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3“In-Between” is the title of this conference. If I am right, it focuses on the role of the artist as a middle-man, or middle-woman, between art and learner. It focuses, maybe, on the way artists are capable to transfer knowledge, skills, attitudes, insights, emotions of an artistic nature. And it focuses, maybe, on the way experiences from the domain of the arts may be transferred through the mechanism inherent in the domain of education; two domains which sometimes seem to have a rather problematic relation because the arts are seen as a domain of beauty, of expressivity, of individuality, of freedom, of creativity, whereas education is seen as the domain of standardization, of group work, of compliance to rules, and of mastering the existing.
PAPER
Chapter in a book. Discusses the concept of idiocultural music education.
HOOFDSTUK
Invited keynote presented at International Conference for Research in Music Education, Bath, UK, 24/4/2017
PAPER
Article on the basis of the keynote given at the 28th EAS conference, March 2021.
HOOFDSTUK
Evert Bisschop Boele explicitly refers to different conceptualizations of culture by describing earlier concepts of culture in education in the Netherlands to explain the proposed logical shift to “idiocultural” music education. Idiocultural music education, according to him, encompasses the fact that each person is highly individual as well as highly social simultaneously, thus, idiocultural music education should take this into account and perceive individuals and social beings with complex and dynamic cultural backgrounds that deserve respect and should be the origin for the individual’s further musical development. Bisschop Boele’s description of earlier concepts of culture connects each concept prior to idioculture, e.g., monocultural, bicultural, multicultural, in five stages with a societal development throughout the last 70 years in the Netherlands. Two different theoretical lenses are applied to theoretically underpin these different conceptualizations of culture.
HOOFDSTUK
This paper explores the relationship between ethnography and music education. The possible meanings of the prefix ‘ethno’ will be reflected upon in three related concepts: ethnography, ethnomusicology and ethnomethodology. In a second step, the focus will shift to music education. The concept of ‘idiocultural music education’ will be clarified in the context of the current debates about what music education is meant for in order to use ideas from ethnography in a productive way. In a third step, the core of this essay, two related productive ways of using ideas from ethnography are introduced: one focuses on the importance of ethnographic knowledge of pupils’ musical lives, the other on the importance of making explicit the inevitable positionality of the music teacher as a musical idioculture. The concluding section explains why, ultimately, the idea of the music teacher as a role model needs to be reconsidered.
HOOFDSTUK
Article (Dutch) in Kunstzone, 14/4 (2015), pp. 52-53, on idiocultural music education.
ARTIKEL
Introduction: The notion of autonomy in Self-Determination Theory is at the core of intrinsically motivated learning, and fulfilment of the need for autonomy is essential for thriving at school. Therefore teacher-provided autonomy support has grown into a key concern in educational research. In the present study into primary school music education, the notion of creative autonomy support is introduced. Research into autonomy support is typically focused on verbal interaction. However, from an enactive perspective, teachers’ gesturing, bodily movement, facial expression, and musical action form an integral part of the socially situated interaction in music lessons, inherently involving autonomy support. In the present study, a distinction is made between creative verbal autonomy support and creative musical and non-verbal autonomy support.
Methods: Applying a process-based time-serial methodology, rooted in a Complex Dynamic Systems and Enactive perspective, the effects of an intervention with Video Feedback Coaching for teachers were investigated. Video data of 105 music lessons of 18 teachers (intervention and control condition) from six primary schools was gathered, to examine teachers’ creative autonomy support at both the individual and group level.
Results: The findings show that teachers in the intervention condition, compared to the control group, achieved a meaningful increase in their ability to offer creative autonomy support verbally. Teachers also showed development for the non-verbal and musical aspects of offering creative autonomy support. However, particularly for offering higher-level creative autonomy support in the non-verbal and musical mode, significant results were found for less than half of the intervention teachers.
Discussion: These results underline the importance of embracing and studying the bodily dimension as an integral part of teacher autonomy support, aimed at emergence of students’ musical creativity, in primary school music education and in teacher training. We explain how these results might be relevant for autonomy enhancing musical activities in vulnerable groups.
ARTIKEL
The EAS conference theme “Craftsmanship & Artistry” confers the image that general music education in 21st western century society moves from a work-based (cf. Small 1998: 2) towards a performance-based definition of music. An example is the work of the MayDay-Group, which formulates many of its seven ideals for general music education in terms of music making (Regelski e.a. 2009: xxxii).This centrality of musicianship is not straightforward. Music is not one but a set of activities (Clarke 2005: 204), and for many music is meaningful in daily life without performance being central. Based on my own research of a varied selection of individuals narrating the importance of music in their lives, this article argues that craftsmanship and artistry are only two of many more ways of describing what music essentially “is”.We must take Cavicchi’s (2009) thesis on the bifurcation of everyday and institutionalized musicality and the resulting “irrelevance of music education” seriously. Musicianship can’t be positioned a-priori at the core of music education; its core must be located on the basis of research into what music means in the actual lives of actual people. This leads towards a more learner-centered approach to general music education in which each learner’s idio-syncratic “musicker-ship” is the starting point.
HOOFDSTUK
