NMH - Brage (Norges musikkhøgskole)
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"Det å kunne synge sammen, det gir noe ekstra til livet mitt”. En intervjuundersøkelse om deltagelse i et samfunnsmusikkterapeutisk seniorkor
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiSummary. -
This thesis describes participation in a community music therapy choir for the elderly. The thesis research question is: “What do members of a community music therapy senior choir experience that the choir participation can offer them?” The thesis focuses on interviews with five informants; four participants in the senior choir, and a music therapist who is the choir’s conductor. The research design is qualitative and semi-structured interviews were used. The analysis procedure consists of four steps where hermeneutical and phenomenological approaches have been used. The thesis findings show that participation in the choir can give the participants both an individual and a relational dividend in terms of coping, better health and quality of life, meaning, community participation and an increased social network. - Keywords: music therapy, community music therapy, senior choir, coping, community participation, health, quality of life, resource oriented, social network. - . - . - . -
Sammendrag. -
Denne oppgaven beskriver deltagelse i et samfunnsmusikkterapeutisk seniorkor. Oppgavens problemstillingen er: Hva opplever medlemmer i et samfunnsmusikkterapeutisk seniorkor at kordeltagelsen kan tilby dem? Oppgaven fokuserer på sitater fra fire informanter som er deltagere i et samfunnsmusikkterapeutisk seniorkor og én musikkterapeut som er korets dirigent. Forskningsdesignet er kvalitativt og et semistrukturert intervju er blitt brukt. Analyseprosedyren består av fire steg der det er blitt brukt en hermeneutisk og fenomenologisk tilnærming. Oppgavens funn viser til at deltagelse i koret kan gi kordeltagerne både et individuelt og et relasjonelt utbytte av mestring, helse og livskvalitet, mening, samfunnsdeltagelse og et sosialt nettverk. - Emneord: musikkterapi, samfunnsmusikkterapi, seniorkor, mestring, mening, samfunnsdeltagelse, helse, livskvalitet, ressursorientert, sosialt nettverk
Young Instrumentalists’ Music Literacy Acquisition
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The aim of this article is to present and discuss the findings of a research project concerning music literacy acquisition among young beginners on music instruments. The reported project examines the learning strategies that young students use in order to make sense of notated music in the first year of training. Theories from the research field of language learning are applied to illuminate music literacy as a learning process. Observations and interviews were used to collect data about students’ learning strategies and music literacy development. The findings show that the students have quite different approaches regarding the use of strategies, both when it comes to what strategies they employ, which new strategies they acquire, and how many strategies they use. Young instrumentalists display creativity in their attempts to make sense of the music notation, and the music studio setting itself, using the multimodal tools that appear available to them. It is important for teachers to know how their students’ learn, and how they reason, in order to assist their learning processes. The findings of the study shed light on central issues regarding the awareness of learning strategies in instrumental teaching. Following a discussion of the research results, recommendations for instruction and future studies are presented.
Keywords: Music literacy, instrumental learning, ear training, music reading, instrumental teaching, learning strategies
Contrabass Clarinet and Houvenaghel’s Organ, integrating a new member into my clarinet family
No full textCritical Reflection - The Norwegian Artistic Research Programme - The Norwegian Academy of Music. 2011-2015 Contrabass Clarinet and Houvenaghel´s Organ, integrating a new member into my clarinet family. Kontrabassklarinetten er temaet i Rolf Borchs stipendiatprosjekt, der han har vært opptatt av både instrumentet og utøveren. Om prosjektet: I prosjektet har Borch utforsket kontrabassklarinetten og bestilt og fremført nye verker. Blant de nye verkene er "Smilodon" av Lene Grenager og "Shimmer" av Knut Vaage. I motsetning til en del andre klarinettister spiller Borch alle klarinettinstrumenter, og han har derfor ønsket å skape en ny bevissthet om "den hele klarinettisten", som har mange hovedinstrumenter. I prosjektet begrenser han dette til fire klarinetter: Eb-, Bb-, bass- og kontrabassklarinetten. Disse har han utforsket og gjort eksperimenter med for å se på sin egen rolle som utøver.The written part of the critical reflection, May 15. 2015
In october 2011 I started a project that was then called ”Contrabass Clarinet”. I wanted to become a contrabass clarinettist and expand knowledge and interest around the contrabass clarinet. Being aware that I didn’t quit playing the smaller clarinets, I also wanted to become a ”whole clarinettist with many main instruments”.
In this text I comment on my work with my two main research questions and the two main formats in the project: The Studies and the Interpretation Experiments. I explain how the project has changed from the first revised project outline. Some of the things I write are obvious to clarinettists and the text is not as elaborate as the text in the orchestral excerpts book. It is written quite fast in the four weeks after my final concert and it has not been translated by professionals. The main part of the insight and knowledge generated in my project, is found in the Studies and Interpretation Experiments. This written part of my critical reflection is an attempt to verbalize some of this insight and my experiences when trying to become a contrabass clarinettist and a ”whole clarinettist with many main instruments”. It is in five parts:
1. Comments on my first research question. ”How can I contribute to expanding knowledge and interest, nationally and internationally, around the contrabass clarinet?”
2. Comments on my second research question. ”How will my work with the contrabass clarinet influence and enhance my identity as a clarinetist?”
3. Comments on the Studies for Houvenaghel’s Organ
4. Comments on the Interpretation Experiments.
5. Project outline 2012, with my comments in may 2015.
My critical reflection is presented as:
-The Sudies for Houvenaghel’s Organ on the website.
-The Interpretation Experiments on the website.
-The publication: Contrabass Clarinet, Orchestral excerpts and a brief history.
-The written part of the critical reflection.Two of the project’s main results are the CD recording Houvenagel’s Organ. - Recorded at Studio Nordheim, NOTAM, October 2014 – February 2015. [Label LabLabel] and the book "Contrabass Clarinet. Orchestral excerpts for contrabass clarinet. - ISBN 978-82-7853-201-
Strategies in jazz guitar improvisation
Get PDFDissertation for the PhD degree Norwegian Academy of Music, Oslo 2015 - Avhandling (Ph.D.) - Norges musikkhøgskole, 2015What strategies are used in professional jazz guitar improvisation? This project finds that three main strategies are used by professional jazz guitarists; a basic coding strategy named chunking, an extended coding strategy based on context seen as schemas and an altered coding strategy based on skilled interaction in context, defined as templates. Chunking entails grouping small information units into chunks; these can then be combined into larger, hierarchically constructed systems and function as a mental “store” from which the performer retrieves material during improvisation. Chunk networks are triggered in the form of a schema, which is an abstract general mental representation of contextual knowledge. Templates are large flexible schemas frequently used by experts. The practice-led research strategy has allowed questions, problems and challenges to be initiated and worked on in fieldwork. The aim has been to investigate how jazz guitarists recall, integrate, organize and develop their knowledge in improvisation. The inquiry includes participant observation, playing with and interviewing five professional jazz guitarists in New York City. By examining the fieldwork a modal matrix for analyzing structure, time and form in jazz guitar improvisation has been developed. The fieldwork studies have been supplemented by theoretical and contextual studies. The intention has been to bridge the gap between the roles as researcher and performer, and in this process illuminate knowledge that might have an impact on different parameters in improvised music in general. This research project finds that professional jazz guitarists’ strategies are crucially dependent on context, style and type of interplay. Improvising is based on listening to what is happening in interplay and having flexible actions available to match the given input. Interplay defines the ways implicit (sub-conscious) and explicit (conscious) knowledge is used; the more familiar the context, the more use of implicit knowledge and intuition. The findings collapse the dichotomy constructed by the theories of topdown versus bottom-up expert skill, emphasizing that both approaches are needed dependent on time and place.Kva slags strategiar er nytta i jazzgitarimprovisasjon? Funna i dette prosjektet viser at jazzgitaristar nyttar tre hovudstrategiar: Ei grunnleggjande koding kalla chunking eller gruppering, ei utvida koding basert på kontekst, kalla skjema, og ei intuitiv form for koding basert på høgt utvikla ferdigheiter i kontekst, definert som malar (templates). Chunking er gruppering av små informasjonseiningar til større hierarkiske einingar, chunks, som fungerer som eit mentalt lager som utøvaren hentar materiale frå gjennom improvisasjon. Nettverk av chunks vert utløyste i form av eit skjema, som er ein abstrakt generell representasjon av denne kunnskapen. Lang tids erfaring fører til gjenkjenning av mønster som skaper malar – samlingar av detaljar ved ein situasjonen eller eit problem. Når utøvarar samlar detaljar i templatar, trengst mindre analyse, og improvisasjonen kan byggja på meir intuitiv kunnskap. Ein praksisleia forskingsstrategi har vorte nytta, der spørsmål, problem og utfordringar har vorte starta og arbeidd med i feltarbeid. Målet har vore å finna ut korleis jazzgitaristar kjenner igjen, integrerer, organiserer og utviklar kunnskap i improvisasjon. Arbeidet er gjort gjennom deltakande observasjon, samspel og intervju med fem profesjonelle jazzgitaristar i New York. Feltarbeidet er fylgt opp av teoretiske og kontekstuelle studiar. Ei modal matrise for å analysera struktur, tid og form i jazzgitarimprovisasjon er utvikla. Føremålet har vore å kombinera rolla som forskar og utøvar, og i denne prosessen avdekka kunnskap som kan ha innverknad på ulike parameter i improvisert musikk generelt. Dette forskingsprosjektet viser at profesjonelle jazzgitaristar sine strategiar er grunnleggjande avhengig av kontekst, stil og type samspel. Improvisasjon er basert på å lytte til kva som skjer i samspel og at ein har fleksible handlingar tilgjengelege som samsvarar med det som skjer i augneblinken. Ekspertise definerer korleis implisitt (ubevisst) og eksplisitt (bevisst) kunnskap er nytta; dess meir kjend situasjonen er, dess meir nyttar ein implisitt (intuitiv) kunnskap. Funna slår saman motsetnadene skapt mellom skjemabaserte teoriar som gjer bruk av langtidsminne (top-down) og sanseorienterte teoriar (bottom-up) som nyttar sensorisk register og korttidsminne for å forklare ekspertise. I denne avhandlinga vert det slått fast at båe vert nytta avhengig av tid og stad
Undervisning i øving. Rapport 1 fra prosjekt ved Norges musikkhøgskole
Get PDFInnhold. - «Når du sitter og ser ut av vinduet er du ikke konsentrert nok». Konsentrert og meningsfull øving / Jorunn Marie Bratlie og Harald Jørgensen. - En fiolinist formes om / Sander Tingstad og Morten Carlsen. - Holdningsoppmerksomhet, fysisk trening og restitusjon som innslag i øvingen / Harald Jørgensen. - Øving og Alexanderteknikk / Harald Jørgensen. - Øving med plan / Matz Pettersen og Harald Jørgensen. - Skalaøving i hornundervisning / Julius Pranevicius. - Undervisningsprosjekter og lærersamarbeid / Harald JørgensenØving er en vesentlig aktivitet for utøvende studenter, og som en del av utdanningen skal de veiledes om hvordan de kan øve med kvalitet. I denne rapporten vises noen resultater av prosjektet Undervisning i øving, et prosjekt som involverer hovedinstrumentlærere ved Norges musikkhøgskole i utviklingsarbeid om ulike aspekter ved å undervise i øving. Prosjektet er et av syv i Senter for fremragende utdanning i musikkutøving. cempe.no (Også utgitt på engelsk under tittelen "Teaching about practising"
“You MAY take the note home an’… well practise just that” – Children’s interaction in contextualizing music teaching
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The article takes ‘music as symbol’ as its analytical point of departure, described by Jorgensen (2003). In doing so, we stress the role of symbolic functioning in music, focusing at how children understand and make sense of music in talk and practice. The aim of this text is to theoretically explore the nature of dialogical music education. In order to do so, we reuse empirical data from a previous study. These data contain four children’s instructional interaction in a teaching activity, that is, the task to teach each other singing songs. Further, we examine our data through the lenses of two theoretical concepts, based on communication theory: double dialogicality and communicative formality. Our interactional data point at the contextual nature of musical sense making. The children’s communication was not only merely interpersonal in nature. Rather, it also clearly referred to an embedded cultural context that existed beyond the local interactional context. This article illustrates how such kind of music-educational sense making is socially constructed in action.
Keywords: children, singing, context, teaching, interaction, music as symbol, double dialogicalit
Musical knowledge and musical Bildung. Some reflections on a difficult relation
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The purpose of this article is to explore the relation of musical knowledge and musical Bildung. It´s main theses are (a) that musical Bildung manifests itself as a combination of various kinds of knowledge from its historical beginning and that (b) a certain kind of “transformational knowledge” can be considered as its main characteristic today. First, the identity of musical knowledge and musical Bildung has to be rejected, because the idea of Bildung implies that knowledge is in some way important and relevant for the educated person. As the “neo-Aristotelian” philosophers of music education have pointed out, musical knowing-that and musical knowing-how have to be embedded in a social context, in order to become relevant for any given person. Musical Bildung, however, differs from this “praxial” approach, too. Traditionally, it implies the formation of the inner-self, mainly based on the aesthetics of emotions and the aesthetics of the sublime, embodied in the great musical work of art. During the 19th century, musical Bildung as cultural capital became a class marker, too, but it has always been an individual style of living as well. After the decline of the traditional idea of Bildung, some elements of this style of living have survived and have changed. In addition to musical knowing-that, technical knowing-how and situational knowing-when etc., post-modern Bildung requires a reflective knowledge and, most of all, a transformational knowledge at that. Following the last texts of Michel Foucault, musical Bildung could be considered as a mainly aesthetic kind of self-transformation within the medium of music, rather than a passive formation of the self by and through music.
Keywords: musical Bildung, musical knowledge, transformation, Foucault
Musikkterapi mot mobbing. Perspektiv på musikkterapi i barnehagen; musikk som ressurs i mobbeforebyggende arbeid
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiSummary. - .
This master thesis focuses on bullying in kindergarten and the use of music and music therapy in the prevention of this problem. It is a qualitative study, which uses qualitative semi-structured research interviews as data collection method. Informants in the study are two managers and three music therapists working at Kindergartens Educational Resource Center. The research question that this study aims to shed light on is: How can we understand the capabilities of, and opportunities for music therapy/the music therapist to contribute to the kindergarten general education, in light of bullying prevention? The findings of the study can be summarized in these categories: Bullying - an inflamed term, Music as a medium for bullying prevention in kindergarten and Music therapy as a measure of bullying prevention in kindergarten. Under these categories, the study discusses the term of bullying, its complexity and experiences of bullying as a term in a kindergarten context. The study further discusses the music's ability to promote happiness, coping, empathy, fellowship and music therapy as an arena for bullying prevention through its association with communication and play. These findings are discussed in relation to theories on bullying and prevention in kindergarten, and music therapy theory. - Keywords: Bullying, prevention, music, music therapy, joy, coping, empathy, fellowship, communication and play. - . - . - . - .
Sammendrag. -
Denne oppgaven retter seg mot mobbing i barnehagen og bruk av musikk og musikkterapi i forebygging av denne problematikken. Det er en kvalitativ studie som tar i bruk kvalitative semistrukturerte forskningsintervjuer som datainnsamlingsmetode. Informantene i studien er to ledere og tre musikkterapeuter som jobber ved Barnehagenes Pedagogiske Fagsenter. Problemstillingen som denne studien ønsker å belyse er: Hvordan kan vi forstå musikkterapiens/musikkterapeutens evner til, og muligheter for å bidra inn i barnehagens allmennpedagogikk, i lys av mobbeforebyggende arbeid? Funnene i studien kan oppsummeres i disse tre hovedkategoriene: Mobbing – et betent begrep, Musikk som medium i mobbeforebyggende arbeid i barnehagen og Musikkterapi som tiltak i mobbeforebyggende arbeid i barnehagen. Gjennom underkategorier diskuteres blant annet mobbebegrepets kompleksitet og opplevelser av begrepets plass i barnehagesammenheng, musikkens evne til å fremme glede, mestring empati, felleskap og musikkterapien som møteplass i mobbeforebyggende arbeid gjennom dens tilknytning til kommunikajson og lek. Funnene blir drøftet opp mot teori omkring mobbing og forebygging i barnehagen og musikkterapeutisk teori. - Nøkkelord: Mobbing, forebygging, musikk, musikkterapi, barnehage, glede, mestring, empati, felleskap, kommunikasjon og lek
‘Musical dialoguing’: A perspective of Bakhtin’s Dialogue on musical improvisation in asymmetric relations
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In music pedagogy, as well as in music therapy, the element of improvisation and free playing is often vital to empower and motivate. This article discusses Mikhail Bakhtin’s concept of dialogue in such settings by asking what implications it could have on our understanding of musical improvisation in asymmetric relations (e.g. teacher/therapist – pupil/client). It suggests that it may be perceived as a complex social and relational event that is on the border, or, to borrow the words of Bakhtin (1981: 293) “half someone else’s” that becomes one’s own when it is populated with one’s own accent and adapted to one’s own semantic and expressive intention. This process, what is labelled musical dialoguing1, remains influenceable and unfinalised, and contains not just consensus and harmony but also dissonances and misunderstandings. Also, both players negotiate and participate actively while listening openly and aesthetically to the voice of the other while at the same time doubting his/her own voice. In a reflective synthesis (Alvesson & Sköldberg, 2000) a theoretical elaboration of Bakhtin’s texts (1982, 1984, 1986, 1990, 1993, 1998, 2003) are merged with other relevant perspectives. In the discussion practical settings from music pedagogy and music therapy are referred to.
Keywords: Mikhail Bakhtin, dialogue, musical dialoguing, asymmetric relations, music pedagogy, music therap
The quest for authenticity in the music classroom. Sinking or swimming?
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In an increasingly globalized world, characterized by diversity and change,
the relevance of authenticity in classroom contexts has been questioned in
recent multicultural music education scholarship. This article examines the
academic discourses of authenticity in music education, and explores the epistemic
issues and knowledge-related discourses of the authenticity movement
that have perhaps been sidelined due to ethical demands of attending to the
Other in the music classroom. Inspired by the writings of Christopher Small,
and against the contextual backdrop of liquid modernity as described by
Zygmunt Bauman, we here offer an alternative to the established approaches
of ‘school music’ and ‘music in schools’. We suggest that rather than viewing
authenticity as a fixed ideal that follows principles imported from outside of
schools, it may be found in educational and social processes within the school,
that is, in Small’s notion of musicking. Considerations of authenticity are thus
refocused from the distant Other to the question of how to make music education
practices and knowledge meaningful for students in situ.
Keywords: authenticity, music education, liquid modernity, musical knowledge,
musicking, school musi