Zoekresultaten

Exploring the relation between teacher autonomy support and children’s musical creativity

In primary music education a key question is what teachers can do to stimulate students’ musical creativity. For the answer, delving into teacher-student interaction during the creative processes in the naturalistic setting of primary music lessons is required. Twenty-six music lessons from thirteen teachers and their classes of seven Dutch schools were recorded to explore the relation between teachers’ autonomy support and students’ divergent and convergent thought & action. Quantitative sequential analysis and thematic analysis were combined to examine this relation, using a framework offered by Complex Dynamic Systems theory and Enaction theory. In contrast to classical correla-tional analysis, sequential analysis focuses on the dynamics, and thus on the temporal relation in classroom interaction. The results show that mostly lower-level autonomy support was offered. Es-pecially in creative lessons, higher-level autonomy support is more likely to lead to higher-level student divergent thought and action. For convergent thought and action, the results were less con-clusive. An implication of the findings is that (research into) music education could benefit from interventions aimed at enhancing autonomy support in primary school music.

Diversity, Equity and Inclusion in Higher Music Education

With this “invitation for action”, the Diversity, Inclusion & Gender Equality (DIGE) Working Group of the AEC - Empowering Artists as Makers in Society project (hereafter, ARTEMIS) welcomes all the AEC member institutions to explore, discuss and implement practices fostering Diversity, Equity and Inclusion (DEI) in Higher Music Education (HME). We invite our colleagues to collectively dream up possible futures for HME through DEI work, which responds to the need to accommodate the plurality of backgrounds, artistic paradigms, access capabilities, identities and aspirations amongst current as well as future students and staff. Through this publication we wish to encourage the AEC memberinstitutions to grasp this simultaneously evident and complex task and to explore what diversity, equity and inclusion could mean if musicians are seen as “makers in, for and of society” (Gaunt et al. 2021). For us as a Working Group, this proactive view has been central to our work from the beginning, as we asked ourselves whether HME institutions find themselves predominantly adapting (or not) to inevitable local and global changes and pressures, and whether the HMEinstitutions could see themselves as part of a network of change makers in society. Focusing on the latter, we see DEI work as being directly connected to the core artistic practices of the institutions. As reflections from many of our colleagues in various AEC member institutions illustrate, the commitment to DEI work nurtures artistic imagination, widens pedagogical approaches, and expands the scope of professional practice.

Musicking in Groningen

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.

Learning music in formal, non-formal and informal contexts

Various learning contexts (conservatoire, workplace and self initiated learning) which are relevant for the training of professional musicians as lifelong learners are explored.

The inquisitive, entrepreneurial and reflective attitude in a master of music

Leaving the bubble

This was the first time I attended a Pop and Jazz Platform meeting of the AEC. My involvement with AEC goes back for some time now. My first experience dates from 20 years ago, when I witnessed Yehudi Menuhin standing on a staircase addressing the delegates of the AEC Conference in Brussels. I think at that conference the number of delegates was lower than the 170 people that have been present these two days. The AEC has grown. The number of pop, jazz, world and folk music schools and departments has grown. Its importance within the sector has grown. And that shows in this meeting.