Le present projet vise a etablir les traces de l’heritage pedagogique de la violoniste Veda Reynolds (1922-2000) non plus seulementsur la base de traces ecrites ou audio-visuelles qu’elle-meme aurait laissees, mais en observant et en questionnant les pratiques pedagogiques de ses anciens eleves. Pour cela, 5-6 anciens etudiants de Veda Reynolds qui enseignentactuellement le violon au niveau preprofessionnel ou professionnel seront filmes pendant une serie de cours. On leur demandera de selectionner quelques sequences qu’ils considerent comme representatives de l’heritage pedagogique de Veda Reynolds. Puis, lors d’entretiens d’auto-confrontation, ils expliciteront leurs gestes d’enseignants, leurs objectifs de cours, le choix des strategies mises en œuvre, les raisons des ajustements effectues dans le deroulement de l’enseignement, ainsi que le choix et l’origine des solutions developpees pour remedier aux difficultes rencontrees par les eleves. L’hypothese qui fonde cette demarche est que l’analyse de situations d’auto-confrontation, la mise en evidence de differences et de similitudes dans les gestes ou les representations de differents professeurs permet de situer et delimiter l’heritage pedagogique de leur maitre –en l’occurrence de Veda Reynolds. Ainsi, la visee du projet -qui s’inscrit dans la lignee des travaux musicologiques et didactiques portant sur les ecoles, les traditions et les methodes de violon –est de depasser l’etude de cas pour tester une nouvelle approche methodologique.
In the 1980s and 1990s a series of studies investigated musicians’ personalities using Cattell’s 16 personality factors, Eysenck’s PEN super factors, and Costa and McCrae’s Big Five. The findings hinted at some traits most musicians seemed to share, and highlighted differences between the personality traits of brass and string players. However, results were inconclusive and sometimes contradictory. The main aim of this study was to further investigate the topic using novel theoretical frameworks: Peterson and Seligman’s (2004) VIA classification, and Gusewell and Ruch’s (2012) responsiveness to the beautiful and good model. The character strengths and responsiveness to the beautiful and good profiles of classical and non-classical (i.e. jazz, rock, and pop) professional musicians, amateur musicians, and non-musicians were compared. In total, 324 participants equally distributed among these three subgroups completed the Values in Action Inventory of Strengths (VIA-IS; Peterson, Park, & Seligman, 2005), the Engagement with Beauty Scale (EBS; Diessner, Solom, Frost, Parsons, & Davidson, 2008), and the Appreciation of Beauty and Excellence Test (ABET; Gusewell & Ruch, 2012). Professional musicians scored significantly higher than non-musicians on self-regulation, appreciation of beauty and excellence, and responsiveness to artistic beauty; they scored significantly lower than amateurs on judgement and perspective, and lower than both amateurs and non-musicians on teamwork, fairness, and leadership. Professional classical musicians scored significantly higher than professional non-classical musicians on prudence. The latter, in turn, displayed significantly higher scores on creativity, bravery, and honesty. The two groups did not differ with respect to any of the responsiveness dimensions.
The importance for an athlete to control emotion has been widely accepted. However its measurement is still a difficult task. World Archery, an international federation, along with Tabrasco Ltd, wanted to measure the heart rate of their athletes, to help TV viewers understand the inner state of an athlete during main competitions. We present here this adventure, which resulted in having heartbeat measurements during world cup competitions, using a non-invasive technique, embraced by the athletes.
