How to use feedback, advice and judgement after an exam
(2015)
author(s): Barbara Bekhof
published in: KC Research Portal
Abstract
Name: Barbara Bekhof
Main Subject: Viola
Research Coach: Susan Williams
Title of Research: How to use feedback, advice and judgement after an exam
Research Question: How can feedback, advice and judgement be used in such a way, that it contributes to the learning process of the students?
Summary of Results:
This research paper is to conclude the study at the Royal Conservatory. This paper answers the question of how to use feedback, advice and judgments during an exam, and during the preparation of it. Feedback is information about how we are doing in our efforts to reach a goal. Important when giving feedback is that the learner is aware of receiving the feedback, and that the comments are objective. Advice is an opinion or recommendation offered as a guide to action. Important when giving advice is that the person receiving the advice is willing to receive advice and understands on what feedback the advice is based. A value judgment is a judgment of the rightness or wrongness of something or someone, or of the usefulness of something or someone, based on a comparison or other relativity. Judgement is an important part of an exam. For students it is important to know what the criteria are, and towards what they have to work to. To understand more of the learning process, different aspects of playing a string instrument are discussed in the fifth chapter. These aspects are technical facility, musicality and performance quality. The different phases in a musician’s preparation are discussed in the sixth chapter. From learning the score till mastering a piece. In this research all those aspects are combined to offer a guideline for juries and guideline for teachers during the preparation. Recommended for the examinations of the Royal Conservatoire would be to draw up a set of criteria, which are clear for the students and for the teachers who will grade the students.
Biography: Barbara Bekhof (1991) first started playing the violin at age 6. From age 12 she attended the external preliminary program of the Royal Conservatoire, where she was taught by Koosje van Haeringen and from 2008 viola with Liesbeth Steffens. After graduating from the gymnasium, she went on to study Building Engineering at the TU Delft, while simultaneously continuing the viola. In 2013 she received her bachelor diplomas for both Building Engineering as Viola. Her masters at the Royal Conservatoire enabled her to go on exchange to the Haute Ecole de Musique in Lausanne, where she studied under the renowned violist Alexander Zemtsov. After her return, she continued her master with Michael Zemtsov, as well as the master Urbanism at the TU Delft.
VISMA SKUA
(last edited: 2022)
author(s): Linda Bruhn
This exposition is in progress and its share status is: visible to all.
Ett projekt kopplat till kursen Visma på Konstfack ht21/vt22
Musikhistorie eller historier om musikere? – Potentialet i akademisk musikhistorie og analyse, på folkemusikuddannelsen.
(last edited: 2022)
author(s): NNH
This exposition is in progress and its share status is: visible to all.
Fra ansøgningen:
Projektet skal generere ny viden indenfor de to fag, men også under en mere overordnet overskrift a la
“Hvad er status på den akademisk forskning i folkemusikkens historie i Danmark?” En undersøgelse af dette vil skabe et overblik over feltet, som både studerende og underviserer kan drage nytte af i fremtiden.
Folkemusikhistorie: Der er brug for en konkretisering og afgrænsning af a) hvad der er vigtigt at vide indenfor dansk folkemusiks historie og vægtningen mellem fokusset på enkelte musikere og større sociale strømninger, b) hvor højt forholdet mellem historisk (før 2000) og aktuel folkemusik (efter 2000) skal vægtes, også med hensyn til relaterede genrer som World Music og c) laves et reelt overblik over status på forskningen i Danmark anno 2020.
Folk music analysis: Her er der et behov for at afdække nødvendigheden og rollen analyse skal spille. Historisk har musikalsk analyse primært beskæftiget sig med at afdække strukturer i musikken, men ikke sammenholde denne med det omkringliggende samfund. Efter Theodor W. Adorno begyndte denne type analyser i 1930’erne, og Susan McClary
opdaterede analyserne i 90’erne, og disse er benyttet på klassisk og rytmisk musik, er det værd at afdække værdien af denne type analyse for folkemusikerer.
For mig at se er det en vigtig prioritering for SDMK at være med til at udvikle disse undervisningsområder da det viser en seriøsitet omkring uddannelsen og folkemusikken generelt, samtidig med at det styrker uddannelsens profil og elevernes udbytte af undervisningen. Den nye viden skal naturligvis være tilgængelig for andre undervisere og lægge grunden for videre udvikling.