Luc Nijs

Luc Nijs
University of Luxemburg

PhD - MA - MMus

About

67
Publications
24,419
Reads
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520
Citations
Introduction
I'm a musician (clarinet), teacher (clarinet, saxophone, ensemble) and researcher. My main research interest is instrumental music teaching and learning and, in particular, how movement can be integrated in music learning in order to support/enhance the development of musical expressiveness and creativity. I study this with the help of interactive educational technologies. More info on: - www.lucnijs.be - www.musicpaintmachine.be
Additional affiliations
September 2019 - present
Royal Conservatory of Antwerp
Position
  • PhD Student
Description
  • see: www.kimupe.education
January 2015 - present
Ghent University
Position
  • PostDoc Position
October 2014 - present
Royal Conservatory of The Hague
Position
  • guest lecturer
Description
  • topic: technology in music education
Education
Ghent University
Field of study
  • Philosophy
The Brussels Royal Conservatory of Music
Field of study
  • Clarinet
November 2008 - October 2012
Ghent University
Field of study
  • Musicology

Publications

Publications (67)
Article
Full-text available
In this paper we report on the results of an experiment on the experience of flow and presence while engaging with an interactive music system, the Music Paint Machine. This music system provides a game-like environment in which a musician can create a digital painting by playing an acoustic musical instrument, by moving the body in different direc...
Article
Full-text available
Can interactive technologies be useful for music education? This question was empirically investigated during a nine-month longitudinal study in which twelve children (1st and 2nd grade) learnt to play the clarinet. Six children (the intervention group) received instruction with the Music Paint Machine, an interactive music system that allows a mus...
Article
New interactive music educational technologies are often seen as a ‘force of change’, introducing new approaches that address the shortcomings (e.g. score-based, teacher-centered, disembodied) of the so-called traditional teaching approaches. And yet, despite the growing belief in their educational potential, these new technologies have been proble...
Article
Full-text available
In a newly designed collaborative online music course, four musical novices unknown to each other learned to play the clarinet starting from zero. Over the course of 12 lessons, a special emphasis was placed on creativity, mutual interaction, and bodily movement. Although addressing these dimensions might be particularly challenging in distance lea...
Article
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...
Article
An increasing amount of research emphasises the influence of body movement on the perception of music. This study contributes to the research by investigating whether varied qualities of body movement, when aligned to music may affect the way children attribute meaning to that music. To address this question, 34 children (aged 9–10) were divided in...
Article
In recent decades, advancements in digital technologies have become a rich source of inspiration for artists, who seek to leave the trodden paths and find novel ways of expression. In addition, digital technologies are increasingly implemented in the development of artistic skills, providing new means to develop the artists’ reflection on their own...
Article
Full-text available
Worldwide, children face adverse childhood experiences, being exposed to risks ranging from, exposure to political violence and forced migration over the deleterious effects of climate change, to unsafe cultural practices. As a consequence, children that seek refuge or migrate to European countries are extremely vulnerable, often struggling with in...
Chapter
In dit hoofdstuk nemen we het concept van belichaamde cognitie in relatie tot muziekonderwijs onder de loep. Er komt steeds meer onderzoek dat bevestigt dat het lichaam van zowel de docent als de lerende een betekenisvolle rol kan spelen bij leerprocessen, bijvoorbeeld bij het leren van taal en wiskunde (Paas & Sweller, 2012; Glenberg, Brown, & Lev...
Article
Full-text available
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 m...
Presentation
Pedagogical strategies of the coaches in a community music program with improvisation.
Conference Paper
Full-text available
Improvisation for all! How a participatory music project can inspire formal music education.
Article
Full-text available
Recent findings in music research are increasingly confirming the embodied nature of music cognition. Assuming that a bodily engagement with music may affect the children’s musical meaning formation, we investigated how young children’s interaction with music, based on verbal description after listening versus body movement description while listen...
Article
Full-text available
Instrumental and vocal teachers often employ their body in teaching to facilitate sensorimotor engagement with the voice or an instrument. Yet, teacher's bodily engagement in instrumental and vocal education is scarcely addressed in music educational research studies. In our view, this scarcity is related to the lack of a framework about the role o...
Article
Full-text available
Executive functions (EFs) are cognitive functions needed for adaptive and targeted behavior. Music aptitude is the potential or capacity for musical achievement. A key element of music aptitude is audiation, defined as the process through which sound becomes music and meaning is attributed to that music. In this paper, we report on the association...
Article
For centuries, wood, and more specifically spruce, has been the material of choice for violin top plates. Lately, carbon fiber instruments have entered the market. Some studies show that composite materials have potential advantages for making instruments [Damodaran, Lessard, and Babu, Acoust. Aust. 43, 117–122 (2015)]. However, no studies exist th...
Article
For centuries, wood, and more specifically spruce, has been the material of choice for violin top plates. Lately, carbon fiber instruments have entered the market. Some studies show that composite materials have potential advantages for making instruments [Damodaran, Lessard, and Babu, Acoust. Aust. 43, 117–122 (2015)]. However, no studies exist th...
Article
Full-text available
Can a bodily engagement with music affect the process of musical meaning formation and, as such, affect children’s graphic representation of music? To address this question a comparative study was conducted in which primary school children (n = 52; age = 9–10) without any formal music education participated in a verbal-based (describe the music ver...
Chapter
The embodied music cognition research paradigm increasingly leads to findings that convincingly undergird the idea of the relationship between human movement and musical experience as a cornerstone of musical meaning formation and understanding. But even though movement is an integral part of early childhood music education, the findings and concep...
Research
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...
Book
Full-text available
Music education has only scarcely embraced blended modes of learning. Moreover, existing applications often involve classical ways of online learning. In this project, we present the concept and a demonstrator of Singewing Space, a web-based interactive educational technology that introduces a novel approach to blended learning in music education,...
Chapter
Music affords a wide range of interactive behaviors involving social, cognitive, emotional, and motor skills. In this chapter, we consider the role of technologies in relation to these interactions afforded by music. A general conceptual model is introduced that forms a basis to frame and understand a vast number of music-based interactive systems....
Chapter
In diverse interaction processes that characterize music experience, the human hand can be seen as a mediator and facilitator for the brain’s processing of musical expressive patterns. After a brief overview on the human expressive system for music, we consider gestures and hand articulations in music production and performance, focusing on hand de...
Article
This article presents PLXTRM, a system tracking picking-hand micro-gestures for real-time music applications and live performance. PLXTRM taps into the existing gesture vocabulary of the guitar player. On the first level, PLXTRM provides a continuous controller that doesn’t require the musician to learn and integrate extrinsic gestures, avoiding ad...
Chapter
Full-text available
Over the past decade, embodied music cognition has become an influential paradigm in music research. The paradigm holds that music cognition is strongly determined by corporeally mediated interactions with music. They determine the way in which music can be conceived in terms of goals, directions, targets, values, and reward. The chapter gives an o...
Article
In this paper, we propose a method to assist a performer in dealing with the challenges of contemporary music performance. Such a method aims at making a performer’s artistic process (which is based on cognitive and sensorimotor schemes) more explicit, in order to better understand the relationship between goals, actions, and sounds. The method doe...
Article
This paper presents the concept and the realisation of an interactive multimedia installation, called BilliArT, together with an explorative user study conducted on the data gathered during a public exhibition of the installation. The study concerns functional properties of the installation (e.g. usability, design quality) and subjective qualities...
Presentation
Full-text available
Starting from a specific view on the musician-instrument relationship, I elaborate on the importance of the embodied music cognition paradigm for instrumental music teaching and learning, focusing on the different levels of embodiment. This view will be exemplified by my work with the Music Paint Machine, an interactive music educational technology...
Presentation
Full-text available
In this talk I elaborate on a theoretical framework for a movement-based approach to instrumental music teaching and learning. I start from the theory of embodied music cognition and my work with the Music Paint Machine (see: www.musicpaintmachine.be)
Book
De muziekpedagogiek is voortdurend in beweging. Deze publicatie staat stil bij de rol en betekenis van technologie in muziekeducatie. In de verschillende hoofdstukken komen zowel academische perspectieven als getuigenissen uit de praktijk aan bod. De praktijkvoorbeelden situeren zich in de context van het deeltijds kunstonderwijs, het leerplichtond...
Article
Published in: Cultuur+Educatie. Wanneer een muziekdocent zijn professionele handelen op basis van zijn dagelijkse praktijkervaringen bijstuurt, dan komt daar wellicht reflectie bij te pas. Dergelijke reflectie wordt wel eens vaker gekoppeld aan een basiscompetentie die omschreven wordt als de “onderzoekende docent”. Maar kunnen we reflectie zomaar...
Conference Paper
In this paper we describe a nine-month longitudinal study in which twelve children (1st and 2nd grade) learned to play the clarinet. Six of the children received instruction with an interactive music system, called the Music Paint Machine. This educational technology allows a musician to make a digital painting by playing music and by making variou...
Article
Full-text available
In this paper, we discuss the pedagogically grounded and research-based design of a technology-enhanced learning tool, the Music Paint Machine. This interactive music system introduces a musical experience in which the musician creates a digital painting by playing an acoustic musical instrument and by moving the body on a coloured pressure mat. As...
Article
Full-text available
Musicianship is known to display high-level skills, which involve different aspects of mental processing and corporeal control. Of particular interest is the match between the musician's mental focus on musical targets (the so-called musical intentions) and the expressive (or so-called auxiliary) body movements. To what extent are these related to...
Article
Full-text available
Aan de vooravond van de hervormingen die het Deeltijds Kunstonderwijs idealiter moeten leiden naar een inhoudelijke vernieuwing, is een reflectie over evaluatie in de instrumentles bijzonder op zijn plaats. Evaluatie is immers onlosmakelijk verbonden met lesgeven. “To teach is to assess”, zei Keith Swanwick (1988) . Evaluatie is dan ook een weerspi...
Article
Music research aims at developing a research space that, in a proactive sense, can support the development of creative and cultural industries. In that context, we argue that a focus on users and their experiences in using tools may become more important in music research. It implies an expansion of the traditional methods of music psychology with...
Conference Paper
Full-text available
Interactive music systems offer new possibilities to support instrumental music teaching by providing a corporeally grounded experience as a basis for understanding music and music playing. In this paper we introduce the Music Paint Machine, a device that enables music performers to make a painting on a computer screen by playing their instrument....
Article
Full-text available
Het Deeltijds Kunstonderwijs van vandaag is een onderwijsvorm die meer dan ooit in beweging is en bruist van de activiteiten. En toch schort er wat aan. Al jaren zeggen sommigen, de één al wat meer vanop de zijlijn dan de ander, dat heel wat zaken pedagogisch anders aangepakt moeten worden. Hun kritieken kregen onlangs ook weerklank in het rapport...
Conference Paper
Full-text available
Interaction with embodied mediation technology for musical activities is a fairly young but intriguing research domain that requires building and testing of paradigms. In this paper an experimental framework is presented that has been used to test subject's sense of embodiment in sound identification and creation. A preliminary experiment is descri...
Article
Full-text available
Relying on psychological research about flow experience and on the didactics of "Begeleid zelfstandig leren" (social constructivist approach to learning) I developed an evaluation system that functions on all levels of a music school (class: student & teacher - course - department - school). At the core of this new system is the autonomy of each st...
Article
Full-text available
Leerlingenevaluatie wordt in het deeltijds kunstonderwijs op zeer diverse wijze ingevuld. Ze gebeurt veelal op het niveau van de klas, gekarakteriseerd door de intuïtieve aanpak van elke individuele leraar. Deze tekst bevat een pleidooi voor een evaluatiesysteem dat werkzaam is op alle niveaus van de school en zowel het leerproces van de leerling,...

Questions

Questions (2)
Question
I'm working with Bronfenbrenner's PPCT model in the domain of music education.
Articles on this model often refer to the content of Bronfenbrenner's 2nd proposition on proximal processes:
Proposition 2: The form, power, content, and direction of the proximal processes effecting development vary systematically as a joint function of the characteristics of the developing person, of the environment—both immediate and more remote—in which the processes are taking place, and of the nature of the developmental outcomes under consideration.
However, it seems to me that rarely these 4 elements are elaborated.
Can somebody refer me to articles/books that address these elements more in-depth?
Thanks!
Question
Hi everybody,
for a study we are conducting, we want experts to evaluate a video. Each video has 3 questions (1 multiple choice, 2 linear scale) to evaluate the video.
So:
A = Video 1: Q1 + Q2 + Q3
B = Video 2: Q1 + Q2 + Q3
C = Video 3: Q1 + Q2 + Q3
D = Video 4: Q1 + Q2 + Q3
...
Z = Video 26 : Q1 + Q2 + Q3
We want to randomize A to Z...
In google forms it is not possible to randomize sections (A->Z)...
Any recommendations? Alternative way? Alternative to google forms?
We want the experts to be able to do this online!
Thanks!
Luc & Noemi

Network

Cited By

Projects

Projects (9)
Project
Facing one of the biggest refugee crises in history, our world is continuously challenged in numerous ways. Worldwide, children face adverse experiences by being exposed to risks like political violence and forced migration. As a socially engaged artist and educator, I cannot remain passive. I feel the urge to apply my educational and artistic experiences, skills and insights to stimulate the younger generations. In my educational practice, I have experienced so many times how “the power of music” helps children to connect, open their minds and creatively engage with music. Therefore, I want to thoroughly investigate the potential of movement-based musical activities to promote social inclusiveness and resilience for children that had to leave their homeland and they often experience difficulties in integrating into the new environment that they have been brought to. To realise this, I want to take a specific stance as a researcher: rather than developing a method “for” children at risk, I will develop it “with” the children and their environment, by jointly engaging in an artistic process where their needs, ideas and creative aspirations get a voice.
Project
In this small scale project, the Royal Conservatoire Antwerp (part of Artesis Plantijn Hogeschool Antwerp) will deploy easily accessible instrument teaching (clarinet) in order to help children at risk finding their voice, sharing their experiences and building resilience through musical expression. 1) We will apply a previously developed, novel pedagogy of kinemusical improvisation (that is: improvisation through music and motion) in three well-chosen informal learning settings for children at risk in Belgium, Cyprus and Poland. 2) Within these informal learning settings, we will enable children to share their learning process with each other and with their counterparts abroad through digital sharing technology, setting up an interactive learning community.3) At the same time, we will monitor local educators within these settings in order to mainstream best learning practices and to perpetuate learning benefits beyond the terms of the project. 4) Finally, we will develop guidelines on how to transfer learning benefits from this small scale project to other informal learning settings of children at risk in Europe. This project is funded by the Creative Europe program (call EAC/S53/2019 “Music education and learning”) within the framework of the Preparatory Action “Music Moves Europe”.
Project
The Ostend Street Orkestra (TOSO) is a community music project in Ostend, Belgium founded by KleinVerhaal, involving musicians from motley social and musical backgrounds and using free improvisation. In this project we research the motivation of the participants and the pedagogical-artistic strategies of the coaches.