NMH - Brage (Norges musikkhøgskole)
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Alone together. Vocal ensemble practice seen through the lens of Neue Vocalsolisten Stuttgart
Get PDFDissertation for the PhD degree Norwegian Academy of Music, Oslo 2015 - Avhandling (Ph.D.) - Norges musikkhøgskole, 2015The study examines different aspects of vocal ensemble practice, and explores the ways in which this practice differs from other classical vocal practices, like solo singing and choir singing. Vocal ensemble practice is described through the eyes and words of the members of the German ensemble, Neue Vocalsolisten Stuttgart. The empirical data upon which this thesis draws consists of a case study of the ensemble, including observations, semi-structured interviews, and participating observations. In addition to this case study of Neue Vocalsolisten Stuttgart, additional studies have been conducted for comparative purposes, including a study with interviews with Rogers Covey-Crump (singer in The Hilliard Ensemble) and John Potter (former singer in The Hilliard Ensemble). The theoretical framework of the study is focused on a range of theories of practice, including Wenger’s theories on Communities of practice and Shatzki’s theories of practices as an array of activities. In exploring various activities (or fields) within the practice, each is treated individually, with its own theoretical background, but always within the broader framework provided by the different theories of practice. The findings of the study suggest that vocal ensemble practice demands singers with special skills within the fields of intonation, communication, and ensemble vocal technique. The study shows how the ensembles studied, particularly Neue Vocalsolisten Stuttgart, deal with challenges within these fields. Other findings of the study relate to the organization of the ensembles’ work and to some of the social processes involved, for example the types of conflict which can arise and the ways in which the ensembles work to resolve these. The study shows how ensemble singers, including those of Neue Vocalsolisten Stuttgart, have worked hard to gain credibility as singers in an environment which attributes higher status to solo and operatic singing, and how they balance between working as soloists on one side and ensemble singers on the other. The unspoken hierarchy among singers and those who employ them, in which an opera soloist has higher prestige than, say, a chorister, means that the vocal ensemble singer has to balance between these two. More significantly, these entrenched attitudes to ensemble singing impact on the education of singers, who are encouraged to work towards operatic careers that can only be achieved by a very few, rather than for choral and ensemble singing, which provides a greater number of professional and opportunities for trained singers. This thesis concludes with recommendations for the development of educational practice based on the findings of the study, suggesting that singers of all kinds would benefit greatly from learning the particular skills required for ensemble singing, which are embedded in the distinctive practice it has evolved
Orff–Schulwerk revisited: rethinking analysis of music teaching methods and practices
Get PDFABSTRACT. - Orff–Schulwerk revisited: rethinking analysis of music teaching methods and practices. - This article investigates the benefits of analysing music teaching methods and practices by employing perspectives normally associated with aesthetics and philosophy of music. Theories on the meaning of music and on musical action (notably Nielsen 1998) guide a textual analysis of Orff–Schulwerk, which is selected as the case. Orff–Schulwerk is a significant music teaching approach in the recent history of Nordic music education; both within schools and music teacher education. The analysis reveals what appear to be internal conflicts in Orff–Schulwerk, in particular concerning the ontological conceptions of music and the views on musical actions. This is further discussed in relation to later editions and modifications, and ‘misconceptions’, of Orff–Schulwerk in the Scandinavian countries. In conclusion, it is argued that the theoretical framework, close to music ‘itself’, seems to enable complementary insights into music teaching practices, not the least because ontological and aesthetic conceptions of music seem to both exist and to play a vital role in music teaching methods and practices. - Keywords: Music teaching methods, Orff–Schulwerk, meaning of music, ontology of music, didactic analysi
Rite of passage and music therapy. A literature study of the theoretical perspectives on therapeutic change
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiEnglish abstract - - - -
The aim of music therapy is to create a therapeutic change. One way of understanding that process is through the concept of a “rite of passage”. This thesis employs a detailed analysis of the extant literature that invokes three different theories connected to “rite of passage”: those of Jung, Turner and Dissanayake. By emphasizing complementary theoretical perspectives the thesis argues that a “rite of passage” is the potential model for understanding therapeutic change in music therapy. While the transformative nature of therapeutic change is uniformly accepted across the literature various perspectives as to the location and mechanism of change have emerged in the field. Parts of the literature stress the connection between inherent power of music, inborn musicality, musical qualities and the ambiguous nature of the transformation process. Others are concerned with the playful, performative, spiritual, relational and protomusical characteristics of a specific transitional field that is created in the interaction between client, therapist and client’s musical experience. The literature also considers music therapist in a healer role and the music therapy process as a healing process. The results of this study highlight the need for further research on the concept “rite of passage” in music therapy. - - - - - - - - .
Sammendrag - - - -
Denne masteroppgaven er en kvalitativ litteraturstudie som undersøker om konseptet overgangsritual kan være relevant for forståelsen av fenomenet terapeutisk endring i musikkterapien. Oppgaven utforsker relevante teoretiske perspektiver i et utvalg musikk- og musikkterapirelatert litteratur som omtaler tre ulike teorier knyttet til overgangsritual: Jungs, Turners og Dissanayakes. De teoretiske perspektivene som er identifisert og diskutert er komplementære og fremhever en spesifikk transformativ natur ved terapeutisk endring i musikkterapien. Noen av de teoretiske perspektivene argumenterer for musikkopplevelsens transformative verdi ved å legge vekt på musikkens iboende kraft, menneskets medfødte musikalitet og på musikalske kvaliteter og den tvetydige naturen til den transformative prosessen. Andre perspektiver dreier seg om den transformative verdien ved den musikkterapeutiske interaksjonen mellom klient, musikkterapeut og klientens musikkopplevelse. Disse perspektivene omtaler et spesifikt transformativt felt som skapes i den musikkterapeutiske interaksjonen og påpeker dette feltets lekne, performative, spirituelle, relasjonelle og protomusikalske kjennetegn. Musikkterapeutens rolle og musikkterapiprosess som helhet blir også diskutert i et healingperspektiv. Dette perspektivet fokuserer på musikkterapeuten som en healer og musikkterapiprosessen som en healing prosess. Resultatene av denne studien kan leses som et teoretisk argument for en videre utforsking av konseptet overgangsritual i musikkterapien
Music-pedagogical philosophy: An approach to professionalize the field of music education
Get PDFABSTRACT: Music-pedagogical philosophy: An approach to professionalize the field of music education A carefully considered music-pedagogical philosophy is necessary to develop professional knowledge for the individual music teacher, as well as for music-pedagogical communities and for the music teacher profession as a whole. In this article we elaborate on individuals’ music pedagogical philosophies (no: profesjonsforståelser) as a fruitful approach to articulate and discuss leading ideals and norms for quality within the field of music education. We argue that the professions “body of knowledge” is invisible and irreproachable, and that it is crucial to articulate, clarify and discuss the professional knowledge, expertise and mandate that is held within this vocational field. This article is informed by professional literature and research in music education, and focuses the aspects jurisdiction, certification and authorization, as well as power, identity and knowledge. In conclusion we argue that music pedagogical philosophy should be a focused part of music teacher education, in order to professionalize the field and qualify the discussions about quality, both inside and around the field of music education. Keywords: Professions, professional understanding and development, music education qualit
”Alle kan arbejde med computermusik”. Et kvalitativt casestudie af unges komponerende aktivitet på computer
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkpedagogikkEnglish abstract. - .
This thesis focuses on computer-based musical composition and its impact on both musical- and identity-related development among adolescents. By researching what characterizes digital composing in musical activity among adolescents and which educational opportunities and challenges are inherent in this activity the thesis will provide knowledge from the musical activity of two cases. This research project has a theoretical foundation formed by perspectives based on creativity, construction of a personal and social self as well as perspectives from musikdidaktik. The study was conducted through participative observation and qualitative interviews where two subjects, participating in voluntary activities arranged for youths in Oslo, where followed for a period of seven months. The studied individuals were successful in creating music using a computer though they did not end up with a product they would characterize as finished. In one of the cases, computer-based music composition is an already established practice and in the other case this is based on primarily first time experiences. Both practices take place in a mainly informal environment and it is the musical activity, and its impact on the development of the identity, that is the main focus of the research. In addition, research on computer-based composition brings attention to the perspective of using the computer as a musical instrument. The study also identifies the abilities that are required to handle the computer as a musical instrument, as well as in succeeding in composing music on a computer. To some adolescents composing music on a computer is seen as a natural method of self-expression and the computer can be a tool to creative experience and exploration of own identity. Computer-based music-making provides several educational opportunities and challenges which are important to take into consideration when transferring the activity into music education. - . - . - . - . - .
Sammendrag. - .
Afhandlingen tager udgangspunkt i komponering på computer og dennes betydning for unges musikalske- såvel som identitetsmæssige udvikling. Forskningen i afhandlingen ønsker at give et indblik i hvad der kendetegner digital komponering i unges musikalske praksis og hvilke didaktiske muligheder og udfordringer, som ligger i denne aktivitet. Undersøgelsen belyser problemstillingen igennem deltagende observation samt kvalitative interviews og studien har sin forankring i teorier omhandlende kreativitet, identitetskonstruktion, samt didaktiske perspektiver. Undersøgelsen tager udgangspunkt i to unge, som er tilknyttet et frivilligt aktivitetstilbud i en bydel i Oslo. Disse unge er blevet fulgt igennem en periode på syv måneder. Informanterne lykkedes i at arbejde kreativt med digital komponering, selvom resultatet af deres aktivitet ikke er endt op i et produkt som de vurderer som færdigt. Komponering på computer er en musikalsk praksis som i det ene tilfælde allerede er etableret og i det andet tilfælde er dette primært førstegangs erfaringer. Begge praksisser, som sker i en hovedsagelig uformel kontekst, har en betydning i informanternes hverdag og det er denne betydning, i tillæg til det kreative arbejde, som ønskes undersøgt. Derudover inviterer komponering på computer til at se nærmere på computerens instrumentale sider, og undersøgelsen belyser også hvilke færdigheder som kan lægges til grund for at håndtere computeren som et instrument og for at lykkes i at komponere musik på computer. For nogle unge kan det siges at komposition på computer føles som et naturlig middel at udtrykke sig igennem. Videre kan computeren være genstand for kreativt arbejde og udforskning af egen identitet. Ud fra en didaktisk synsvinkel kan komponering på computer byde på muligheder, som kan være værdifulde i en musikpædagogisk kontekst, den byder samtidig også på udfordringer
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Maybe Gabriel wasn`t so bad after all? How educational anthropology can serve as a research approach in the field of music education
Get PDFABSTRACT. - The main purpose of this article is to highlight the potential of educational anthropology as a research approach in the field of music education. The article is based on my doctoral work: an ethnographic study in a Norwegian music classroom (Kamsvåg 2011). The empirical foundations of this article are from that particular study, and the discussions in the article are based on observations and interviews with one particular boy. The discussions of this student are linked to two key anthropological concepts: the theoretical term meaning and the methodological principle of the ethnographic astonishment. Through the discussion, I will illustrate how educational anthropology can help us gain new perspectives on taken-for-granted truths and assumptions in the field of music education. Such perspectives can serve as the starting point for new discussions surrounding music education practice and research. Keywords: educational anthropology, ethnography, cultural perspectives in music education research
Challenges to music education research. Reflections from a Swedish perspective
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This article is based on selected themes in my keynote at the 20th conference of The Nordic Network of Music Education Research (NNMPF) held at The Royal College of Music in Stockholm, 23 April 2014. Starting from the development of music education as an academic area in Sweden this article discusses challenges to music education research (henceforth referred to as MER) viewed through Swedish glasses. The complexity of MER, still a rather young but by now a well-established multi-disciplinary research area and academic subject/profile, respectively, calls for reconsideration of topics of interest. The maturity of MER also calls for careful navigation in a landscape with changing conditions for music learning and teaching. Challenges, strengths and dilemmas common to MER and to educational science in general are discussed as well as challenges concerning learning and teaching in music, topics that may remain little or differently explored in other academic domains.
Keywords: Music education, knowledge formation, learning, teaching, educational science
Teaching about practising
Get PDFContent. - “If you are sitting there staring out of the window, you are lacking concentration”. Focused and meaningful practice / Jorunn Marie Bratlie and Harald Jørgensen. - The transformation of a violinist / Sander Tingstad and Morten Carlsen. - Posture awareness, physical exercise and recuperation as elements of music practice / Harald Jørgensen. - Practice and Alexander Technique / Harald Jørgensen. - Practising with a plan / Matz Pettersen and Harald Jørgensen. - Practising scales in French horn teaching / Julius Pranevičius. - Teaching projects and teacher collaboration / Harald JørgensenPractising is essential to performance students, and as a part of their education, they must be taught how to practice with quality. This report shows some of the results from the project “Teaching of Practising”, a project involving principal teachers at the Norwegian Academy of Music, who work on developing various aspects concerning the teaching of practising. The project is one of seven run by the Centre of Excellence in Music Performance Education. cempe.no/en. (Also published in Norwegian under the title "Undervisning i øving"
Keeping it real: addressing authenticity in classroom popular music pedagogy
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This article provides theoretical understanding for a development project that is reported in a separately published item. We discuss the implications of authenticity in music pedagogy, especially as regards popular music in general music education. First we problematize authenticity in music classrooms through three themes: (1) how music sounds, (2) “glocal” music cultures, and (3) the role of mediation in framing the student’s freedom of choice. After that we argue that the authenticity gap between the classroom and the “real-world” can be narrowed if the classroom is understood as specific place for cultural production, in which the students can experiment on the use of technical tools guided by a variety of culturally specific psychological tools to construct their identity. Finally we vision what this could mean from the teacher’s perspective. Our article suggests that authenticity can be seen as a function of musical productivity that is meaningful both from the standpoint of the culture and from the standpoint of the individual learner.
Keywords: authenticity, informal learning, popular music pedagogy, general music educatio
Visiting concerts in schools – between work-orientation and art didactics
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Visiting concerts in schools – between work-orientation and art didactics. This article discusses if and how heteronomic aesthetic practices, aesthetic learning practices and relational pedagogy can form a new rationale for visiting concerts in Norwegian schools. A recent dissertation discovers that quality conceptions in Norwegian professional visiting concerts in schools follow an artwork-oriented paradigm, by valuing the contemplative experiences of the audience higher than their possible actions and participation. Institutional and discursive frames support the work-oriented view of artistic quality by defining the event as the sole provider of quality. A work-oriented conception of quality, however, encounters problems in the school context, because pupils and teachers seem to need the concerts to be more contextually interwoven in everyday school life to create meaning.
Keywords: Relational art, relational pedagogy, visiting concerts in schools, art didactic practices, performance structure