What kinds of live music are available to the citizens of the cities of Groningen and Utrecht? That is the main question in two research projects, of which the databases have been made accessible in the Dataverse City Musicscapes (Lelieveldt & Bisschop Boele, 2018). At first sight databases of statistical research offices provide researchers with clear data about the number of venues and concerts and the participation of audiences (Gemeente Utrecht 2017, Van den Broek 2014). When looking closer we find that in these statistics only the regular (and mainly publicly funded) music venues are included. The authors’ projects show that a substantial part (53–60%) of live music concerts take place on non-regular locations, such as cafés, restaurants, clubs, churches, shopping malls and in open air. They developed a research tool to be able to draw a map of the musical landscape of a city (Musicscape). In this article we will reflect on the goals, research methods, datasets and some results from analysing our datasets. We hope this contributes to the discussion with scholars, music producers and policy makers about the added value of the concept of Musicscapes for the understanding of cultural participation, music performing practices and cultural policies.
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This publication is a result of an international research project which took place from 2012-2014. Among the participators were four universities, number of service providers, NGOs and people with psychiatric and learning disabilities from Amersfoort and Maastricht in the Netherlands, Budapest in Hungary and Tallinn in Estonia. The aim of the project was to explore the wishes and needs of persons with psychiatric or learning difficulties with regard to community participation, and how services could be (more) supportive in order to meet these needs. We also looked at local policies, especially from the perspective of the UN Convention on the Rights of Persons with Disabilities (CRPD). From the research we learn that regardless of the country where people live, persons with disabilities have similar struggles to cope with vulnerability and deprivation. They also share the same desires as any other human being: the wish to live a good and valued life, to have meaningful activities and to belong to a social community. The stories in this book were selected from the interviews which were conducted by researchers during the project. The portraits illustrate experiences of illness, disability and recovery. They also reflect experiences of using social- and mental health services, exclusion and inclusion. By reading these stories we see, how multifaceted life can be, and what are the challenges towards the real participation in community
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This book seeks to communicate what we learned, what I learned, in the hope that readers (particularly musicians in training) can find ways to learn for themselves as they challenge themselves to try new, and different, things.
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Het proefschrift gaat in op de werkwijze, het belang en het gedrag van muziekuitgevers, de pioniers van de muziekindustrie. Sinds de uitvinding van de boekdrukkunst geven muziekuitgevers composities uit op bladmuziek of licenseren zij deze. Door het succes van de grammofoonplaat werden de uitgevers een eeuw geleden uit het centrum van de macht van de muziekindustrie verdreven door de platenmaatschappijen die de geluidsopnames van muziek gingen exploiteren. De verborgenheid van de muziekuitgeversbranche komt enerzijds voort uit de onduidelijke positie van de muziekuitgevers in de culturele waardeketen van de muziekindustrie en anderzijds door de historische wirwar aan rechten. Opvallend genoeg is er weinig wetenschappelijke aandacht geweest voor deze industrie zeker in tegenstelling tot de aandacht voor de platenmaatschappijen, dit onderzoek hoopt daar verandering in te brengen. Machtige positie door digitalisering van muziek Het proefschrift van Wierda is een longitudinale studie die een periode van honderd jaar omvat. Muziekuitgevers verwerven een deel van het auteursrecht van een liedje, indien de componist muziek wenst uit te geven. Door deze wijze komt de uitgever voor de componist op zodat ze beide inkomen uit het intellectueel eigendom vergaren als of het liedje op plaat verschijnt of live ten gehore wordt gebracht. Muziekuitgevers wensen mede ten behoeve van de componist, inkomen te vergaren. Waar ook maar muziek geconsumeerd wordt eisen zij het recht van gebruik op. Dit kan zijn bij live entertainment, televisie, internet en games. Het bijzondere volgens het proefschrift is dat door de digitalisering na honderd jaar dynamiek de uitgevers weer in belang toenemen, doordat de handel in de fysieke geluidsdragers van de platenmaatschappijen tanende is. De muziekindustrie neigt naar een ‘rights industry’ waarin qua werkwijze de uitgevers al eeuwen in gespecialiseerd zijn. De huidige uitgevers kenmerken zich dan ook als ondernemers die weer dichter tegen de componist aankruipen en zich op deze wijze dynamisch profileren in de nieuwe tijd.
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De kandidatuur van Malta als Europese Culturele hoofdstad in cultuurtoeristisch perspectief
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Several bachelor courses of Inholland University of Applied Sciences experimented with the possibilities of the online synchronous classroom. Two platforms were used; Zoom video conferencing and Barco Virtual Classroom. As research group, we conducted exploratory observations as this experimentation unfolded during several of these sessions. Interviews were held with some teaching and technical staff. Organisational, technical and pedagogical factors regarding the delivering of flexible education were examined. During the observations of this emergent practice, some patterns became visible. This report contains a first description of the seven phases when initiating the online classroom.
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The future of age-friendly cities and communities (AFCC) needs to adapt and be more agile to the changing needs of residents of all ages. The UN Decade of Healthy Ageing ‘the Decade' provides a unique opportunity to further strengthen age-friendly environments. The Decade brings together governments, civil society, international agencies, professionals, academics, the media and the private sector for 10 years of concerted action to improve the lives of older people, their families and the communities in which they live. This editorial serves as a thought piece and outlines recommendations for the imminent and future discourse surrounding digital transformation, digital skills/literacy and financial implications on societal citizens in the AFCC discourse. Action is needed now, and this can only be achieved by talking openly about the real issues and concerns affecting people in our communities and in the future.
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Europeans live their lives at a time when certain collective expectations of how the world should function no longer seem to describe their experience of what actually happens. This bifurcation of experience and expectation is causing some severe symptoms of dislocation. Truth turns relative and his- tory seems in need of radical revision. Even time itself seems topsy-turvy, in a way that some Messianic beliefs find very much to their taste. This is the hallmark of the contemporary moment and why, this essay will argue, that in lieu of any other generalising term, we need to make the most use of ‘contemporary’ and ‘contemporaneity’ for emancipatory purposes.
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Assistive Technology (AT) is any technology that supports people with functional difficulties to perform their daily activities with less difficulty and/or obstruction, thus contributing to a more fulfilling life. This refers to people of all ages and to all kinds of functional limitations, either permanent or temporary. Assistive products can be traditional physical products, such as wheelchairs, eyeglasses, hearing aids, or prostheses, but they can also be special input devices, care robots, computers with accessible software, apps for smartphones, home automation solutions, virtual realities, etc. It is essential to understand that AT involves more than just familiar products, and that it also includes knowledge about the personalized selection of appropriate solutions, provisions, and services, as well as the training of all parties involved, the measurement of outcomes and impacts, awareness of ethical issues, etc.
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This case study describes a special edition of the European Project Semester at the course Sustainable Packaging Design and Innovation at the Faculty of Industrial Design Engineering at The Hague University of Applied Sciences (Fall Semester 2017). In this special edition, unique cooperation took place between 12 parties. The parties were three research institutes, six universities, and three companies. Some parties have developed an educational module focused upon sustainable and circular packaging design, including the use of a dedicated tool for life cycle assessment. This module was embedded in the regular EPS. At The Hague University of Applied Sciences, an international class of 16 students worked in four teams on a real-life design assignment. They were offered a wide range of lectures, workshops, pitches, and presentations. The chapter concludes with a review of the followed processes and organizational, managerial, and practical concerns. Although run as a unique edition, all parties discuss to continue this cooperation.
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