider applicability in contemporary professional practice in terms of lifelong learning. Special attention will be given to the following areas:• formal, non-formal and informal learning;• musical leadership;• quality;• self-assessment and reflective practice;• professional development of musicians.
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Final report of the AEC working group of Continuing Professional Development for Musicians in the framework of the Socrates Thematic Network (TNP) for Music.
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