NMH - Brage (Norges musikkhøgskole)
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Å utvide seg selv gjennom rap. En kvalitativ studie om bruk av improvisert rap med en gruppe ungdommer i spesialundervisning
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiSammendrag. - Å utvide seg selv gjennom rap -
Denne masteroppgaven er en kvalitativ intervjustudie av en gruppe med 4 elever i en videregående skole i spesialundervisning, der improvisert rap har vært anvendt som en viktig musikksjanger i musikkterapitilbudet gjennom et skoleår. Problemstillingen for denne masteroppgaven er: «Hvilken betydning har improvisert rap for en gruppe elever i en spesialavdeling ved en videregående skole?» For å finne svar på problemstillingen brukte jeg semi-strukturert kvalitativt forskningsintervju som metode, og jeg intervjuet selv de 4 elevene. Resultatene ble deretter analysert med utgangspunkt i Malteruds standardiserte tekstkondensering. Resultatene av studien kan tyde på at improvisert rap har hatt betydning for deltakerne, blant annet med tanke på friheten til å uttrykke seg gjennom rap, sterke fellesskapsopplevelser og samhold blant medlemmene i gruppa og på framføring.
Nøkkelord: rap, freestyle rap, improvisert rap, improvisasjon, gruppe, spesialundervisningAbstract. - Rap as a way to expand yourself - This master's thesis is a qualitative interview study, where four students in special education in high school were interviewed after participating in improvised rap as part of their music therapy program during a school year. The problem to be addressed in this master's thesis is: “What significance can improvised rap have for a group of students in special education in high school?” To find answers, I used a semi-structured qualitative research interview as a method, and I interviewed the 4 students myself. The results were then analyzed based on Malterud's standardized text condensation. The results of the study indicate that improvised rap has had an impact on the participants, among other things in relation to the freedom to express themselves through rap, strong experiences of community and unity among the members of the group and on performance.
Keywords: rap, freestyle rap, improvised rap, improvisation, group, special educatio
Koret som spenningsfelt: Mellom det små og det store
Get PDFAvhandling (Ph.D.) - Norges musikkhøgskole, 2019 - Dissertation for the PhD degree Norwegian Academy of Music, Oslo 2019Summary. -
While choral singing is an activity that is thriving in the Nordic countries, choral research is more or less invisible or seems to hide behind other research orientations (Geisler, 2010). The need for contributions to this field is substantial. As a consequence of a qualitative orientation in the social sciences, processes and phenomena in the world need to be described and understood before the development of theories and explanations (Kvale & Brinkmann, 2009). One of the goals of this study has been to describe and understand the processes the choir field consists of, on the individual and social, as well as the societal level.
The data of the study consist of a mapping survey of the choir field in the region southern Sunnmøre, participant observation periods in four choirs, and sixteen qualitative research interviews. The analysis is primarily based on the interview material, and I have used the analysis method called stepwise deductive-inductive method (SDI) (Tjora, 2012). The analysis identifies five central themes: (i) motivation, (ii) ownership, (iii) identity, (iv) the social fellowship, and (v) choir and society. These themes have been discussed in relation to theory gathered from psychology, social psychology, organizational psychology and sociology, on a background consisting of modernity theory and narrative theory.
The results of the study are formulated in the concept of the choir as a field of tension, where five tension filled areas, discussed in the analysis chapters,
constitute a complex field of tension. In the construction of this field I highlight some contact points between the individual, the social group and the society, in which perspectives from modernity theory are included. This concept of the choir as a field of tension expresses the many parallel and different meanings the choir may have for its members, where varying emphases on motivational factors, ownerships, identity forms and group functions play a part.
Keywords: choir, song, motivation, identity, psychological ownership, social fellowship, community, choir participation, field of tension, modernity, local musicSamandrag. -
Medan korsongen står sterkt i Norden, er forsking på kor nesten usynleg eller i stor grad gøymd bak andre forskingstematiske innretningar (Geisler, 2010). Behovet for tilskot til dette feltet er derfor stort. Som ein konsekvens av ei kvalitativ orientering innanfor samfunnsvitskapane må prosessar og fenomen i verda skildrast og forståast før det kan utviklast teoriar og forklaringar knytt til dei (Kvale & Brinkmann, 2009). Eitt av måla for denne studien har derfor vore å skildre og forstå prosessane korfeltet består av, både på eit individuelt og sosialt nivå, men også korleis dette kan seie noko meir om samfunnet det eksisterer i.
Datamaterialet til denne studien består av ei kartleggingsundersøking av korfeltet på Søre Sunnmøre, observasjonsperiodar hjå fire kor, samt seksten kvalitative forskingsintervju. Analysen har hatt intervjumaterialet som primært utgangspunkt, der eg har nytta meg av ein stegvis deduktiv induktiv-metode (SDI) (Tjora, 2012). På bakgrunn av denne har eg identifisert fem sentrale tematikkar: (i) motivasjon, (ii) eigarskap, (iii) identitet, (iv) det sosiale fellesskapet, og (v) kor og samfunn. Desse tematikkane har blitt drøfta opp imot teori henta frå psykologi, sosialpsykologi, organisasjonspsykologi og sosiologi, og har skjedd på eit overordna teoretisk bakteppe beståande av perspektiv henta frå modernitetsteori samt teori om narrativ forsking.
Resultata frå studien er samla i konseptet koret som spenningsfelt, der fem spenningsfylte område, diskutert i dei ulike kapitla, til saman utgjer eit samansett spenningsfelt. I konstruksjonen av dette konseptet peikar eg på samanhengar mellom individ, sosial gruppe og samfunn, der også perspektiv henta frå modernitetsteori blir trekt inn. I konseptet går det fram at koret kan ha mange samtidige og ulike betydingar for medlemmane, der ulike vektleggingar av motivasjonsfaktorar, eigarskapsforhold, identitetsformer og gruppefunksjonar spelar ei rolle.
Nøkkelord: kor, song, motivasjon, identitet, psykologisk eigarskap, sosialt fellesskap, kordeltaking, spenningsfelt, modernitet, amatørmusikkpublishedVersio
The organ composer Herbert Howells. A practical-theoretical study of Howells’ organ works with focus on four compositions written between 1915 and 1958
No full textNorges musikkhøgskole. Masteroppgave. Utøving med fordypningsemneSammendrag. -
Orgelkomponisten Herbert Howells er en masteroppgave som omhandler aspekter ved og innfallsvinkler til det å spille Howells sine verker for orgel. Oppgaven tar innledningsvis for seg noen tanker knyttet til kombinert praktisk og teoretisk arbeid, som utfordringer med det at ikke alt ved en kunstnerisk praksis kan formidles med ord og som tekst, og at følgene av dette vanskeliggjør en tradisjonell metodebruk og transparent gjengivelse av forskningsprosesser. Videre følger en kort biografisk del om Howells, før fokuset blir rettet mot fire komposisjoner skrevet mellom 1915 og 1958. Dette er også oppgavens hovedfokus. De fire komposisjonene er knyttet opp mot forskjellige temaer for å belyse ulike sider ved Howells sin musikk som en tilnærming og inngang til musikken. Disse utvalgte og gjennomgåtte temaene vil bli satt opp mot kilder fra komponistens tid og kunnskaper om Howells, for å få et innblikk i praksisen på Howells sin tid og i noe av Howells sin estetiske tenkning. I tillegg vil det bli trukket frem noen muligheter for tilpasninger som kan gjøres til ikke-engelske og ikke-stilriktige orgler i Norge.Abstract. -
English title: The Organ Composer Herbert Howells A Practical-Theoretical Study of Howells’ Organ Works with Focus on Four Compositions Written Between 1915 and 1958.
The Organ Composer Herbert Howells is a master’s thesis about playing Howells’ organ works. This thesis starts with some thoughts and reflections about combined practical and theoretical master projects, such as challenges related to the problem that it is not possible to articulate every part of an artistic practice in words, which makes it difficult to use traditional scientific methods and to have a transparent reproduction of all processes within the work. The next part is a short biography followed by a review of four compositions for organ, written between 1915 and 1958, as a window to his other organ works. These four compositions for organ are linked to selected topics to illuminate different aspects about Howells’ organ music. The selected works are contextualized by sources from the composer’s time and knowledge about Howells himself, to gain historical insight in the organ tradition from Howells’ time, and approach some of his esthetical thinking. In addition to this, I wish to point out some important aspects regarding adaptation of Howells’ organ music to non-English style organs in Norway
Musikkbaluba – a qualitative study of music activities in Kindergarten from a health perspective
No full textNorges musikkhøgskole. Masteroppgave. MusikkterapiSammendrag. -
Denne studien undersøker hva et barnehagetilpasset musikktilbud kan tilby sett fra et helseperspektiv. I studien gjennomføres det musikksamlinger i en barnehage, og det anvendes deltagende observasjon, samt kvalitative forskningsintervju av deltagende barn og pedagoger. Resultatene av studien antyder at musikktilbudet kan være med på å bidra til at barn får oppleve glede og positive emosjoner, positive opplevelser knyttet til spill på instrumenter, og at musikktilbudet kan legge til rette for musikkopplevelser som både kan skape et høydepunkt i barnehagehverdagen og som kan tenkes å gi estetiske erfaringer. Resultatene peker også mot at musikktilbudet kan tilby kroppslig utfoldelse gjennom bevegelse og dynamiske uttrykk, og fellesskap gjennom delte opplevelser, musikklek og deltagelse i det som skapes felles. Studien redegjør for ulike vinklinger av helsebegrepet, og ved hjelp av teoretiske perspektiv utforskes det hvordan funnene kan forståes som helsefremmende gjennom å knytte dem til psykisk og mentalt velvære, kroppslig velvære og sosialt velvære, samt helse forstått som opplevelse, ressurs og prosess.
Nøkkelord: Barnehage, barn, musikktilbud, musikk, helse, helsemusisering, helsefremmende, velvære, estetisk, glede, kroppslighet, fellesskapMusikkbaluba. A qualitative study of music activities in Kindergarten from a health perspective. -
Abstract -
This study researches what music activities adjusted to Kindergartens can offer, seen from a health perspective. The study is based on music gatherings in a Kindergarten, applying participant observation and qualitative research interviews with participating children and educators. The results from this study indicate that the music activities contribute to children experiencing joy and positive emotions, positive experiences tied to playing instruments, and that the activities facilitate music experiences, which can both create a highlight in the everyday life in Kindergartens and provide aesthetic experiences. The results also point to how music activities offer bodily expressions through movement and dynamic expressions, and community through shared experiences, musical play and participating in shared creation. The study outlines multiple approaches to health, and by using theoretical perspectives explores how the findings can be viewed as health promotion by making a link to mental, bodily and social wellbeing, as well as understood as experience, resource and process.
Keywords: Kindergarten, children, music activity, music, health, health musicing, health promotion, wellbeing, aestethic, joy, physicality, communit
Becoming a researching artist: Situated perspectives on music conservatory learning and teaching
Get PDFPaper from the conference "Becoming Musicians. Student involvement and teacher collaboration in higher music education" - Oslo, October 2018.Abstract -
One-to-one instrumental tuition has traditionally constituted the core teaching and learning activity for classical music higher education institutions, and most jazz programmes somehow seem to have taken similar structural approaches. In recent years, with pop, rock and electronica entering many music conservatories, it appears as if ambitions to educate creative, personal artists has pinpointed the need for renewed attention to the suitability of conventional curricular approaches. At Rhythmic Music Conservatory Copenhagen, the work place of the two authors, a decisive curricular shift aiming at meeting such needs, was recently put to work. The main ambition was to place the students’ development of their own compositional and performative material at the core of the curriculum, materialised through the weekly KUA critique class. The chapter offers a situated learning perspective on this development
Den didaktiske hviskeleken. En studie om utvikling av undervisningsinnhold for grunnskolen i India og Georgia
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkpedagogikkSammendrag. -
Denne studien fokuserer på utvikling av undervisningsinnhold for grunnskolen i interkulturelle lærerutdanningskontekster i India og Georgia. Studiens mål er å undersøke hvordan lokale musikklærerstudenter tar i mot, bruker og utvikler undervisningsinnholdet. Studien skaper sammenhenger mellom interkulturell teori og didaktikk, og foreslår derfor en interkulturell didaktisk tenkemåte. Handal & Lauvås´ (1983) praksistrekant spiller en sentral rolle, bade analytisk og teoretisk.
De empiriske dataene er samlet inn gjennom deltakende observasjon og semistrukturerte, kvalitative intervjuer. I løpet av fire intensive uker, over en periode fra oktober 2017 til november 2018, ble indiske og georgiske lærerstudenter observert under workshops og forelesninger og i egen undervisningspraksis.
Resultatene tyder på at utviklingen av undervisningsinnhold på et overordnet nivå er påvirket av verdier knyttet til musikk- og undervisningstradisjoner. Disse verdiene er også av stor betydning når det kommer til planlegging og begrunnelse av undervisning. For det andre påvirkes utviklingen av læreplan, ulike syn på lek, lærerforutsetninger og utstyr i klasserommet. Likevel ser det ut som at mangelen på instrumenter heller fører til kreativitet og nyskapning fremfor hindring. For det tredje viser studien at det foregår kulturell tilpasning av undervisningsinnholdet, siden lærerstudentene tilpasser aspekter fra det aktivitetsrettede undervisningsinnholdet inn i deres tradisjonelle undervisning av indisk og georgisk musikk.Abstract. -
This study focuses on development of primary school teaching content in context of intercultural teacher education projects in India and Georgia. The study aims to investigate how local students teachers receive, use and develop educational content for primary school in these contexts. The thesis creates links between intercultural theory and didactics and suggests therefore an intercultural, didactic way of thinking. The practise triangle of Handal & Lauvås (1983) plays a central role, both analytically and theoretically.
The empirical data are collected through participatory observation and semi-structured, qualitative interviews. During four intensive weeks, over a period from October 2017 to November 2018, the author observed Indian and Georgian student teachers during teacher training workshops and lectures, and in their own school teaching practise.
The results suggest on an overarching level that the development of teaching content is influenced by values related to music and educational traditions. These values are of great importance also when it comes to planning and justification of teaching. Secondly, the development of content is influenced by different views on «learning games», curriculum, teacher assumptions and equipment in the classroom. Nevertheless, the lack of instruments seems to lead to creativity and innovation rather than obstacles. Third, the study shows that cultural adaption of the teaching content takes place, since the student teachers adapt aspects of the activity-oriented teaching content into their traditional teaching of Indian and Georgian music
Musicianship – discursive constructions of autonomy and independence within music performance programmes
Get PDFPaper from the conference "Becoming Musicians. Student involvement and teacher collaboration in higher music education" - Oslo, October 2018.Abstract -
Autonomy and independence are key concepts in higher education. Skills and competences viewed as necessary for a flexible and lifelong career have become increasingly centred on employability and demands for market adjustment. This article addresses the issue of how autonomy and independence are understood within a specific disciplinary context. Drawing on interviews with teachers and students, the paper aims to investigate discursive constructions of autonomy and independence within music performance programmes in higher education. We establish that autonomy is articulated primarily as actions of expression and communication, both musically and linguistically. Independence is primarily articulated as a detachment from teachers as well as independence from prior musical interpretations and sheet music. On the basis of the findings we argue that autonomy and independence mainly involve an alignment with current societal and market conditions, which suggests a rather limited latitude in terms of possible actions and positions
The music performance student as researching artist? Perspectives on studentcentredness in higher music education
Get PDFPaper from the conference "Becoming Musicians. Student involvement and teacher collaboration in higher music education" - Oslo, October 2018. -
Members of Working Group 5 Learning & Teaching in the EU funded AEC project Strenghtening Music in Society.Abstract -
In this chapter, we present a status after the AEC Learning and Teaching Working Group’s first year of activities. Since February 2018, the AEC Working Group has been examining, investigating and discussing issues of learning and teaching in music performance education under the lead of LATIMPE, the Platform for Learning and Teaching in Music Performance Education (www. latimpe.eu), which is jointly operated by AEC and CEMPE. This has been done through a dialectical researching process going back and forth between practice and analysis, always striving to keep the balance between a know-how gained through empirical experience and a knowledge based on research findings in order to ensure a structured approach to how to deal with the topic in a scholarly appropriate way. The starting point of investigation were practices that were familiar to members of the group. Key learning perspectives that have arisen from this analysis are student ownership, students’ responsibility and freedom, a safe environment, opportunities to experiment, projects that evoke the ‘learning muscle’ of students and projects that build on students’ strengths. In the chapter, we discuss some basic questions, such as: What should students learn? Who and what decides on what they should learn? How to encourage students to take ownership of their learning agenda? To what extend and how can all this be reflected in the curriculum? How can an institution ensure the viability of individual and diverse ways of learning? We end with an argument in favour of seeing the student as a researching artist, as this conceptualise an active, artistic student with professional agency, who is curious, and takes responsibility for his or her learning process. LATIMPE is pursuing this process of collecting practices
Nordic choral conductor education: Overview and research agenda
Get PDFABSTRACT. -
The choral movement holds a prominent position in the Nordic countries, and choral singing is one of the top social activities in terms of the number of people involved. While all these choirs need conductors and depend on choral leadership competence, we have limited knowledge of the existence and level of available competence, qualitatively or quantitatively. Music academies and universities are key providers of competence and capacity to meet the demands of amateur and professional ensembles alike. This paper seeks to establish a picture of university/academy-based education in choral conducting, with focus on the Scandinavian countries. Existing research is scarce, and the overall aim of this initial effort is to provide a foundation for further research. We have pursued the following related research questions; which educational programmes exist, what are their profiles in terms of the underlying thinking and ensemble needs they serve, and what is the capacity in terms of number of students? A variety of research data has been gathered, including curriculum reviews and interviews with conducting teachers and students from selected institutions. Although we have been able to answer the research questions to some degree, the study opens a series of new questions, which suggest an agenda for further research.
Key words: choir, choral conductor, education, curriculumpublishedVersio
Learning to reflect: Enhancing instrumental music education students’ practice through reflective journals
Get PDFPaper from the conference "Becoming Musicians. Student involvement and teacher collaboration in higher music education" - Oslo, October 2018.Abstract -
Conservatoire students are required to spend substantial amounts of time engaged in instrumental practice to improve efficiency. However, students often lack self-regulation skills to optimise their practice behaviour and strategies. These skills are essential for musicians, and even more so for prospective instrumental educators, as they will teach their future pupils to practise effectively. There is a need in higher education to teach reflective practice. Reflective journals could provide some insights into students’ learning and reflection. This study, with its aim of gaining insights into students’ learning and reflective practice, reports on the course Learning and teaching instrumental practice, offered to undergraduate students of Instrumental/ Vocal Pedagogy and instrumental studies. In each course unit the students are introduced to different theoretical concepts. Furthermore, the students keep an individual reflective journal about their instrument practice and are encouraged to share their experiences with their peers. The students’ written contributions were analysed in order to retrace the development of their reflective skills. Preliminary results of this pilot study show that the students find it difficult to reflect critically on different levels, such as by documenting, contextualising, interpreting, evaluating and planning. Finally, for the majority of the students, reflective writing indeed fosters an understanding of learning processes. This can therefore enhance self-regulation skills, which in turn can lead to optimising instrumental practice