Is eerder gepubliceerd op de site van de Nederlandse Dalton Vereniging, 2021. april Onderzoek laat zien dat individuele prestatieverschillen een direct gevolg zijn van de hoeveelheid tijd besteed aan doelbewuste oefening. In dit onderzoek is bij 49 basisschoolleraren onderzocht hoeveel tijd zij besteden aan activiteiten die grotendeels voldoen aan de kenmerken van doelbewuste oefening en hoeveel leerwinst zij daarbij ervaren. Doelbewuste oefenactiviteiten zijn activiteiten met een duidelijk doel om het eigen onderwijs te verbeteren, zijn vooraf doordacht en gepland, worden voorzien van informatieve feedback en worden herhaaldelijk en regelmatig uitgevoerd. Leraren vulden via een mobiele logboekapplicatie tweemaal per dag gedurende twee weken een vragenlijst in, waarin ze bijhielden welke activiteiten zij uitvoerden om hun onderwijs te verbeteren en hoeveel tijd ze hieraan besteedden. Uit de eerste onderzoeksresultaten blijkt dat leraren ongeveer 30 procent van de gerapporteerde tijd besteden aan doelbewuste oefenactiviteiten. Doelbewuste oefenactiviteiten bleken significant langer te duren dan niet-doelbewuste oefenactiviteiten. Verder ervaren leraren een significant hogere leerwinst bij het uitvoeren van doelbewuste oefenactiviteiten dan bij niet-doelbewuste oefenactiviteiten. Meters maken dus!
MULTIFILE
Kunst en cultuur worden steeds meer geacht een rol te spelen in maatschappelijke vraagstukken. Dit legt een nieuwe verantwoordelijkheid bij kunstenaars en het kunstvakonderwijs. In het innovatietrainee programma Creatief Talent Werkt onderzochten HKU, AHK en ArtEZ wat nodig is om aan te sluiten bij deze ontwikkeling. Welke competenties hebben jonge, creatieve professionals dan nodig?
Mijn stelling is dat normatieve professionalisering, in ons geval de professionalisering van leraren, een vorm is van levensbeschouwelijke vorming. Dat geldt zowel voor de professionalisering in de initiële opleidingen als voor de voortgaande ontwikkeling als professional in het onderwijs. Ik ga daarbij uit van een brede opvatting van levensbeschouwelijke vorming, waarbij het bij levensbeschouwing in een variant op de definitie van Brümmer, gaat om: ‘het totale complex van normen, idealen en eschatologische verwachtingen in het licht waarvan iemand zijn levenshouding richt en beoordeelt; een complex dat in zekere mate innerlijke consistentie vertoont en dat in zekere mate wordt geïntegreerd door eengrondovertuiging die eraan ten grondslag ligt’ (variant op Brümmer, 1975, 131-132) Bij een levensbeschouwing hoeft het in deze opvatting niet per se en primair te gaan om een gearticuleerde levensvisie, geworteld in een seculiere of religieuze traditie. Dat kan wel, maar hoeft niet en moet al helemaal niet als vanzelfsprekend worden voorondersteld. In het verlengde daarvan gaat het bij vorming dan ook om meer dan socialisatie en enculturatie. Het is de relatie tussen de begrippen Levensbeschouwelijke vorming, en hun relatie tot normatieve professionalisering, waar het in deze rede over gaat. Het verbinden van Levensbeschouwelijke vorming en Normatieve professionalisering, waarbij de laatste een concretisering van de eerste is, ervaar ik als een spannende onderneming en voor het opleiden van leraren staat er daarmee ook veel op het spel. Ik wil in deze openbare les deze verbinding graag nader verkennen.
Students in Higher Music Education (HME) are not facilitated to develop both their artistic and academic musical competences. Conservatoires (professional education, or ‘HBO’) traditionally foster the development of musical craftsmanship, while university musicology departments (academic education, or ‘WO’) promote broader perspectives on music’s place in society. All the while, music professionals are increasingly required to combine musical and scholarly knowledge. Indeed, musicianship is more than performance, and musicology more than reflection—a robust musical practice requires people who are versed in both domains. It’s time our education mirrors this blended profession. This proposal entails collaborative projects between a conservatory and a university in two cities where musical performance and musicology equally thrive: Amsterdam (Conservatory and University of Amsterdam) and Utrecht (HKU Utrechts Conservatorium and Utrecht University). Each project will pilot a joint program of study, combining existing modules with newly developed ones. The feasibility of joint degrees will be explored: a combined bachelor’s degree in Amsterdam; and a combined master’s degree in Utrecht. The full innovation process will be translated to a transferable infrastructural model. For 125 students it will fuse praxis-based musical knowledge and skills, practice-led research and academic training. Beyond this, the partners will also use the Comenius funds as a springboard for collaboration between the two cities to enrich their respective BA and MA programs. In the end, the programme will diversify the educational possibilities for students of music in the Netherlands, and thereby increase their professional opportunities in today’s job market.
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
