Thomas De Baets- PhD
- Professor of Music Education at LUCA School of Arts
Thomas De Baets
- PhD
- Professor of Music Education at LUCA School of Arts
About
46
Publications
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Introduction
Skills and Expertise
Current institution
Additional affiliations
September 2018 - present
Publications
Publications (46)
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...
The many amateur orchestras in the Netherlands and Flanders host an abundance of musical, social and pedagogical processes. In this article, Lierin Buelens, Thomas Geudens, Joris Vlieghe and Thomas De Baets explore the pedagogical dimension of amateur orchestras. Based on observations of rehearsals, they sketch the contours of a music-sensory pedag...
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...
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 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...
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...
The participating musicians, their instruments and the music they perform are defining characteristics of instrumental amateur ensembles. The aim of this study was to map the instrumentation and repertoire of Dutch and Flemish amateur orchestras. Early in 2021, through a web survey, string and symphony orchestras (N = 67) in the Netherlands and Fla...
In this paper we discuss the musical work of classical composer Benjamin Britten as a lasting legacy for public music education. Our starting point is the contemporary urgency to rethink both public music education in general, and the public-educational significance of Western classical music in particular, in the face of the dual threats posed by...
In this paper we discuss the musical work of classical composer Benjamin Britten as a lasting legacy for public music education. Our starting point is the contemporary urgency to rethink both public music education in general, and the public-educational significance of Western classical music in particular, in the face of the dual threats posed by...
In the course of the twentieth century, musical creativity has but cautiously found its way into music lessons in Flanders, the Dutch speaking region of Belgium. In this region, the vast majority of schools are Catholic schools. Steered by central curricula and, until the nineties, by one dominant music teacher training institution, many of the mus...
This paper deals with the question of what makes public music education ‘public’, and how music-educational notions of ‘publicness’ can/should relate to politics. Our starting-point is a very concrete piece of music, from a particular tradition: Beethoven’s Ninth Symphony. Since already this musical work carries with it a highly ambivalent politica...
De afgelopen jaren bevonden de verschillende niveaus van het kunstonderwijs zich op een kruispunt van hervormingsbewegingen. De tabel van bekwaamheidsbewijzen, die educatieve diploma's in het hoger kunstonderwijs koppelt aan vakken in het secundair en deeltijds kunstonderwijs, behoefde daarbij heel wat aanvullingen. We schetsen de complexiteit van...
School and community ensembles are important musical learning environments for amateur musicians. Although a majority of these young or adult ensemble players participates in wind bands or other kinds of wind ensembles, this project focusses on amateur string and symphony orchestras. Through a web survey, string and symphony orchestras (N = 67) in...
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...
Listening, dancing, singing, songwriting, discussing an album, playing, visiting a concert,
reading your favourite band’s blog – Music Is What People Do. Music is a central activity in
peoples’ lives and a way of dealing with the world that cannot be replaced by any other.
This is why music is part of school education in many countries.
The theme o...
De inhoud en aanpak van muziek op school staan geregeld ter discussie en zijn voortdurend in beweging. In dit artikel in Cultuur+Educatie schetsen Thomas De Baets en Thomas Geudens ruim honderd jaar geschiedenis van de 'schoolmuziek' in Vlaanderen. Ze stellen vast dat die leest als een kroniek van geëngageerde sleutelfiguren en boeiende wisselwerki...
This article problematizes the view that music education is primarily justified on account of its uniquely humanizing influence. Not only does this general humanist argument clearly fail to convince policy-makers to actually revalidate public music education, but moreover it often seems to rest on highly questionable premises. Without contesting th...
This practitioner research, conducted by a secondary school music teacher, deals with two complementary questions: the conceptual question how one could define the ‘artistry’ of a music teacher in the context of his teaching practice, and the empirical question in how far the music teacher’s actions can determine the quality of the musical interact...
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...
Poster presented after attending the Doctoral Student Forum at the 28th EAS Conference in Freiburg im Breisgau
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.
In this paper we reconceptualize general music education as a “classical music education,” departing from speculative reflection on the notion of conducting. We constitute this notion as an interpretative axis connecting, on the one hand, a different perspective on what classical music might mean in the context of general education, and, on the oth...
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...
Few investigations into the nonverbal communication in ensemble playing have focused on gaze behaviour up to now. In this study, the gaze behaviour of musicians playing in trios was recorded using the recently developed technique of mobile eye-tracking. Four trios (clarinet, violin, piano) were recorded while rehearsing and while playing several ru...
1 sarah.vandemoortele@luca-arts.be, 2 kurt.feyaerts@arts.kuleuven.be, 3 mark.reybrouck@kuleuven.be, 4 geert.debievre@luca-arts.be, 5 geert.brone@kuleuven.be, 6 thomas.debaets@luca-arts.be ABSTRACT [word count: 500] Investigations into nonverbal behaviour in ensemble playing have often focused on bodily movement. Even though the study of gaze behavi...
The communicative behaviour of musicians is multimodal: it involves gaze behaviour, gesture and musical sound. This study focussed specifically on the function and timing of interactive gaze behaviour in musical duos. As the results show, gaze behaviour may shed a unique light on how musicians deal with synchronisation issues. The interest in music...
Published in: Cultuur+Educatie.
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...
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...
Published in: Diskussion Musikpädagogik.
