Lifelong learning as a challenge for music education

The concept of lifelong learning refers to the several skills able to provide for needs of music graduates. Such as it occurs with other areas, the domain of music is in constant modification, either for the incorporation of new technologies, either had the cultural demands or for the multiplicity of activities that music has accumulated. Observing the deficits in the formation of the students, the lifelong learning appears as an alternative to enable the acquisition of tools which improve continuously the professional. The lifelong learning includes a new notion of knowledge that brings together the formal, non-formal and informal teaching, making possible experiences of knowledge objective and practical, as a way to consider the several challenges that appear to the profession. To hold the lifelong learning in the Music Colleges as an objective many changes are requested, and all the structures of the Music Colleges must be engaged

Improvisation and identity:a biographical perspective

Een overzicht van de rol van improvisatie in het leven en werk van de musicus. Improvisatie wordt belicht als vorm van zelfexpressie, wat voor de meeste musici van jongsaf aan een belangrijk thema is. Daarnaast wordt improvisatie belicht als middel voor expressie van 'zichzelf en de ander', zoals dat bijv. gebeurt tijdens participatieve muziekworkshops met publiek in uiteenlopende sociale contexten. Het onderzoek naar de praktijk Music for Life in Engeland wordt hier als voorbeeld genomen voor hoe 'person centred' of 'applied improvisation' in deze setting werkt

Musicians’ profession-related health issues and their evolving transformative learning through biography

Within a study on ‘musicians as lifelong learners’, explorative biographical research was used. When analysing the learning biographies informed by grounded theory, the emergence of profession-related health issues was striking. More than half of the portrayed musicians suffered from both physical and psychological problems, the latter mostly consisting of performance anxiety (stage fright), which was often connected to low self-esteem. However creative coping strategies were also frequently found by the musicians, showing their extensive use of metacognitive skills. This paper addresses the coping strategies found and relates it to musicians’ transformative learning