NMH - Brage (Norges musikkhøgskole)
Not a member yet
866 research outputs found
Sort by
Rethinking music activities in preschool. Exploring links between conceptions of the child and conceptions of music
Get PDFABSTRACT --
Music in preschool is mostly performed as singing-events in the form of circle-time, over which children do not have much influence. This article argues that research on music education in preschool often has overlooked this lack of influence. It explores how conceptions of ‘the child’ relate to different conceptions of music, and thereby impact on how music activities are staged in preschool. The primary empirical material consists of one group interview with four music pedagogues working together with 1–3 year olds in a Swedish preschool with an alternative approach. Through the use of Critical Discursive Psychology five interpretative repertoires of ‘the child’ are distinguished, among which ‘a child with rights’ is seen as encompassing the other four. Conceptions of the child as constantly learning and epistemologically equal to adults, and therefore granted the rights to explore the world without unnecessary bodily restrictions, ‘requires’ improvisational and trans-disciplinary conceptions of music, in which the child needs to have the right to bodily self-determination. The outcome of the study shows how conceptions of the child shape our conceptions of music, consequently resulting in multiple and diverse music practices.
Keywords: music in preschool, children’s participation, power structure
Musikk som ressurs for ungdommers livslange læringsbehov – et tverrfaglig eksempel fra skolen og barnevernets praksis
Get PDFTeksten handler om hvordan musikkdeltakelse i form av et tilpasset skoletilbud for ungdom under omsorg av barnevernet kan brukes til å støtte ulike former for læring. Utgangspunktet for teksten er erfaringer hentet fra egen praksis som musikkterapeut innenfor skole og barnevern de siste 15 årene. I teksten tar jeg utgangspunkt i OECDs måter å definere livslang læring. Livslang læring favner ulike former som læring, henholdsvis formell, uformell og ikke-formell læring. Betydningen av å satse på et livslangt læringsperspektiv finner vi innenfor barnevernsforskningen. En av de største utfordringer barnevernets brukere står overfor er risikoen for å bli marginalisert og dermed stå utenfor tilbud om skole og utdanning. Jeg belyser den teoretiske diskusjonen med en casefortelling. I casefortellingen retter jeg fokus mot en læringsprosess der en elev, heretter kalt Tonje, deltar i musikkaktiviteter i skolens regi. Utviklingen som beskrives forstås som en autentisk lærings- og utviklingsprosess der både Tonje og musikkterapeuten blir satt på prøve for å løse utfordringer som oppstår. Følgende problemstilling reises: Hvordan kan musikk forstås som et verktøy for å fremme læring i overganger mellom fritid og skole?
Nøkkelord: Skole, barnevern, læring, livslang læring, uformell læring, musikkterapi,
musikk, fritid, deltakels
From Small Signs to Great Form: Analysis of the musical interplay in free improvisation, using the tools of Aural Sonology
No full textAvhandling (Ph.D.) - Norges musikkhøgskole, 2015 - Dissertation for the PhD degree Norwegian Academy of Music, Oslo 2015From Small Signs to Great Form - Analysis of the musical interplay in free improvisation, using the tools of Aural Sonology. - -
Njål Ølnes, Norwegian Academy of Music - - -
Research tutors: prof. Lasse Thoresen (NMH), Dr. Arnulf Mattes (UiO), Dr. Harald Stenström (HSM-GU) - - - Free jazz is a musical style that began during the 1960s. It broke away from the rigid form traditions that prevailed in jazz at that time. Accordingly, free jazz has been characterized by short time spans and quick interactions between the musicians. Less concern has been given to longer time-spans and form-building features. Due to a the lack of tools for analyzing sounding music, academic discussions of free jazz have tended to concentrate on philosophical, political and psychological questions. The present study aims to contribute to the study of improvised music through the use of a new analytical tool, namely Aural Sonology, which has been developed during the last 35 years at the Norwegian Academy of Music by Prof. Lasse Thoresen and colleagues. In this study of the jazz group BMX, I´ve chosen to consider the musical interplay mainly as a sonorous phenomenon. Through spectromorphological analysis of the sound-materials used in this improvisation, I have found some of the ways in which the improvisers avail themselves of a play with soundcharacters, and how this play shapes interactions within the group and affects the overall form. And through the layer analysis, dynamic form analysis and form-building transformation analysis, I have shown how the form-building processes may take place in close connection with the use of sound characters and play values. Further, I have examined how «small hints and signs can develop into greater forms» and how the free improvisation takes place in the span between spontaneity and conscious strategy. I have found that the musicians seek to complement each other in a creative, pre-emptive way that can be described in terms of roles defined in terms of interactive functions and relations. Interviews and conversations with the players of BMX, where I play the saxophone part, complements and critically questions the findings of the aural sonology analyses. In my analytical study I have found a number of issues that potentially could open a new field within musical research, one that enables a closer dialogue between music researchers and improvising musicians. Aural Sonology proves to be a tool to develop musical capacities both for the improvising musicians and the researchers, as it incorporates elements of the aural approach to learning that always have been essential to jazz music
Redaktørenes forord
Get PDF"I transitt – mellom til og fra. Om musikk og deltagelse i barnevern" er tittelen på den niende antologien i Skriftserie fra Senter for musikk og helse. Det å være i overganger – i transitt, mellom til og fra, enten det er geografisk, psykologisk eller emosjonelt, er en metafor for det mange av barnevernets barn og unge opplever. Noen overganger er lettere enn andre, men i barnevernet må barn og unge, fagpersoner og pårørende håndtere alle former for overganger. Ordet transitt i tittelen er også hentet fra en sang skrevet av en av ungdommene i Kom Nærmere-prosjektet i Bergen. I sangteksten, som for øvrig er trykt bakerst i boken, gis det uttrykk for at det å aldri vite sikkert hva som skal skje eller hvor en skal, er frustrerende. Derfor – som det heter i sangen – beholdes alltid ”jakken på”. Utgivelsen I transitt – mellom til og fra. Om musikk og deltagelse i barnevern er et samarbeidsprosjekt mellom Norges musikkhøgskole ved Senter for musikk og helse, Høgskolen i Oslo og Akershus (HiOA), Universitetet i Bergen ved Griegakademiets senter for musikkterapiforsking (GAMUT) og Aleris Ungplan & BOI. Den startet med konferansen Musikk, deltagelse, barnevern 4. desember 2014 på HiOA. Bakgrunnen for konferansen var en økende interesse innenfor barnevernsfeltet for tilnærminger som kan brukes til å fremme barn og unges deltagelse samt et engasjement i musikkterapiutdanningene både i Bergen og Oslo og barnevernspedagogutdanninga ved HiOA om å gjøre en innsats for dette feltet
Et biopsykososialt perspektiv på musikkterapi. En studie av deltakeres opplevelser av egen helse i en musikkterapigruppe i et rusfritt fritidstilbud
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiSammendrag. - Denne studien utforsker musikkterapi i gruppe innenfor konteksten av et fritidstilbud i regi av en større aktør innen rusomsorg i Norge. Fokuset for studien er deltakernes opplevelse av egen helse og livskvalitet i sammenheng med deltakelse i en musikkgruppe. Metoden for innsamling av data er deltakende observasjon. Forskningen har en hermeneutisk-fenomenologisk tilnærming. Resultatene av studien drøftes opp mot teoretiske perspektiver fra musikkterapilitteraturen og rusforskning. Prosjektet ses i sammenheng med samfunnsmusikkterapi, ressursorientert musikkterapi, empowerment-filosfi og recovery-tenkning. Studien knytter deltakernes opplevelser i gruppa til fire kategorier som sammmen utgjør en helhetlig forståelse av helse. Disse er: mestring, følelser og vitalitet, tilhørighet, og mening og identitet. Prosjektet finner sted innenfor en frivillig kontekst, og terapibegrepet og terapeutrollen er gjenstand for diskusjon og etisk refleksjon. Studiens funn viser at deltakelse i musikkterapi kan gi både individuelt og relasjonelt utbytte for personer med varierte utfordringer knyttet til rusproblematikk. Studien presenterer erfaringer og gir spørsmål for videre forskning og fagutvikling.English abstract. - This study explores music therapy with a group within the context of a community center for people with dfferent drug-related issues in Norway. The research focuses on the participants experiences related to health and quality of life in relation to participating in a musical group. The method for collecting data is participatory observation. The research uses interpretative and phenomenological analysis. The results are discussed in relation to theoretical aspects form music therapy litterature, and litterature on drug related issues. The project is in conjunction to community music therapy, resource oriented music therapy, empowerment-philosophy, ande recovery-perspective. The study relates the participants experiences to four categories, which together constitutes a holistic understanding of health. These are: mastery, emotions and vitality, affiliation, and meaning and identity. The project is situated in a voluntary context, and the terms therapy, and therapist, are subject to discussion and ethical reflection. The results show that participants grow both individually and relational from music therapy and suggests that music therapy is consistent with people with different and varied drug related issues, and it presents experiences and important questions for further research
Et vellykket skolekorps? Ulike aktørers forståelse av det gode korps
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkpedagogikkSammendrag. - Denne avhandlingen undersøker ulike meninger, holdninger, forståelser, tanker, erfaringer og oppfattelser av hva som gjør et skolekorps vellykket. Hensikten har vært å kartlegge og løfte frem sentrale perspektiver som informantene mener gjør et skolekorps vellykket, og ikke finne en «oppskrift» på vellykkethet. Jeg har valgt å undersøke fire skolekorps med geografisk spredning i Norge. Jeg har valgt en kvalitativ tilnærming til undersøkelsen gjennom semistrukturerte forskningsintervjuer og supplerende observasjon. Som informanter har jeg valgt aktørgruppene hovedkorpsdirigent, styreleder, forelder uten et spesielt verv og musikantgruppe. Dette utgjør tilsammen 28 informanter fordelt på 16 intervjuer. Musikantintervjuene har vært gjennomført som gruppeintervjuer bestående av fire barn og unge. Korpsene jeg har undersøkt har fått navn etter hvilken geografisk region de tilhører; Korps Sør, Korps Vest, Korps Nord og Korps Øst. Jeg har analysert intervjuene gjennom å anvende aktivitetsteori, og kategorisert funnene innenfor aktivitetsteoriens begrepsramme. Disse kategoriene er redskaper, normer og regler, arbeidsfordeling, fellesskap og objekt. Jeg har plassert aktørene som aktivitetens subjekt. Ut fra disse funnene var det tre sentrale perspektiver som gjorde seg fremtredende: Motivasjon for delta i og for å opprettholde aktiviteten, de ulike aktørrollenes betydning og ansvar, og korpsets betydning for musikantene. Disse tre perspektivene er igjen i diskutert i ulike undertematikker, henholdsvis redskaper, trivsel, foreldres undervurderte rolle, forholdet mellom styret og dirigenten, musikalske kontra sosiale aktiviteter samt skolekorpset som musikantenes aktivitet. Avhandlingen søker innsikt og forståelse om skolekorpset som aktivitet og læringsarena, og målet er at avhandlingen skal bidra til diskusjon og erfaringsutveksling for utvikling av skolekorpsaktiviteten i Norge
Frihet og ansvar. En studie av modernistisk orgelimprovisasjon som element i katolsk liturgi
Get PDFNorges musikkhøgskole. Masteroppgave. Anvendt musikkteoriNorsk sammendrag: --
I min masteroppgave ved Norges musikkhøgskole diskuterer jeg modernistisk orgelimprovisasjon som element i katolsk liturgi. Under dette temaet ligger spørsmål rundt de forskjellige rollene organisten må kombinere i møtet mellom orgelimprovisasjonens estetiske tradisjon, den teologiske lovgivningen og tenkningen rundt den liturgiske musikken, og menighetens musikk- og liturgiforståelse, samt det kunstneriske, teologiske og kommunikative ansvaret som ligger på organistens skuldre i dette møtet. I forbindelse med hovedtemaet synes jeg det derfor er nødvendig å presentere og analysere en del emner knyttet til særlig de to første rollene – den estetiske tradisjonen organisten er en del av og det teologiske aspektet ved orgelimprovisasjon som liturgisk musikk. Her blir dagens orgelimprovisasjonspraksis, orgelimprovisasjonens historie og improvisasjon som musikalsk fenomen sentralt. I tillegg blir dagens liturgiske praksis, den liturgiske lovgivningen og dens historie, samt katolsk-liturgisk tenkning viktige faktorer. Gjennom presentasjon, analyse og diskusjon av disse to grunnleggende sidene ved liturgisk orgelimprovisasjon, vil man forhåpentligvis nærme seg et svar på hvordan man som organist kan forholde seg til sin tredje rolle – hvordan få orgelimprovisasjoner som liturgisk musikk til å kommunisere med menigheten, slik at de treffer menighetens forståelse av liturgisk musikk, og eventuelt hvordan videreutvikle menighetens ideer om hva liturgisk musikk kan være. Ut i fra dette kom jeg fram til en hovedproblemstilling som lyder: Hvordan kan en orgelimprovisasjon med modernistiske musikalske trekk både forholde seg til sin estetiske tradisjon og til den katolske liturgiske tenkningen, og hvordan kan organisten kombinere rollene som kunstner, teolog og formidler?English abstract: --
The discussion about modernistic organ improvisation as an element in catholic liturgy is the main theme in my master thesis at the Norwegian Academy of Music. To this main theme lies questions on the subject of the different roles the organist has to combine in the meeting between the organ improvisation’s aesthetic tradition, the theological legislation and the thinking concerning the liturgical music, and the congregation’s understanding of music and liturgy, as well as the artistic, theological and communicative responsibility which lies on the organist’s shoulders within this meeting. My main research question is: How can an improvisation with modernistic musical features both relate to its aesthetic tradition and to the catholic liturgical thinking, and how can an organist combine the roles as artist, theologian and communicator
Medvit om makt i musikkterapi. Ei utforsking av maktaspekt i musikkterapilitteratur
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiSUMMARY. - In this master thesis, I explore the subject of power in music therapy. Through a literature review, I identify some aspects of power that are depicted in music therapy literature. Eight areas that are associated with power are described: Power to/power over, control, equality, mutuality, an expert-‐patient-‐dichotomy, empowerment, the therapist’s responsibility, and the power of discourse. Two types of power differentials that can be present in a music therapeutic relationship are discussed: the power of responsibility, and the power of expertise. I argue that it is not beneficial to equalize all forms of power differentials in the therapeutic relationship. The aim of the study is that of work-‐ethics, and the purpose is to raise personal and professional awareness of power. Through a hypothetic case-‐story from a mental health care setting, I illustrate how an awareness of power aspects, or the lack thereof, can influence a music therapy situation.SAMANDRAG. - I denne masteroppgåva utforskar eg temaet makt i musikkterapi. Gjennom ein litteraturgjennomgang kartlegg eg nokre maktaspekt som blir skildra i musikkterapilitteratur. Eg tar for meg åtte område som blir knytt til makt: Makt til/makt over, kontroll, likeverd, gjensidigheit, ein ekspert-‐pasient-‐ dikotomi, empowerment, terapeuten sitt ansvar, og diskurs-‐makt. Eg drøftar to former for maktforskjellar som kan vere til stades i ein musikkterapeutisk relasjon: ansvars-‐makt, og ekspert-‐makt, og eg argumenterer for at det ikkje er gunstig å utjamne alle maktforskjellar mellom musikkterapeut og klient. Studien har ei yrkesetisk hensikt, og formålet er eit auka personleg og fagleg medvit om makt. Gjennom ei hypotetisk case-‐skildring frå psykisk helsevern illustrerer eg korleis medvit, eller manglande medvit om maktaspekt kan påverke ein musikkterapisituasjon
Ensemble and Ensemble of Me. What I think about when I think about improvisation
No full textThe Norwegian Artistic Research Programme - The Norwegian Academy of Music - (2011–2015)Introduction: -
This project (2011-2015) is an artistic research fellowship project at the Norwegian Academy of Music, as part of The Norwegian Artistic Research Fellowship Programme.
In this project I have produced solo improvisations that derive from the music of two improvising ensembles to which I belong: Dans les arbres and Huntsville, and I have produced collective improvisations with the ensembles.
The project’s key questions are: -
•What are my concepts when improvising with the ensembles and when improvising alone?
•How do the ensemble improvisations inform my solo improvisations?
•What do I think about when I think about our and my own improvisations?
I am intrigued by all the recurring elements in the music of Huntsville and Dans les arbres, how similar (yet radically different) two concerts with the same ensemble may be. We are indeed improvising. Yet, in my view, it is also as if we are performing new variations of previous improvisations, previous pieces. In effect, these are pre-meditated, yet fluctuating. It is as if Alexander Calder’s Hanging Mobiles has been translated into music: the elements may be known, but their mutual relationships are in constant flux. Each observation of the piece is reminiscent of another. It balances between the known and the unknown, between playing ‘what I know and what I do not know’, looking at the same objects over and over again, from new angles, in new constellations.
I have used my own understanding and interpretation of these ensembles’ aesthetics and philosophy as a backdrop for the solo works. I have aimed for an enhanced, articulated knowledge and understanding of my own approach as a member of two ensembles. I have tested how this knowledge can facilitate frameworks, filters and various approaches to my own solo works. The individual solo works are artistic responses to the collectively created music of the ensembles.
Project results -
According to the regulations of the programme, each fellowship project shall lead to artistic results and a documentation of reflections.
My projects’ artistic results are: -
•Album release: Ivar Grydeland – Stop Freeze Wait Eat
•Album release: Huntsville – Pond
•2 concerts at Norwegian Academy of Music 21 and 22 April 2015 with the following programme:
- Solo
- Solo with Video Ensemble
- Dans les arbres with ‘Electronic Mirror’
- Dans les arbres
The documentation of my reflections comprises: -
•Encyclopaedia
•Texts for each of the artistic results
•Audio and video
Reflections . -
The Haruki Murakami-paraphrase in the sub-heading indicates a process of on-going reflection upon what I regard as key aspects when I improvise. More specifically, what I regard as key aspects in the music of Dans les arbres and Huntsville, as well as for my own solo improvisations. These reflections reveal key aspects and main challenges that have emerged during my attempts to create solo works that are informed by the ensembles.
The reflections are chiefly documented in the form of a personal encyclopaedia. The encyclopaedia includes audio and visual examples, both from the final artistic results and from artistic activity during the project. Some illustrative audio clips derive from artistic activity before the project started. In addition to the encyclopaedia, short texts accompany each of the artistic results. The development of three projects within the main project – Video Ensemble, ‘Electronic Mirror’ and tracks from the solo album release – are documented with audio and video.
In and out from the grey cloud - - -
It has been important for me to allow the musical artistic development to lead the process. In order to achieve this, the key questions posed in my project description needed to be open. They needed to be door openers. The questions marked the outskirts of the project. In the beginning, my project was a big grey cloud, an ungraspable "something" that I went into and explored. During the process, the artistic activity and its reflections crystallised the project’s topography. The final artistic results, and the reflections accompanying them, are my answers to, and elaborations of, the posed key questions.
Different ways to read the project - - -
The project grows out of artistic activity that belongs to a dynamic network culture, to the complex field of improvised music. The project’s reflections are organized as a network too. It is a non-hierarchical arrangement of my own reflections, woven together in a complex system where everything is relating to (almost) everything.
What are my concepts when improvising with the ensembles and alone? How do the ensemble improvisations inform my solo improvisations? What do I think about when I think about our and my own improvisation? There are different ways to explore these answers, and the project:
•You can start with the artistic results, and continue to read each of the accompanying texts. From these texts you will find several links into the encyclopaedia. The encyclopaedia is thus an elaboration of certain elements in the artistic results.
•You can also begin with the encyclopaedia, which represents what I think about when I think about improvisation. Read it in alphabetical order, watch and listen to examples of usage, and follow links to the artistic results.
•Whenever you are inside the encyclopaedia you can also chose to follow the links between the different terms. They relate. They support each other. They contradict each other. Read in loops, repeat.
My project's contribution - - -
During this project I have identified aspects that I find important in our ensemble’s music. In the encyclopaedia, I have articulated tacit knowledge rooted in my own experience as a practitioner in this field. I have tried to pinpoint and describe the key aspects that represent what I think about when I think about improvisation. I believe this is my projects’ main contribution to the field.
Main supervisors: Henrik Hellstenius and Ivar Frounberg
Second supervisor: Eivind Buene
Consultants: Fred Frith and Christian Wallumrød
Thank you research fellows Njål Ølnes and Morten Qvenild for very interesting discussions during the project
The birth of a Denkstil: Transformations of Swedish music teachers’ conceptions of quality when assessing students’ compositions against new grading criteria
Get PDFABSTRACT --
The aim of this study is to investigate and describe how a new music curriculum with defined content and assessment criteria can influence music specialist teachers’ style of thinking and conceptions of musical quality regarding lower secondary students’ creative music making. The research questions are:
• How is composition defined in the teachers’ dialogues?
• What conceptions of quality are expressed in the teachers’ evaluations of the compositions?
• To what extent do the teachers’ knowledge requirement-based assessments differ from their first, spontaneous appreciation of the pupils’ creative music making?
The findings indicate that creative music making is a poorly delimited concept that can be used both for a musical idea and for a whole performance. In the teachers’ initial assessments of the students’ compositions, they revealed a common style of thinking based on an artistic insider-understanding of musical qualities. However, when they started discussing the compositions from the standpoint of the new curriculum and its knowledge requirements, this style of thinking was largely abolished. It was replaced by a new style of thinking in which evaluative judgments were carefully avoided in favour of factual descriptions. These findings suggest that explicit criteria can have a strong impact on the conceptions of quality that are developed within a school culture. In the case of music education, this could result in a style of thinking and a teaching that differs dramatically from both lay and professional conceptions of musical quality.
Keywords: assessment criteria, composing, upper secondary school, music education, Denksti