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.
Paper presented at the 31st European Seminar in Ethnomusicology ESEM, Limerick (Ireland), 18/9/2015. This paper presents a case study of ‘Belinda’, a Dutch woman in her early sixties who considers herself at the same time as ‘un-musical’ and musically hyper-sensitive. She is neither an ‘outstanding performer’ nor a ‘maverick’, but rather an idiosyncratic example of late-modern (i.c. Dutch) everyday life musicality.Interesting as her particular case may be, the focus in this paper is theoretical and methodological. Through concisely discussing Belinda’s biography, I will be able to focus, theoretically, on using practice theory as formulated recently by German cultural sociologist Andreas Reckwitz as a possible foundation for studying music in late-modern western societies. Reckwitz considers culture as an inherently hybrid and dynamic arena of shared and contested individual understandings of the world, and sees practices – ‘ways of doing and saying’ – as the locus of culture. Methodologically, I posit – referring to Reckwitz but also to the seminal work of George Herbert Mead and others - that there is no need to think about the individual and the social as two mutually exclusive domains, but rather that the individual is inherently social and therefore the study of music in society (‘music as culture’; or maybe ‘ethnomusicology’) should base itself on a thorough micro-ethnographic study of individuals, rather than on more abstract groups, combining ethnographic methods with insights from qualitative sociology and Grounded Theory.The paper hopes to contribute to theoretical and methodological discussions in ethnomusicology. Because the study of ‘Belinda’ is a strong example of a study by a researcher who has been born and bred in the same context of ‘shared and contested ways of doing and saying’ as the researched, the paper also hopes to contribute to ideas about the methodological particularities of ‘ethnomusicology-at-home’ and about the potential value of ethnomusicological studies of late-modern musicality and musical late-modernity.
We used a validated agent-based model—Socio-Emotional CONcern DynamicS (SECONDS)—to model real-time playful interaction between a child diagnosed with Autism Spectrum Disorders (ASD) and its parent. SECONDS provides a real-time (second-by-second) virtual environment that could be used for clinical trials and testingprocess-orientedexplanationsofASDsymptomatology.Weconductednumerical experiments with SECONDS (1) for internal model validation comparing two parental behavioral strategies for stimulating social development in ASD (play-centered vs. initiative-centered) and (2) for empirical case-based model validation. We compared 2,000 simulated play sessions of two particular dyads with (second-by-second) time-series observations within 29 play sessions of a real parent-child dyad with ASD on six variables related to maintaining and initiating play. Overall, both simuladistributions. Given the idiosyncratic behaviors expected in ASD, the observed correspondence is non-trivial. Our results demonstrate the applicability of SECONDS to parent-child dyads in ASD. In the future, SECONDS could help design interventions for parental care in ASDted dyads provided a better fit to the observed dyad than reference null
