Table of contents
II Approaches & Practical Examples
IV Literature lists
Literature on NAIP concepts and research
* full text to be found in the reader
AEC (2015). Perspectives on 2nd cycle programmes in higher music education: combining a research orientation with professional relevance. www.polifonia.eu.
AEC (2011). Researching Conservatoires: enquiry, innovation and the development of artistic practice in higher music education. www.polifonia-tn.org.
Antikainen, A. (1998). Between Structure and Subjectivity: Life Histories and Lifelong Learning. International Review of Education 44 (2-3): 215-234.
Antikainen, A., Houtsonen, J., Huotelin, H. and Kauppila, J. (1996). Living in a Learning Society: Life-Histories, Identities and Education. London: Falmer Press.
Animarts (2003). The art of the animateur: an investigation of the skills and insights required of artists to work effectively in schools and communities. London: Animarts. www.animarts.org.uk.
Barthes, R. (2008). The death of the author. Malden, Mass.: Blackwell.
Beeching, A. (2010). Beyond Talent: Creating a Successful Career in Music. Oxford University Press. 2 edition.
Benjamin, W. (2008). The work of art in the age of its technological reproducibility, and other writings on media. Cambridge USA: Harvard University Press.
Bennett, D. (ed.) (2012), Life in the Real World: how to make music graduates employable. Illinois: Common Ground.
This book serves as a resource for helping young musicians developing their careers. It offers an international perspective, exploring musicians’ career development in various parts of the world (North America, Canada, Australia, Europe and the UK). The linking theme is musicians’ professional identity; crucial issues are explored in this respect and the book provides furthermore 35 creative learning prompts for educators and coaches. The book can be used both by individuals and groups.
Bishop, C. (2012). Artificial hells: participatory art and the politics of spectatorship. London: Verso.
Borgdorff, Henk (2012): The Conflict of the Faculties: Perspectives on Artistic Research and Academia. Leiden: Leiden University Press.
Cage, J. (1968). Silence: lectures and writings. London: Calder and Boyars.
Cox, C. and Warner, D. (eds.) (2009). Audio Culture: Readings in Modern Music. New York, London: Continuum.
DeNora, T. (2000). Music in everyday life. Cambridge: Cambridge University Press.
Claxton, G. (1999) Wise Up: The Challenge of Lifelong Learning. London and New York, Bloomsbury.
Gaunt, H. and Westerlund, H. (eds.): Collaborative Learning in Higher Music Education: Why, What and How? Aldershot: Ashgate.
Giddens, A. and Sutton, P. (2014). Essential concepts in sociology. Malden MA, Polity.
Green, L. (2002). How popular musicians learn: a way ahead for music education. Aldershot: Ashgate.
Gregory, S. (2004). Quality and Effectiveness in Creative Music Workshop Practice: an evaluation of language, meaning and collaborative process. MPhil Thesis, Royal College of Art, London.
Gregory, S. (2005a). The creative music workshop: a contextual study of its origin and practice. In G. Odam and N. Bannan (eds.), The Reflective Conservatoire. London: Guildhall School of Music & Drama/Aldershot: Ashgate.
This is a very rich article that explores the origins of creative music workshops, and its connections to social contexts. The first part of the article explores its origins, including the relationship between composing and performing. The second part of the article focuses on the language and meaning within a creative workshop environment, including ‘hands-on’ descriptions. Issues like evaluation, decision-making and leadership are discussed as well as improvisation. The chapter closes with a plea for giving the principles explored in this chapter a clear place in the curriculum of the modern conservatoire.
Gregory, S. (2005b). Creativity and conservatoires: the agenda and the issues. In G. Odam and N. Bannan (eds.), The Reflective Conservatoire. London: Guildhall School of Music & Drama/Aldershot: Ashgate.
Hallam, S. and Gaunt, H. (2012). Preparing for Success: A Practical Guide for Young Musicians. London: Institute of Music Education Press.
This includes many references to the processes and impact of reflection, and a chapter dedicated to diverse areas of work in music.
Higgins, L. (2012). Community Music: in Theory and In Practice. New York: Oxford University Press.
Illeris, K. (2004). The three dimensions of learning. Frederiksberg, Roskilde University Press/ Leicester: Niace.
A collection of articles by influential learning theorists, presenting in their own words their understanding of what learning is and how human learning takes place. Includes a.o. chapters on transformative learning, pragmatism, biographical learning and social learning.
Illeris, K. (ed.) (2009). Contemporary Theories of Learning. Oxon: Routledge.
This book offers an overview and at the same time a critical examination of the most significant American and European learning theories. From there the author develops a coherent overall theory covering the cognitive, the emotional and the social dimensions of learning, thus addressing the knowledge about competence development.
Kors, N. and Mak, P. (2007). Vocal Students as Animateurs, a Case Study of Non-Formal Learning. In: P. Mak, N. Kors and P. Renshaw, Formal, Non-Formal and Informal Learning in Music. www.lifelonglearninginmusic.org. ISBN 978-90-811273-3-2.
Kremer, G. (2013). Briefe an eine junge Pianistin. Wien: Braunmuller Literaturverlag.
Lave, J. and Wenger, E. (1991). Situated Learning: legitimate peripheral participation. Cambridge (USA): Cambridge University Press.
In this seminal book (though only consisting of 138 pages!), Lave and Wenger discuss learning as in the first place social learning, instead of the reception of factual knowledge or information. Situated learning happens in the context of a community of practice, and the authors include a number of illuminating examples.
Mak, P. (2009). Formal, non-formal and informal learning in music. In: Röbke, P. und Ardila-Mantilla, N. (eds). Vom wilden Lernen. Musizieren lernen – auch ausserhalb von Schule und Unterricht. Mainz: Schott.
A comprehensible conceptual framework and overview with clear examples of formal, non-formal and informal learning in music, inside and outside institutions.
Polanyi, M. (1966). The tacit dimension. New York: Doubleday.
Renshaw, P. (2005a). Connecting Conversations: the changing voice of the artist. In M. Miles (ed.), New Practices: New Pedagogies. London: Routledge, Taylor Francis Group.
Renshaw, P. (2007). Lifelong Learning for Musicians. Critical issues arising from a case study of Connect. In: P. Mak, N. Kors and P. Renshaw, Formal, Non-Formal and Informal Learning in Music. Groningen/The Hague: Lectorate Lifelong Learning in Music. ISBN nr. 978-90-811273-3-2.
*Renshaw, P. (2010). Engaged Passions: Searches for Quality in Community Contexts. Delft: Eburon.
Through stories, case studies and personal testimonies of musicians and artists from five countries, Peter Renshaw explores the question what constitutes quality in community engagement. He also addresses implications of such diverse work for the learning and development of arts practitioners and for Higher Education Institutions.
*Renshaw, P. (2013). Being In Tune: seeking ways of addressing isolation and dislocation through engaging in the arts. London: Guildhall School of Music & Drama/Barbican Centre.
Robinson, K. (2001). Out of our minds – Learning to be a Creative. Oxford: Capstone.
Röbke, P. (2009). Lösung aller Probleme? Die „Entdeckung“ des informellen Lernens in der Instrumentalpädagogik. In: Röbke, P. und Ardila-Mantilla, N. (eds). Vom wilden Lernen. Musizieren lernen – auch ausserhalb von Schule und Unterricht. Mainz: Schott.
*Rogers, R. (2002). Creating a Land with Music: the Work, Education and Training of Professional Musicians in the 21st Century. London: Youth Music.
This report describes research that was conducted into the careers of young British graduates, mapping the various areas of engagements the musicians find themselves in as well as the skills and roles that contemporary musicians need in order to fulfil the many requirements of today’s music profession. The more than 50 interrelated roles are brought back to four main roles, those of performer, composer, leader and teacher. The report gives a fascinating insight into musicians’ development.
Schön, D. (1983). The Reflective Practitioner; How Professionals think in Action. Aldershot: Ashgate.
Although written in the eighties, the work of Schön is still very important in the field of critical reflection, reflexivity, coaching, evaluation and mentoring. In ‘The Reflective Practitioner’ Schön introduces ‘reflection-on-action’ and ‘reflection-in-action’, the first relating to critical reflection (including self-reflection) and the latter relates to reflexivity (i.e. critical reflection ‘in the moment’ led by implicit knowledge). The book is very readable and Schön gives clear examples. Interesting is furthermore his discussion of ‘artistry’, also relates to intuitive or tacit knowing.
Schön, D. (1987). Educating the Reflective Practitioner; Toward a new Design for Teaching and Learning in the Professions. San Francisco: Jossey-Bass.
Schwab, M. and Borgdorff, H. (eds.) (2013): The Exposition of Artistic Research: publishing art in academia. Leiden: Leiden University Press.
Small, C. (1996). Music, Society and Education. Wesleyan University Press
Small, C. (1998). Musicking: the meanings of performing and listening. Hanover NH: University Press of New England.
*Smilde, R. (2006). Lifelong Learning for Musicians. Proceedings of the 81 st Annual Meeting of the National Association of Schools of Music, held in Boston, USA in 2005. Reston: NASM.
Smilde, R. (2009a). Musicians as Lifelong Learners: Discovery through Biography. Delft: Eburon.
A biographical research which basically looks into the question how musicians learn and how they organise their own lifelong learning processes. The analysis is based on 32 biographical interviews with musicians from various age categories, consisting of musicians with mostly a career on stage, musicians who are first and foremost teachers, and the largest group consisting of musicians with multi faceted portfolio careers. Outcomes lead to a discussion on further development of concepts of lifelong learning in conservatoires.
Smilde, R. (2009b). Musicians as Lifelong Learners: 32 Biographies. Delft: Eburon.
*Smilde, R. (2011). Musicians working in Community Contexts: Perspectives of Learning. Unpublished keynote address.
Smilde, R. and Halldorsson, S. (2013). An International Masters Programme “New Audiences and Innovative Practice”: critical reflection and mentoring at the heart of an artistic laboratory. In H. Gaunt and H. Westerlund (eds.): Collaborative Learning in Higher Music Education: Why, What and How? Aldershot: Ashgate.
This chapter is a case study of learning processes that happened in students during the first summer school of the European Joint Master programme ‘New Audiences and Innovative Practices’. A programme that is based on the pillars of partnerships, practice-based research, a relevant mentoring and co-mentoring scheme and the notion of an artistic laboratory. The summerschool took place in Skalholt, Iceland in 2010.
Smilde, R. (2014). Reflective Practice at the heart of Higher Music Education. In T. Debeats and T. Buchborn (eds.). European Perspectives on Music Education, Vol. 3: The Reflective Music Teacher. Innsbruck: Helbling.
Smilde, R., Page, K. and Alheit, P. (2014). While the Music Lasts – on Music and Dementia. Delft: Eburon.
This study describes an ethnographic research that was conducted in the project ‘Music for Life’ of Wigmore Hall in London, where musicians work in interactive creative music workshops with people living with dementia and their caregivers, to develop communication in the widest sense and making ‘the person behind the dementia’ visible again. The book is written from the point of view of musicians’ development, and emerges in the form of a story with protagonists. Various musical transcripts can be found, made by the researchers that observed the sessions. The study is useful for any musician who wants to engage with new audiences, as many of the issues are perfectly transferable to other contexts.
Stevens, J. (2007). Search and Reflect: A Music Workshop Handbook. Rockschool.
Turino, T. (2008). Music as Social Life. The Politics of Participation. Chicago: University of Chicago Press.
Veblen, K., Messenger, S., Silverman, M. and Elliott, D. (eds.) Community Music Today. Landham, MD: Rowman & Littlefield Publishers.
Wenger, E., McDermott, R., & Snyder, W.M. (2002). Cultivating Communities of Practice: A Guide to Managing Knowledge. Boston: Harvard Business School Press.
A practical and fascinating way in to the concept of “communities of practice”, how they evolve and how we can be active in helping to curate them and enable them to be productive.