NMH - Brage (Norges musikkhøgskole)
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Inquiry into an unknown musical practice: an example of learning through project and investigation
Get PDFPaper from the conference "Becoming Musicians. Student involvement and teacher collaboration in higher music education" - Oslo, October 2018.Abstract -
The music pedagogy department at the Conservatoire National Supérieur de Musique et de Danse de Lyon has built a training programme based on project and inquiry, inspired by the theories of John Dewey and Louis Legrand. The students are asked to investigate a musical practice that they are not familiar with before. They meet musicians, perform with them, they conduct interviews, prepare pedagogical workshops, read documentation, and animate a seminar. The idea is that they through this process become able to raise new questions derived from action experiences. The following article unfolds the theoretical foundations of this project, and describes how it is implemented by showing an example of students who have investigated bèlè, which is a music and dance form from Martinique. This ‘inquiry’ and project constitutes a challenge for the students that changes their understanding of what music and what learning music are. Conducting an investigation allows students to take a global view of the musical issues – an approach that differ from how most of them usually focus mostly on ‘musical material’. They identify the multiplicity of conditions for the emergence of a musical practice, which is essential since they have to encourage and accompany new practices as pedagogues in the futures
Practices of interpretation and assessment cultures – a project of assessment within higher music education
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Practices of interpretation and assessment cultures – a project of assessment within higher music education. -
One major pedagogical key concept within music education is “assessment”. It is here that the core values of musical quality of performances and analyses are revealed. Some of these core values are manifest in official documents; others are tacit and hidden. In this interview study 15 teachers from two Swedish and two Danish conservatoires are asked to present their assessment criteria being used. Moreover, the teachers are asked to present their whole assessment manual such as other key concepts being used.
Focus in the interviews is how the teachers verbally are constructing meaning of their criteria and assessment manuals. Theoretically, the study is based on the concept of “practical knowledge”. Here, one main problem is how people are verbalizing motives, concepts and actions in their daily professional activities. One approach to reveal this information is to investigate critical incidents, i. e. to study how teachers are explaining assessment of authentic performances in real time.
Another theoretical approach is based on the concept of “semantic density” linked to key criteria. The different criteria presented are finally summarised in two overall models: analytic and holistic grading.
The results are divided in two major areas. Firstly, the distinction between explicit criteria and fuzzy criteria. Explicit criteria are based on clear verbal definitions with a connection to concepts; fuzzy criteria are, on the other hand,
vaguely defined. A lack of concepts linked to these criteria is observed. Here the key issue is how the criteria and their functions are verbally explained. The second area concerns the structure of the assessment manual. Is there a tension between different criteria involved in the process or are the different criteria integrated? The latter example shows a higher quality than the first on one.
Since this is an on-going project, further analyses will show the degree of validity and reliability in the project.
Key words: Assessments of musical performances, practical knowledge, explicit criteria, fuzzy criteria, structure of assessment manualspublishedVersio
How (not) to teach
Get PDFPaper from the conference "Becoming Musicians. Student involvement and teacher collaboration in higher music education" - Oslo, October 2018.Abstract -
In this personal essay Susanne van Els draws on her musical career as a performer and educator to look at when, where and how essential learning takes place. Because, when answering the number one question – what is our main goal in life – the answer should not be ‘to teach’ but ‘for our students to learn’. There is a major discrepancy between the ideal musicianship, as portrayed by great musicians and felt sincerely by youngsters who start their training at conservatoires, and the information materials and course structures offered by our study programmes. Also, the way we organise our education stands remote from professional practice and from the original and valuable master-apprentice model. Is our system of ‘controlled learning’ making our students passive? And would they develop better in an atmosphere of trust and when they enjoy themselves more? Promising projects were conducted based on an idea that goes beyond student-centred learning: student-led education
Mesterlære – en analyse af forholdet mellem viden, kunnen og forståelse – med referencer til den musikpædagogiske mesterlærepraksis
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Apprenticeship – an analysis of the relation between knowledge, know-how and understanding with references to the practice of music-pedagogical apprenticeship.
What is learning and how is it constituted? Hubert and Stuart Dreyfus´ analysis of apprenticeship provides the background for a discussion of the relationship between three theoretical approaches to learning: the idea of individually constituted learning, the social theory of learning (Lave and Wenger)/ Practice Theory (Schatzki) and philosophical hermeneutics. The article analyzes the relation between knowledge and know-how and examines the question of the significance of participation in social practice. It introduces philosophical hermeneutics to mediate between diverse perspectives on the concept of learning.
The article unfolds an immanent critique of Dreyfus´ phenomenological analysis of learning. It argues that their model of learning is inconsistent. The critique highlights the significance of participation in practice, and illustrates the discussion with reference to Jean Lave’s ethnographical studies of tailoring apprenticeship among Vai and Gola tailors in Monrovia.
The article argues that learning is conditioned by affiliation to the practice in which it takes place and that understanding (and thereby learning) is constituted by both subjective/individual and general/common matters – thus rejecting any dichotomous relation between knowledge and know-how and between individual and practice-conditioned learning.
Keywords: Music instrumental apprenticeship – Phenomenological analysis of learning – Practice Theory – Philosophical hermeneuticspublishedVersio
Nordic Research in Music Education. Yearbook Vol. 19
Get PDFContents. - Introduction. - Tolkningspraktiker och bedömningskulturer – ett projekt om bedömning inom högre musikalisk utbildning / Bengt Olsson & Einar Nielsen. - ”It’s so easy to feel inadequate” – music teachers’ discussions regarding music education and social aims / Anna-Karin Kuuse. - Academic musicians– How music performance students in Sweden re-/negotiate notions of knowledge and competence / Nadia Moberg. - Empowering girls as instrumentalists in popular music. Studying change through Engeström’s cultural-historical activity theory / Eyolf Thovsen Nysæther & Tiri Bergesen Schei. - Relational perspectives in the practices of choir directors / Pia Bygdéus. - Gender and equality in education. Key themes, changes and the contemporary focus on achievement / Elisabet Öhrn. - Nordic choral conductor education: Overview and research agenda / Dag Jansson, Pia Bygdéus & Anne Haugland Balsnes. - Mesterlære – en analyse af forholdet mellem viden, kunnen og forståelse – med referencer til den musikpædagogiske mesterlærepraksis / Øyvind Lyngseth. - Forgetting the audible body. Voice awareness in teacher education / Tiri Bergesen Schei, Bjørg Solsvik Åvitsland & Edvin Schei. - Nordic PhD-dissertations 2017–2018. - Editor group. - Review panel.Nordic Research in Music Education Yearbook has been published since 1997 by the Norwegian Academy of Music. This volume (19) includes nine articles. In the opening article Bengt Olsson and Einar Nielsen are discussing assessment of musical performances among conservatory teachers. Special attention is payed to the question of the employed assessment criteria. In the succeeding article Anna-Karin Kuuse reports on an investigation of the social aspects of music education for children and young people. Societal challenges are demonstrating the need for general educational aims such as democracy, equality, social justice and inclusion. In the third article Nadia Moberg looks into reforms of academization implemented in music performance programs in higher education in Sweden. The fourth article by Eyolf Thovsen Nysæther & Tiri Bergesen Schei is about empowering young girls (age 11–19) as instrumentalists in popular music, with special attention to the role of music educators in informal learning settings. In the fifth article, Pia Bygdéus is looking into relational perspectives in the practice of choir directors. Four choir directors have been observed and interviewed. The sixth article by Elisabet Öhrn is based on a keynote presentation at the Nordic Network for Research in Music Education conference organized at the Academy of Music and Drama, University of Gothenburg, March 14–16, 2017. This article deals with gender and equality in education, with special reference to the contemporary focus on achievement. In the seventh article a research group consisting of Dag Jansson, Pia Bygdéus and Anne Haugland Balsnes attempts to establish a picture of choral conductor education in the Scandinavian countries. The eighth article is by Øyvind Lyngseth. It deals with the practice of music-pedagogical apprenticeship with special regard to the relation between knowledge, know-how and understanding. The final article is made by Tiri Bergesen Schei, Bjørg Solsvik and Edvin Schei. It discusses the ‘audible body’ by means of voice awareness in teacher education. . The last section of the Yearbook provides an updated list of doctoral dissertations from 2017/18 within the field of music education
Musikk på veien videre. En kvalitativ studie om betydningen av en tilrettelagt konsert og annen bruk av musikk for tre mennesker i sorg etter å ha mistet en av sine nærmeste
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiSammendrag - Denne masteroppgaven handler om en tilrettelagt konsert spilt av musikkterapistudenter på noe som kalles et etterlattekurs. Dette er et kurs for pårørende som har mistet et nært menneske i kreft. Kurset tar for seg ulike temaer knyttet til mestring av veien videre som etterlatt. Begrepet etterlatt blir brukt i kreftomsorgen. Språkrådet definerer etterlatt som: «avdødes pårørende; etterlevende, overlevende» (Språkrådet, 2018). Hensikten med studien er å undersøke opplevelsen og betydningen av konserten, samt annen bruk av musikk for mennesker i en sorgprosess. Studien har et kvalitativt design, med semistrukturerte intervju som metode. Studiens fokus er på informantenes refleksjoner, som blir belyst av teorier om musikk og helse og musikkterapi. Informantene i studien er tre voksne mennesker. -
Problemstillingen som oppgaven ønsker å belyse er: Hvordan opplever en gruppe mennesker som har mistet en av sine nærmeste en konsert i regi av musikkterapistudenter, og hva slags betydning kan en slik konsert og annen bruk av musikk ha i deres sorgprosess? -
Resultatene som kom frem fra den tematiske analysen av de semistrukturerte intervjuene kan oppsummeres i følgende hovedkategorier: Musikk i møte med sorgen, musikk og emosjonsopplevelser og konsertopplevelsen. Studien har vist at den tilrettelagte konserten fungerer som en slags følelseskatalysator. Dette vil si at refleksjoner og tanker rundt musikken som en del av sorgprosessen har tatt stor plass i de semistrukturerte intervjuene. Oppgaven tar derfor for seg både musikken i sorgprosessen, og konsertopplevelsen. I oppgaven er resultatene satt sammen med relevante teorier om musikk og helse og musikkterapi. Videre blir de drøftet i et eget kapittel.
Nøkkelord: musikk og helse, sorg, sorgprosess, musikk og følelser, musikkterapeutisk kompetanse, musikkopplevelser, musikk som terapi.Summary -
English title: Music for the path ahead – a qualitative study of the impact of a specially designed concert and other use of music for three people in a grief process after their loss of one of their closest. -
This master thesis presents findings based on a concert played by music therapy students that was specially designed for a life management course for widows, widowers and other next of kin. The purpose of the study is to research the experience and impact of this concert and use of music in everyday life for individuals experiencing an ongoing grief process. The study uses a qualitative research design with semi-‐structured interviews as its method. The focus of the study is the informant’s personal contemplations, which are elucidated with theories of music and health and music therapy. The informants of the study are three adult individuals. -
The research question is: How does an audience of people who have lost a significant person in their life experience a concert designed by music therapy students, and what kind of impact can such a concert and other use of music have in their grief process? -
The result of the thematic analysis of the semi-‐structured interviews can be summarized in the following main categories: music in the moment of sorrow, music and emotional experiences and the concert experience. In the thesis the results are coupled with relevant theories of music and health and music therapy. They are later discussed in their relevant chapters.
Key words: music and health, grief, sorrow, grief process, music and emotions, music therapy competence, music experience, music as therapy
Gehøret på spill. En kvalitativ eksplorativ studie med blandede metoder om instrumentbruk i gehørundervisningen
Get PDFNorges musikkhøgskole. Masteroppgave. Anvendt musikkteoriSammendrag. - I læreplanen for Musikk fordypning 1 og 2 står det under kompetansemålene for Gehørtrening at elevene skal kunne memorere og gjengi musikalske forløp i sang eller joik, spill og skrift, og at de skal kunne lese og gjengi et notebilde i sang og spill.
Jeg ønsket å undersøke hvordan begrepet spill ble tolket av lærere i gehørtrening, hvordan de overførte tolkningen til sin undervisningspraksis og i hvilken grad de tok i bruk instrumenter i faget. Det finnes en god del forskning som omhandler bruk av gehøret i instrumentalundervisning og samspillsituasjoner, både på kulturskolenivå, i korps og kor, på videregående skole og i høyere utdanning. Det er også forsket på hvordan man kan ta i bruk studenters hovedinstrumenter i gehørfaget ved høyere utdanningsinstitusjoner, blant annet ved Norges Musikkhøgskole, men jeg har ikke funnet studier som undersøker bruk av instrumenter i gehørfaget i videregående skole.
Problemstilling:
Hvordan tolker og operasjonaliserer lærere begrepet spill slik det benyttes i kompetansemålene for hovedområdet gehørtrening i videregående skole, og hvilke faktorer har betydning i denne sammenhengen?
Jeg har undersøkt dette ved å gjennomføre en kvalitativ eksplorativ studie med bruk av blandede metoder. Studien ble innledet med en spørreundersøkelse i form av en survey blant landets gehørpedagoger i videregående skole som omhandlet tolkningen av begrepet spill slik det benyttes i fagplanen og bruk av instrumenter i gehørundervisningen. Dette var for å få oversikt over i hvilken grad og på hvilke måter lærerne involverer instrumenter i gehørundervisningen, eller eventuelt hvorfor de ikke gjør det. På bakgrunn av besvarelsene valgte jeg ut to lærere til dybdeintervju og observasjon av undervisningen for å få et større innblikk i deres tanker om begrepet spill og instrumentbruk i gehørfaget, og hvordan de overfører det til sin undervisningspraksis.
Studien tar kun utgangspunkt i lærernes perspektiv, og interesserer seg ikke for elevene annet enn fra lærernes ståsted. Studien skal ikke vurdere de ulike lærerne, verken individuelt eller opp mot hverandre. Studien søker ikke å generalisere funnene til å gjelde alle lærere som underviser i hovedområdet gehørtrening ved landets musikklinjer. Allikevel representerer variasjonen i utvalget av lærere som deltar i studien en mulighet for at det ved andre skoler finnes lignende undervisningspraksiser
«I dag har vært en drittdag.., men jeg liker å være her, da». En eksplorativ studie som utforsker sangskriving som musikkterapeutisk tilnærming i møte med en gruppe ungdommer i barnevernet.
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiSammendrag - Denne masteroppgaven handler om sangskriving som terapeutisk tilnærming i arbeid med tre ungdommer tilknyttet barnevernet. Forskningen er gjennomført i forbindelse med et masterprosjekt hvor jeg som musikkterapistudent etablerte en musikkterapipraksis hos en norsk barnevernsaktør. Hovedfokuset i oppgaven har vært å se på hvordan en musikkterapeutisk sangskrivingsgruppe kan møte behovene til ungdom som bor på barnevernsinstitusjoner. Fokuset i studien er basert på teoretiske perspektiver knyttet til gruppeprosesser, terapeutisk sangskriving musikkterapeutisk metode og en prosjektbeskrivelse av praksis basert på loggbok og refleksjonsnotater. Forskningsdesignet er kvalitativt og eksplorativt og studien presenteres som en instrumentell singelcase-studie. Metodene for innsamling av data er deltakende observasjon og semi-strukturerte gruppeintervjuer. Intervjuene ønsker å utforske hva miljøterapeuter i barnevernet mener at musikkgruppen har betydd og opplevdes for ungdommene. For å tolke datamaterialet, falt valget på en hermeneutisk-fenomenologisk analyseprosedyre (IPA). Funnene i studien kan oppsummerer den musikkterapeutiske sangskrivingsgruppen; .. som fristed .. som en sosial møteplass .. som arena for musikalsk utfoldelse .. som en arena for å jobbe med utfordringer .. som en dør til deltagelse i nærmiljøet.
Studien setter funnene og den teoretiske drøftingen i sammenheng med hvordan musikkterapeutisk sangskrivingsgruppe kan møte ungdommenes behov.. for trygghet, tilhørighet og fellesskap, mestring og et fristed. Emneord: musikkterapi, gruppe, ungdom i barnevernet, behov, traumebevisst, sangskriving, omsorg, ressursorientert, sangdeling, improvisasjonSummary -
This master thesis is about songwriting as a therapeutic approach working with three adolescents associated with the child welfare service. The research was done in relation to a master´s project as a music therapy program where I wanted to see how a music therapeutic songwriting group could meet the needs of young people living in child welfare institutions.
The study is based upon theoretical perspectives related to group processes, therapeutic songwriting, frequently used methods for music therapeutic approaches, in addition to a case description based on observations and reflection notes through participatory observation.
The research design is qualitative and exploratory and the thesis is presented as an instrumental single-case study. The methods for collecting data are participant-observation and interviews, and use an interpretative and phenomenological procedure for analyzing the data.
The results summarize the music therapeutic songwriting group;
.. as a sanctuary
.. a social meeting place
.. as arena for musical performance
.. as an arena for and working with challenges
.. as a window to participation in the local community.
The research combines the results and the theoretical perspectives in an discussion that explores how a music therapeutic songwriting group can create an environment that can foster the adolescents need for.. safety, connections, coping and a sanctuary.
Keywords: music therapy, group, adolescents, child welfare, requirements, traumawise care, songwriting, nurturance, resource-oriented, song sharing, improvisatio
Hvor er tonen? Om å lære å synge toner utenfor et temperert system. Om tonalitet i norsk folkemusikk og ny musikk inspirert av den
No full textNorges musikkhøgskole. Masteroppgave. Utøving med fordypningsemneSammendrag. -
Dette masterarbeidet undersøker temaet tonalitet i norsk folkemusikk, og samtidsmusikk inspirert av den. Gjennom utforsking av egen prosess og tre kvalitative intervjuer undersøkes problemstillingen: På hvilke måter kan jeg som utøver, som ikke har bakgrunn i folkemusikktradisjon, tilegne meg kunnskap om tonalitet i norsk folkemusikk, og hvordan kan jeg bruke denne kunnskapen i utøving både av norsk folkemusikk og ny musikk inspirert av denne tonaliteten? Formålet med masterarbeidet er å undersøke hva nyere forskning og tre folkesangere sier om temaet og knytte dette til egen prosess i tilvenningen til en ny type tonalitet. Prosjektets hovedinformanter er: Berit Opheim, Unni Løvlid og Åshild Vetrhus som alle er aktive folkesangere. Arbeidet er av hermeneutisk tilnærming og teoretiske perspektiver er blant annet hentet fra Hans-Georg Gadamer, Michael Polanyi og Paul Ricoeur. Basert på analyser av intervjuene og refleksjoner over egen prosess er hoveddelen av oppgaven delt inn i kapitlene: Språkbyggeren, Håndverkeren og Kunstneren, som alle inneholder presentasjon av resultater og diskusjon. Kapitlene presenterer fra ulike vinklinger hvordan tonalitet i norsk folkemusikk er bevegelig og svevende, og ikke nødvendigvis regelbundet. Det er ved å lytte til og «være i» musikken at tonalitetsforståelsen kan internaliseres.Abstract. -
This thesis examines the topic tonality in Norwegian Folk Music, and contemporary music inspired by this tonality. Through reflection on my own process and three qualitative interviews the following issue is surveyed: In what ways can I, as a musical performer, with no roots in traditional folk music, acquire knowledge about tonality in Norwegian Folk Music, and how can I use this knowledge in performing both Norwegian Folk Music and new music inspired by this tonality? The purpose of this thesis is to examine what recent research and three folksingers say about the topic, and connect this to my own process in getting to know a new type of tonality. The project’s main informants are: Berit Opheim, Unni Løvlid an Åshild Vetrhus, all active folksingers. My work has a hermeneutic approach, and the main theoretical perspectives are from Hans-Georg Gadamer, Michael Polanyi and Paul Ricoeur. Based on the analysis of the interviews and reflection on my own process, the main part of the thesis is divided into these chapters: The Builder of Musical Language, The Craftsman and The Artist; all of which contain both presentation of results and discussion. The chapters present, from different views, how tonality in Norwegian Folk Music is something soaring and movable, and not necessarily based on rules. By listening to, and «being within» the music, the understanding of tonality is embodied
Music in the Making: experimenting with an open and collaborative learning environment
Get PDFPaper from the conference "Becoming Musicians. Student involvement and teacher collaboration in higher music education" - Oslo, October 2018.Abstract -
The musical world of young conservatoire graduates is increasingly diverse. Many graduates end up playing in educational performances, musical theatre performances or other innovative crossover musical practices. Such multidisciplinary practices seem to demand different skills than technical virtuosity alone. How can we train tomorrow’s musicians? What kinds of non-musical skills and competencies do they need to flourish in contemporary music practices? These questions inspired our experimental learning environment Music in the Making. Acknowledging the changing musical practices of young musicians, we set out to experiment with learning skills that evolve around collaboration, creativity and engagement. In this article we outline some of our findings from Music in the Making and discuss implications for the role students and teachers play in such a learning process.
We show that an open collaborative learning environment, without formal assessments, does not have to result in chaos or poor musical performances. Rather, it can encourage students to take ownership of their own learning process and to develop different kinds of skills by which they become more reflective about their own role as musicians. Fostering learning in such an open learning environment does require a different attitude from the teachers: less directive and more facilitating. We argue that working on technical skills in solitude should ideally be balanced with open projects where the students can learn to collaborate and ‘tune in’ to themselves, other musicians, audiences and others who have become part of their contemporary musical practice