Deze publicatie richt zich vooral op het concept Design Based Research,gezien vanuit het perspectief van de bijna 40 lectoren die de hogeschool rijk is. Dit lectoratenoverzicht kan worden beschouwd als een atlas of reisgids waarmee de lezer een route kan afleggen langs de verschillende lectoraten. De lectoraten die actief zijn op het gebied van de Service Economy worden beschreven in hoofdstuk 2. De lectoraten die actief zijn op het gebied van Vitale Regio worden beschreven in hoofdstuk 3. De lectoraten die actief zijn op het gebied van Smart Sustainable Industries worden beschreven in hoofdstuk 4. De lectoraten die actief zijn op het gebied van de hogeschoolbrede thema’s Design Based Education en Research worden beschreven in hoofdstuk 5. Tenslotte wordt er in hoofdstuk 6 een eerste aanzet gedaan om één of meer verbindende thema’s of werkwijzen te ontdekken in de aanpak van de verschillende lectoraten. Het is niet de bedoeling van deze publicatie om een definitief antwoord te geven op de vraag wat NHL Stenden precies bedoelt met het concept Design Based Research. Het doel van deze publicatie is wel om een indruk te krijgen van wat er allemaal gebeurt binnnen de lectoraten van NHL Stenden, en om nieuwsgierig te worden naar meer.
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Invited keynote presented at International Conference for Research in Music Education, Bath, UK, 24/4/2017
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This field report examines initiatives in music lifelong learning through the research network Lifelong Learning in Music (LLM) of the Prince Claus Conservatoire in the Netherlands. LLM collaborates with other schools on various projects. As well, there is an innovative masters programme ‘New audiences and innovative practices’ with a variety of partners.
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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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Music interventions are used for stress reduction in a variety of settings because of the positive effects of music listening on both physiological arousal (e.g., heart rate, blood pressure, and hormonal levels) and psychological stress experiences (e.g., restlessness, anxiety, and nervousness). To summarize the growing body of empirical research, two multilevel meta-analyses of 104 RCTs, containing 327 effect sizes and 9,617 participants, were performed to assess the strength of the effects of music interventions on both physiological and psychological stress-related outcomes, and to test the potential moderators of the intervention effects. Results showed that music interventions had an overall significant effect on stress reduction in both physiological (d = .380) and psychological (d = .545) outcomes. Further, moderator analyses showed that the type of outcome assessment moderated the effects of music interventions on stress-related outcomes. Larger effects were found on heart rate (d = .456), compared to blood pressure (d = .343) and hormone levels (d = .349). Implications for stress-reducing music interventions are discussed.
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AI tools increasingly shape how we discover, make and experience music. While these tools can have the potential to empower creativity, they may fundamentally redefine relationships between stakeholders, to the benefit of some and the detriment of others. In this position paper, we argue that these tools will fundamentally reshape our music culture, with profound effects (for better and for worse) on creators, consumers and the commercial enterprises that often connect them. By paying careful attention to emerging Music AI technologies and developments in other creative domains and understanding the implications, people working in this space could decrease the possible negative impacts on the practice, consumption and meaning of music. Given that many of these technologies are already available, there is some urgency in conducting analyses of these technologies now. It is important that people developing and working with these tools address these issues now to help guide their evolution to be equitable and empower creativity. We identify some potential risks and opportunities associated with existing and forthcoming AI tools for music, though more work is needed to identify concrete actions which leverage the opportunities while mitigating risks.
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The digital era has brought about profound changes in how music is created, distributed, and consumed, posing a need for modernizing the Dutch collective management system of music copyright to match the rapidly changing digital music industry. This study aims to identify the key stakeholders and their perceptions of the Dutch system of collective management of music copyright. Utilizing qualitative document analysis, the study examines a range of public and non-public documents, including income statements, annual reports from Collective Management Organizations (CMOs), and contracts between publishers and creators. The research is further enriched by twenty-four semi-structured interviews with key stakeholders such as composers, lyricists, music publishers, copyright lawyers, and CMO executives. The findings of the study highlight several issues like the outdated IT systems and the lack of data standardization within the system. The research also notes a contrast in organizational effectiveness: major publishers are well-organized and unified in their negotiations with Digital Service Providers (DSPs) and CMOs, effectively advocating for their rights. However, music copyright holders, despite their legal homogeneity, are either unorganized or ineffectively aligned, displaying diverse interests and varying levels of access to information, as well as differences in norms and values prioritization. The study is grounded in the economics of collective management (ECM) and makes a significant academic contribution to this field by introducing new empirical findings to ECMs core constructs and integrating theoretical perspectives. The research offers valuable insights for policymakers, industry stakeholders, and researchers, aiming to foster a more equitable music copyright management system in the digital context.
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Introduction to a special issue of the IASPM journal. This special issue on fan studies aims to build a bridge with the study of popular music in order to inspire further investigation of music fandom.
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There is a need for modernizing the Dutch collective management system of music copyright to match the rapidly changing digital music industry. Focusing on the often-neglected human values aspect, this study, part of a larger PhD research, examines the value preferences of music rights holders: creators and publishers. It aims to advise on technological redesign for music copyright management system and contribute to discussions on equitable collective management. Building upon prior research, which comprehensively analyzed the Dutch music copyright system and identified key stakeholders, this paper analyses 24 interviews with those key stakeholders to identify their values and potential value tensions. Initial findings establish a set of shared values, crucial for the next phases of the study –values operationalization. This research makes a academic contribution by integrating the Value Sensitive Design (VSD) approach with Distributive Justice Theory, enriching VSD's application and enhancing our understanding of the Economics of Collective Management (ECM).
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Abstract The emergence of new technologies such as mp3 and music streaming, and the accompanying digital transformation of the music industry, have led to the shift and change of the entire music industry’s value chain. While music is increasingly being consumed through digital channels, the number of empirical studies, particularly in the field of music copyright in the digital music industry, is limited. Every year, rightsholders of musical works, valued 2.5 billion dollars, remain unknown. The objectives of this study are twofold: First to understand and describe the structure and process of the Dutch music copyright system including the most relevant actors within the system and their relations. Second to apply evolutionary economics approach and Values Sensitive Design method within the context of music copyright through positive-empirical perspective. For studies of technological change in existing markets, the evolutionary economics literature provides a coherent and evidence-based foundation. The actors are generally perceived as being different, for example with regard to their access to information, their ability to handle information, their capital and knowledge base (asymmetric information). Also their norms, values and roles can differ. Based on an analysis of documents and held expert interviews, we find that the collection and distribution of the music copyright money is still based on obsolete laws, neoclassical paradigm and legacy IT-system. Finally, we conclude that the rightsholders are heterogenous and have asymmetrical information and negotiating power. The outcomes of this study contribute to create a better understanding of impact of digitization of music copyright industry and empower the stakeholders to proceed from a more informed perspective on redesigning and applying the future music copyright system and pre-digital norms and values amongst actors.
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