Filip Verneert- Doctor in the Arts
- PhD Researcher at KU Leuven
Filip Verneert
- Doctor in the Arts
- PhD Researcher at KU Leuven
About
33
Publications
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Introduction
Hi, I'm Doctor in the Arts, Master of Science (MSc) in Educational Studies (KU Leuven), did a postgraduate program in Systems Therapy and studied jazzguitar at the Conservatory of Brussels. I am director of Muziekmozaïek Folk & Jazz vzw and a music teacher. I am chief editor of the flemish magazine Jazz&Mo’ and currently working as a PhD researcher at LUCA School of Arts – KU Leuven.
My research includes (jazz) improvisation, music education, community music and collaborative creativity.
Skills and Expertise
Current institution
Publications
Publications (33)
In this contribution, we draw on findings from a non-formal, community music project to elaborate on the relationship between the concept of eudaimonia, as defined by Seligman, the interactive dimensions of collective free improvisation, and the concept of collaborative creativity. The project revolves around The Ostend Street Orkestra (TOSO), a mu...
Ashley (2016) considers the core notion of improvisation “that of constraint: of the scarcity of [cognitive] resources, in real time, that humans can utilize for making music when they are not following a predetermined plan of action.” Early research on improvisation focused on the cognitive machinery, mainly in adult expert (jazz) improvisers and...
The aim of this study is to explore the lived experience of students (N = 1,282) in general education engaging in collective free improvisation (CFI). Fourteen music teachers implemented a CFI lesson in 69 classes in Flanders (Belgium). Lived experience was measured using a Dutch version of the Flow State Scale for Occupational Tasks. This scale re...
In this article, we elaborate on the pedagogical-artistic strategies of a community music project and how they may inspire formal music educational practices. To do so, we draw on findings from a study on the pedagogical-artistic strategies of the musicians-coaches of the Ostend Street Orkestra (TOSO), a community music project that started as an a...
Musical traditions play a major role in how we pedagogically deal with music. Green's research on informal learning (2008) has shown how we might approach pop music learning differently. There can thus be a mismatch between certain pedagogical approaches and the musical genre that is taught. This informal learning shift has, in our view, two charac...
The aim of this study is to explore the lived experience of students ( N = 1,282) in general education engaging in collective free improvisation (CFI). Fourteen music teachers implemented a CFI lesson in 69 classes in Flanders (Belgium). Lived experience was measured using a Dutch version of the Flow State Scale for Occupational Tasks. This scale r...
In deze bijdrage verkennen de leden van het onder-zoekscluster muziekeducatie van LUCA School of Arts-KU Leuven de artistieke dimensie in het handelen van de muziekdocent. Ze formuleren een definitie van 'muziekeducatieve' artisticiteit, en illustreren die met een aantal voorbeelden. Net zoals een uitvoerend musicus kunnen muziekdocenten 'virtuosit...
In this presentation we will explain the theoretical - artistic background of our recently published book ‘Time to Create 2, How to create Together’ (Appermont, Schrooten & Verneert, 2022).
At the heart of this book are 50 creation assignments which can be used in different musical ensembles. Group music teaching in classical music is often strong...
In this contribution we present the results of a research study about the lived experience of students in the first grade of general education with a lesson of collective free improvisation within the subject of music.
In recent years, improvisation has been increasingly used and practiced in music education (formal and non-formal) and has become a...
In this article, we argue that the artistic-pedagogical strategies adopted by the facilitators in participatory music projects, may have the potential to enrich general music education, especially if it comes to the challenge for music education to avoid what Wright calls ‘causing harm by excluding’ and how to foster pedagogies that encourage indiv...
How does one become a folk musician? It is a musical and personal journey along many different paths. Becoming a folk musician is a process in which the context is of great importance: the community of folk musicians, the embedding in the tradition, the social experience of playing music and learning from each other.
In this book, we will be lookin...
Dans cette contribution, nous expliquons comment un projet musical communautaire utilisant l'improvisation libre collective peut inspirer un plus large éventail de pratiques éducatives. Le projet concerné est l'Ostend Street Orkestra (TOSO), un projet avec des sans-abri et un groupe diversifié de musiciens dans la ville d'Ostende (Belgique). Axé su...
Improvisation for all!
Pupils’ experiences with collective free improvisation in the classroom.
Positive learning experiences through free musical improvisation (Larsson & Georgii-Hemming, 2018; Hickey, 2009) are important in general music education. Starting from the experience of students with free improvisation, we want to inspire teachers to...
In dit artikel gaan Filip Verneert en Ilse Duyck dieper in op hoe een participatief muziekproject, The Ostend Street Orkestra (TOSO), een bredere waaier van educatieve praktijken kan inspireren. Ze focussen hierbij op de zangers en hoe ze gecoacht worden. "Al te vaak worden sociaal-artistieke projecten als iets apart gezien van meer formele vormen...
In dit hoofdstuk willen we het punt maken dat improvisatie een essentieel element
is van de muzikale praktijk en moet worden bekeken als een gesitueerde en collaboratieve
praktijk (Martin, 2005; Cobussen, 2017). Een belangrijk uitgangspunt hierbij is de interactie tussen muzikanten onderling als een proces van gedeelde betekenisgeving (Monk, 2013;...
Pedagogical strategies of the coaches in a community music program with improvisation.
Improvisation for all! How a participatory music project can inspire formal music education.
Positive learning experiences through free musical improvisation are important in general music education. Starting from the experience of students with free improvisation, we want to inspire teachers to use improvisation.
A 'collective free improvisation' lesson is implemented in 10 classes (2nd grade) using collective free improvisation, for stu...
Sience outreach publication about Jazzhistory (in dutch)
In most learning environments ‘improvisation’ is seen as a skill that is acquired through a number of sequential steps within a calibrated framework (tonality, embellishment, use of few notes, fixed meters, functional harmony, patterns and individual learning). A more flexible framework is necessary, in order to meet the need for a more creative an...
How can we understand emergent phenomena of collaborative creativity in musical performance (empowerment, group flow, reward,…) (e.g. TOSO) from an artistic, musical viewpoint and integrate these features in an educational context with children?
The use of free jazz elements is proposed together with more conventional aspects of teaching improvis...
Improvisatie en intuïtiviteit in het muziekonderwijs.
Ontwikkelen van een model voor niet-idiomatische (jazz) improvisatie waar het leren van basisvaardigheden (techniek, ritme, eartraining) hand in hand gaat met het verwerven van creatieve vrijheid en intuïtie. Dit model gebruikt concepten die het idee van collaboratieve creativiteit in improvise...
The two-variable model of musical creation (Stijnen&Vervliet, 2017) suggests two cognitive factors that that might withhold musicians from actively and intrinsically engaging in improvisation or composition. The first one, momentum, is linked to the amount of time that is available to come up with a creative product and involves the controlling of...
