This article discusses how professional identity, conceptualised as 'stories professionals tell about themselves at a specific moment in a specific context', can be portrayed to address its complexity as a dynamic, constructed, cognitive-emotional, multi-voiced, and dialogical concept. In order to construct a narrative-biographical method, eight teacher educators reflected on their professional development, using the self-confrontation method, resulting in self-narratives. The findings of the study indicate teacher educators' meaningful experiences can be portrayed in a systematic way using identity components such as job motivation, task perception, task-feeling, self-image and selffeeling. This method can reveal a personal or professional theme to further educators' development, focusing both on a content level as well as an emotional level. These results were illustrated by one teacher educator's story. Finally, suitability of this method was discussed for reflection purposes in teacher education and research goals.
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The sources of productivity have always been the main subject of economic debate because they are the main determinants of profitability and competitiveness. In order to improve productivity we should be able to identify the sources of productivity. This article presents a method for measuring the sources of knowledge productivity in order to give direction to knowledge management initiatives. The method is based on a theoretical framework which combines two different perspectives (economic and process) on knowledge productivity. This article presents the methodological and theoretical framework, the initial design of the method and the results of the first two case studies. The relevance of this article is that it combines the concepts of knowledge management and intellectual capital measurement in the relatively new concept of knowledge productivity.
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This study focuses on the uses and functions of music in the life of individuals in the province of Groningen at the beginning of the twenty-first century. The study is an ethnomusicological study representing the sub-discipline of ethnomusicology-at-home. It uses Andreas Reckwitz’ formulation of practice theory as a theoretical starting point and introduces methodological principles from the field of qualitative sociology. Central in the study is the individual. 30 theoretically sampled individuals recounted their musical biographies in narrative-biographical interviews, which were analyzed in detail and eventually led to a sufficiently suggested grounded theory of the uses and functions of music in Groningen AD 2010. The theory consists o three interrelated compartments. The first compartment contains a description o the uses o music a expressed b the interviewees. ‘Use’ refers t the ‘customary exercise o music’ i concrete musical social situations. The result o this study i of this study. The study describes how three cultural codes seem to be shared amongst many (though not all) of the interviewees: the codes of playing an instrument, craftsmanship, and musicality, together forming the supercode of the music specialist. These three more general codes are combined with two further codes to form the highly specific and culturally hegemonic musical subject culture of art music, expressing that music is a specialism; it is the craft of playing an instrument by talented individuals; that this craftsmanship must be combined with expressivity; and that through this form of specialized expression musical objects come into being which represent the ideal realm of the artistic. By discussing this attempt at a grounded theory of the uses and functions of music in Groningen AD 2010, a picture is delivered of how individuals become musical individuals. Through their musicking in the context of concrete musical social situations they use music for the functions of affirmation, connection and regulation of the self; and they do this in the context of a web of cultural codes labeling shared and disputed – and sometimes hegemonic – ways of doing and talking. An evaluation of the theory and methodology used in this study shows that both assist in further developing the field of ethnomusicology(-at-home); an evaluation of the results in the light of existing research shows that they contribute to further insights into the uses and functions of music. Four areas for further research are mentioned: typologizing the uses and functions of music, musical discourses, musical subject cultures, and the place of the musical subject order of art music in contemporary society. The study ends with a description of the possible implications for conservatoires. Conservatoires are recommended to encourage students to think of their future audiences in the broadest possible terms, taking into account the wide variety of uses and functions of music figuring in the daily lives of musicking individuals. They are encouraged to make students look upon themselves (also) as service providers, and as such to be open and non-judgmental in their relationships towards the musical other. Conservatoires are recommended to translate this into their curricula by devising transformative projects in which students meet ‘musical others’, and by encouraging their students to take their possible audiences into account consciously in any musical social situation they devise or find themselves in.
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