NMH - Brage (Norges musikkhøgskole)
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Repertoarvalg i klaver biinstrument. En undersøkelse av læreres begrunnelse for valg av repertoar i klaver biinstrumentundervisning på videregående
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkpedagogikkSammendrag - Å være lærer innebærer å måtte ta stilling til hva som skal være innhold i undervisningen. Repertoar er en sentral del av innholdet i biinstrumentundervisning på videregående. Denne oppgaven forsøker å rette oppmerksomhet mot hvordan lærerne begrunner repertoarvalg. Den baserer seg på en kvalitativ undersøkelse blant lærere som underviser i dette faget, og teorier om danningsteoretisk didaktikk og lærertenkning blir brukt for å belyse tematikken. I undersøkelsen har jeg forsøkt å finne ut mer om hvorvidt lærerne bruker mye fast, standardisert repertoar i form av for eksempel repertoarhefter. Jeg har vært interessert hvordan hensyn til elevenes forutsetninger, identitet og ønsker preger repertoarvalgstenkningen. Relasjon mellom repertoar, overføringsverdi og nytteverdi blir belyst. Også lærernes egen bakgrunn, og hvordan denne preger tenkningen deres, har vært gjenstand for min interesse. Jeg har dessuten sett på lærernes oppfatninger om innvirkning fra læreplan og skolekultur.Abstract - An important part of a teachers work is to decide what contents to be used in a subject. Repertoire is a central part of the contents in secondary instrument in music programme at Norwegian upper secondary school. This paper attempts to draw attention to how teachers justify repertoire choices. It is based on a qualitative survey among teachers who teach this subject, and theories of bildung didactics and teaching thinking is used to illuminate the subject matter. In the survey I have tried to find out more about whether teachers use standardized repertoire, e.g. in terms of repertoire booklets. I have been interested in how attention to students' abilities, identity and desires characterize the teachers thinking about repertoire choices. Relationship between repertoire, transfer value and usefulness are discussed. Also, the teachers' own background and how this affects their thinking, has been a subject of my interest. I have also seen teachers' perceptions about the impact of curriculum and school culture
The Tartini style. An artistic survey of the violinist's craft in the 18th century
Get PDFCritical Reflection - The Norwegian Artistic Research Programme - The Norwegian Academy of Music. - - The project's results also include a musical recording which consists of Sonata in F, B.F4, Sonata in g, B. g5 (“The Devil’s Sonata”) and the Pastorale in scordatura B.A16, the latter performed on the Hardanger fiddle. See also http://www.sigurdimsen.com/ for further information on the project and results. The recording, Tartini secondo natura, can be found on Tidal and Spotify"In his research of The Tartini Style, Sigurd Imsen has explored the art and craft of the 18th century’s violinists. The study concentrates on the florid and highly personal ornamental style of Giuseppe Tartini (1692-1770), a style that was influential well into the 19th century. Imsen has sought to re-implement Tartini’s patterns of embellishments, as well as other stylistic features, as found in the historical material – primarily in Tartini’s obscure treatise of ornamentation. The final result of the project, “The Tartini Style”, has been presented as a recording of violin sonatas by Giuseppe Tartini, along with a critical reflection that accounts for the historical sources, methods and development of Imsen's performance. The recorded material that has been assessed consists of sonata in F, B.F4, sonata in g, B. g5 (“The Devil’s Sonata”) and the pastorale in scordatura B.A16, the latter performed on the Hardanger fiddle. These three sonatas were released on Pure Audio Blu-Ray by Lindberg Lyd in 2015." - - - The present text is an account of my work as an artistic research fellow at the Norwegian Academy of Music during the years 2006 to 2009. Naturally, as many years have passed since the fellowship period ended, this account will also involve the continuation of my work since then. However, throughout these years, my work has developed along the same lines, ideas and sources of inspiration as it did from the very beginning. My years as a research fellow have offered the luxury to concentrate on one idea and pursue it in depth. As a violinist, I have had the opportunity and privilege to expand my skills as an artist in what has become my field of specification; my artistic home and my default point of departure when approaching music of the 18thcentury. In my everyday life I work as a full-time tutti violinist in a modern symphony orchestra, and being granted three years of in-depth study has been of invaluable importance for my professional development. It has proven difficult to bring the project to an end. My previous efforts to finish failed, for different reasons. Presenting the results of my work is demanding on resources, not least financial, and I am grateful that the NMH and the Steering Committee have contributed sufficiently to this final presentation. I have now chosen an entirely different form of presentation:a Blu-ray disc multichannel recording rather than a live performance. Further, I have revised some central issues: The focus has shifted towards a more specific survey on Tartini’s works and style, and I will no longer attempt to make general conclusions regarding the performance practice of the 18thcentury violin repertoire. A general remark about this text: The regulations of the programme allow, or rather require, the research fellows to make their own choices in terms of the form and medium used for their reflections. In the case of the present work, the obvious thing to do was to assemble a text that accounts for the methods, sources and historical information I have used, in addition to the critical reflection. I have made efforts to produce a clear, transparent and unambiguous text. Hence, I have avoided the dreaded “International Art English”, which has been so widespread in the language of art criticism over the last two decades. Ideally, I would have preferred to present my reflections in the style of Tartini and his contemporaries. It is my belief that the famous treatises of C. P. E. Bach, Quantz, L. Mozart, Mattheson and others are indeed reflections, written by artists who described and discussed what was in fact their own art and practice. Their style of writing is remarkably clear and concise, usually economic in words and held in a surprisingly direct and oral language. As they humbly bow their wigs in the dust in their prefaces, they equally boldly boast their highly subjective opinions about music and the practice of other musicians in the following chapters of their books. As tempting as it would be to try to follow suit, I have only used it as a source of inspiration to my writing. This is, after all, a work of music, not one of literature. I must compel the reader to keep in mind that this is not a work of science, but of art. Therefore, this text does not meet the standards demanded of a scientific paper. However, as a work of art, my practice rests on an investigation of historical sources that requires a certain academic attitude, and the reflection is intertwined with the discussion of historical information. But the bottom line is that this work is not intended to be based exclusively on empirical data, but rather on the interaction between theory and practice
Lytting som undervisningsfag. En kvalitativ undersøkelse av lyttefagets undervisningspraksis på videregående skole
Get PDFNorges musikkhøgskole. Masteroppgave. Anvendt musikkteoriTema for denne masteroppgaven er lytting som undervisningsfag på videregående skole. Det er spesielt to årsaker til at lytting ble valgt som tema for denne masteroppgaven. For det første er lytting i sin nåværende form et ungt undervisningsfag. På grunn av fagets unge historie har lytting ikke vært gjenstand for like mye forskning som andre undervisningsfag. Dermed syntes jeg det ville være interessant å gjøre en studie knyttet til nettopp lytting. Den andre årsaken til at lytting ble valgt som tema handler om mine egne erfaringer fra undervisning på videregående skole. Jeg har undervist i hovedinstrument, biinstrument, anvendt musikklære, gehørtrening og musikk i perspektiv. Dermed har jeg et ganske godt innblikk i disse fagene. Lytting, derimot, har jeg ikke et like godt innblikk i. Jeg har selv ikke hatt lytting som skoleelev, så jeg hadde ingen forutanelse om hva som foregikk i disse timene. Jeg satt stort sett igjen med ett spørsmål: hvilket fag er lytting? Denne opplevelsen har fått meg til å ønske å undersøke nettopp dette faget nærmere. Jeg ønsker å finne ut av hva som skjer i klasserommet og hvordan andre lærere har løst de utfordringene jeg selv støtte på. Dermed ble temaet for denne masteroppgaven lytting som undervisningsfag. Gjennom masterarbeidet håper jeg at jeg har blitt litt klokere, og at jeg har en bredere erfaring å ta av neste gang jeg skal ha en vikartime i lytting.
Disposisjon. - Oppgaven har fire hoveddeler. Del 1 består av kapittel 1 som inneholder bakgrunn for studien og beskrivelse av problemstilling og andre forskningsspørsmål. Del 2 består av kapittel 2, 3 og 4 og inneholder den teoretiske bakgrunnen for prosjektet samt valg av metode for undersøkelsen. Kapittel 2 handler om teori knyttet til lytting som forskningsfelt. Kapittel 3 omhandler teori knyttet til lærplanforskning samt en analytisk beskrivelse av læreplanen i lytting. I kapittel 4 presenteres valg av metode for prosjektet. Del 3 er resultatdelen av oppgaven, og består av kapittel 5, 6 og 7. I kapittel 5 analyseres resultatene med bakgrunn i læreplanen og informantenes oppfatning av faget mål. Kapittel 6 handler om lyttefagets innhold og arbeidsformer. Kapittel 7 omhandler lyttefagets forhold og relevans til de andre musikkfagene på videregående skole. Del 4 inneholder konklusjon og avslutning av oppgave
Gender Performativity through Musicking: Examples from a Norwegian Classroom Study
Get PDFABSTRACT
This article is based on findings from the doctoral thesis Gender at Stake: A Study of Secondary School Pupils’ Musicking. The study explores how pupils stage and construct gender through the music they perform in the lower-secondary school music education in Norway. The observations and interviews of four music teaching practices in two urban lower-secondary schools that provided the qualitative data of the study are intended to highlight both the teachers’ and the pupils’ perspectives. Judith Butler’s concept of gender performativity is combined with Christopher Small’s concept of musicking to examine how gender is at stake in the music classroom. The study reveals that pupils relate to the gender constructions that often figurate in popular music as almost predefined packages in relation to the forms and the genre definitions. This article therefore discusses how gender becomes interwoven into musical form and influences pupils’ aesthetic formation. The study makes a contribution to music education research, adding new nuances to existing findings related to the gendered meanings music education practices can construct among pupils and teachers.
Keywords: Gender Performativity, Musicking, Aesthetic Formation, Informal Learnin
The fuzzy position. Analysis and discussion of perspectives of ontology in music and art
Get PDFABSTRACT. - The fuzzy position – Analysis and discussion of perspectives of ontology in music and art. - For many reasons, different perspectives on music and the arts are of great importance to the field of music education. For example essential both to aesthetical education research, and to music and art teachers everyday work, because it can improve teaching and learning qualities and contribute to knowledge in society at large. The aim is to discuss various actors’ constructions of music and art by examining the handling of ontology in different texts. The ambition is to problematize and discuss the consequences of these constructions related to research and to musical praxis. The theoretical approach is founded in social constructionism and poststructuralism, and a combination of discourse psychology and discourse theory is used as a methodological framework. Four excerpts have been chosen for the analysis, two research articles and two interviews with professionals from two contexts of practice; the opera and the community school of music and art. The result shows that the ontology of music and art is continually being redefined. Ontological perspectives with epistemological claims are on the battlefield with more relativized perspectives. A critical discussion is made where the ontology of music and art is related to everyday praxis and research. - Keywords: music education, the arts, ontology, discourse analysi
Traversing the chiasm of lived teaching and learning experience embodied practicum in music teacher education
Get PDFABSTRACT. - Earlier studies have valued the practicum as one of the most important parts of music teacher education, and not least because it has been so widely appreciated by students. In order to develop high quality music teacher education, we have to understand what happens in practicum contexts. It is in meetings between student teachers, practicum supervisors, students, steering documents, culture and music that student teachers learn how to teach music in adequate ways. This article tries to understand such meetings and learning situations through the phenomenological perspective of Maurice Merleau- Ponty’s concept of “chiasm”. As expressed by the Greek letter “χ” (chi), “chiasm” means a crisscrossing of the perceiving and the perceived self and the other, and between language and meaning. Chiasm also signifies an inter-twining, an intersection, reversibility, or the process of the flowing of phenomena into one another. In this sense, chiasm can symbolically represent the practicum as an intertwining of theory and practice. Like chiasm, the practicum within music teacher education can be thought of as an endless journey, and the meeting place between a student teacher’s self with the world of different and unique music teaching and learning experiences, unpredictable turns, challenges and wonders. This article attempts to communicate a glimpse of such a journey, as expressed through five music teacher students’ stories. These stories were collected during individual and group interviews in a Norwegian- Swedish research project focusing on the educational quality of music teacher education. Hopefully the analysis of these stories will contribute to the understanding of how individuals and groups embody knowledge of their music teaching and learning life-worlds. - Keywords: music teacher education, practicum, educational quality, chiasm, fles
Music teaching as professional practice – a praxeological approach
Get PDFMusic teaching as professional practice – a praxeological approach. - Based on Dietrich Benners (2010) praxeology, this article presents a praxeological approach to research focusing on the professional practice of teaching music. Central understandings in his praxeology are presented leading to how the praxeological approach can serve as a basis for the development of didactological theory in this area of research:
1. Benners praxeology as a general systematics for human practices
2. Pedagogical practice as one of several human practices
3. Praxeology as practical science
4. The praxeological understanding of professional pedagogical practice
This finally leads to how the praxeological approach can serve as a basis for the development of didactological theory in this area of research. In this frame of understanding a praxeological-didactic model is presented describing the indirect relation between practice and theory through three didactic levels of professional pedagogical practice
Processes of ensemble playing – a hermeneutical study as a contribution to the understanding of the phenomenology of musical ensemble playing
Get PDFABSTRACT. - Processes of ensemble playing – a hermeneutical study as a contribution to the understanding of the phenomenology of musical ensemble playing. - How does ensemble playing appear between two musicians rehearsing graphic notated scores in a recording studio? The object of the research is a video recording of this situation. Viewing the video film three acts constantly occur in a specific order. A video sequence from each of the three acts is picked out and described and analysed with a phenomenological approach. In every one of the three acts the phenomenon ’ensemble playing’ manifests itself as a distinct intentional act constituting an intentional object. In the processes of ensemble playing the concepts of intersubjective contact and of the creation of musical products appear as the invariant traits of the phenomenon. The result of the research is an identification of ensemble playing as both individual and collective processes that contain a musical practice as well as a creation of a musical product. In addition the processes of ensemble playing involve a present act of playing and a distance to this play. - Keywords: ensemble playing, processes, video, phenomenology, hermeneutic
Celebrating 100 years of musical outreach
Get PDFABSTRACT. - Celebrating 100 years of musical outreach. - As we approach the 100-year anniversary of many of the Norwegian symphony orchestras, we also mark 100 years of outreach, the effort to introduce symphonic music to new audiences. Today, every fourth audience member at a professional symphony orchestra concert is a child or a young person, largely because of outreach. This article outlines the significant, but less investigated historical development of outreach. The article will also discuss the different concepts of concerts that have developed over the years, and suggest a proper terminology to describe the unique experiences that outreach has to offer. Although there has been no lack of good will concerning these concerts, there has been a striking need for historical perspective, classification and terminology that can further our ability to understand, criticize, evaluate and develop the possibilities of outreach. In its last part, the article reviews some of the challenges faced today by orchestras wishing to introduce symphonic music to new listeners. - Keywords: outreach, children’s concerts, new audiences, symphony orchestras, school concert
Hvorfor slutter elevene i musikkskolen? En beskrivelse av ulike forhold i og utenfor musikkskolen
No full textNorges musikkhøgskole. Hovedoppgave. MusikkpedagogikkJeg valgte å gjøre en statistisk undersøkelse for å finne ut noe om årsakene til at elevene slutter i de kommunale musikkskolene, og for å belyse positive og negative sider ved den pedagogiske virksomheten i musikkskolene.
Hovedproblemstillingen i oppgaven er: Hvorfor slutter elevene i de kommunale musikkskolene? Dette spørsmålet skal jeg forsøke å besvare ved følgende delproblemstillinger: 1) I hvilken grad tar musikkskolene hensyn til elevenes egne ønsker og målsettinger? Er undervisningsopplegget så fleksibelt at musikkskolene kan gi et tilfredsstillende tilbud til de fleste som ønsker å lære å spille et instrument? 2) Hvordan er undervisningen lagt opp m.h.t. undervisningsform (gruppe/enetimer), konsertdeltagelse, samspillaktiviteter? Får elevene anledning til å bruke musikken? 3) Hvordan fungerer det pedagogiske opplegget m.h.t. øvemetoder, notelesning, tilpasning av undervisningsstoff etter vanskelighetsgrad, samt feedback fra læreren? 4) Hvilke forhold utenfor musikkskolen kan ha positiv eller negativ innvirkning på elevenes motivasjon for å spille? --- --- --- Oversikt over oppgavens innhold. - I kapittel 2 følger en oversikt over hvilke metoder som er brukt for å gjennomføre undersøkelsen. Her presenteres spørreskjemaet som står helt sentralt i oppgaven. Kapittel 3 inneholder en fordeling av totalmaterialet. Kapitlene 4,5,6,7 og 8 har form som beskrivelser av de ulike forholdene jeg ville undersøke. I disse kapitlene presenteres en rekke opplysninger uten at jeg har med noen kommentarer eller vurderinger. Kapittel 9, som er den mest omfangsrike i oppgaven, bygger på de opplysningene som kom frem i de foregående kapitlene, og her foretar jeg en vurdering med hensyn på hvilke årsaker som medvirker til at elevene slutter i musikkskolen. Kapittel 10 er en oppsummering og diskusjon over de viktigste tendensene som har kommet frem i undersøkelsen