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THERE WILL BE NO CRITICAL REFLECTION
Get PDFNorwegian Research Fellowship for the Arts Programme. The Norwegian Academy of Music. - 2013. - . - Formål. - Hovedproblemstillingen i prosjektet har vært å undersøke muligheter for radikale og uforutsigbare nytenkninger av operasjangeren ved å forholde seg eksperimentelt til hele operaens produksjonsapparat. Dette innebar en rekke delundersøkelser: Er det mulig å forsterke et slags holistisk kompositorisk perspektiv i opera ved å omgå den tradisjonelle inndelingen i ulike faggrupper som komponist, utøver, regissør og produsent? Hvilke nye muligheter for visjonær tenkning kan en ekstrem nedskalering av operaformatet gi? Hvilke musikkteatrale gevinster kan man få ved for eksempel å fjerne handlingen, eller sangstemmen, eller selve den sceniske forestillingen? Er det under disse forutsetningene mulig å nærme seg en multimedial kunstart med musikk som motor, som både respekterer operaens tradisjon for patos, svulstighet og stormannsgalskap, men som også reflekterer samtidsmusikkens konseptualisme og kritiske virksomhet? Og er det, ved å etablere en «mindre» operaform, mulig å gjøre operaen mer fleksibel, mer samfunnsmessig aktuell og mer mottagelig for innflytelse fra nyere teaterteori og fra moderne billedkunst? Hva er kunstnerisk frihet? Om prosjektet Stipendiaten skulle i prosjektet selv være diktatorisk operadirektør, komponist, utøver, regissør og produsent, men også inngå i ulike samarbeid ved hver produksjon. En liten leilighet i Gamlebyen i Oslo har fungert som operahus og scene med alle operahusets tradisjonelle funksjoner intakt, som markedsavdeling, restaurant, programredaksjon, fagforening etc., hvor hele institusjonens struktur ble utnyttet kunstnerisk. Operaene skulle være svært forskjellige i format, og skulle variere fra for eksempel større sceniske produksjoner og gjestespill («Den Norske Opra på turné»), helt ned til opera i form av konseptuelle skisser, enklere musikkperformancer og korte youtube-videoer. «Den Norske Opra» skulle være en slags moderne parallell til Richard Wagners berømte Bayreuth-operahus, som ble opprettet for utelukkende å framføre Wagners operaer. I vår tid og i vårt kulturelle klima finnes få gale kongemesener som Ludwig II, og samtidsmusikken har en helt annen og mer marginal posisjon i samfunnet. «Den Norske Opra» er således et fattigmanns-Bayreuth, lokalisert i en shabby leilighet på Oslo øst med fast ensemble og stab på til sammen ett menneske (riktignok med utsikt til Bjørvika). Aktiviteter “Den Norske Opra” er en kontinuerlig 3 års performance og presentasjonen byr derfor på noen utfordringer. Den siste opravisningen “Narscissus” vil riktignok være en åpen sluttforestilling hvor også bedømmelseskomiteen blir invitert. Men siden verket bare representerer omtrent 1/10 av den samlede produksjonen vil dokumentasjon og beskrivelser på hjemmesiden www.dennorskeopra.no være hovedresultatet. Finansiering: Stipendiatprosjektet er finansiert gjennom tildeling fra Stipendiatprogrammet ved Program for kunstnerisk utviklingsarbeid.The only solution in the end was this: To hand in a one-page document with only this sentence: “There will be no critical reflection”. It is a little childish, but it is the Truth (both in a factual and artistic sense). Art should seek Truth. This solution is what I have decided upon. The pages 2 to 87324 should be considered as the footnote to this sentence, which is put on page 1. It is a little like John Cage had written a five movement romantic symphony as a footnote to 4’33, which we should be happy he didn’t do
Potentials and challenges in interactive and musical collaborations involving children with disparate disabilities. A comparison study of how Petronella, with Down syndrome, and Dylan, with autism, interact with the musical and interactive tangible ‘WAVE’
Get PDFIn this article, the point of departure is the testing of the CCTs known as the WAVE in 2012, which offers many cross-media possibilities for interaction and was developed on the basis of the ORFI evaluation the year before. To respond to some of the requests that emerged during the ORFI actions, the WAVE designers built in a microphone and a camera. This article focuses on these new elements via the experiences of two children with disparate disabilities, an active girl named ‘Petronella’ who loves the microphone and a more passive boy named ‘Dylan’ who loves the camera. This study’s data collection includes a video analysis triangulated with a focus interview conducted with a group of professional experts to elicit their observations regarding the video footage. The research question is as follows: Why do the two children relate so differently to the same musical and interactive CCT, and what would facilitate the most meaningful and health-promoting co-creation experience for each of them? The article will start out with a short introduction to the RHYME project and the WAVE. I will then define co-creation, one of the core concepts in RHYME as well as this study, and introduce the two subject children. Before I present the video analysis, I will discuss methods of video analysis more generally. I will also begin to incorporate comments from the interview with the experts
Død, oppstandelse og himmelfart: Bruce Springsteens religiøse billedbruk på The Rising
Get PDFSommeren 2002 utga Bruce Springsteen albumet The Rising. Dette var hans respons på de dramatiske hendelsene i USA 11. 9 2001. I dette kapitlet ser jeg nærmere på hva slags religiøse bilder Springsteen bruker på The Rising. Hvordan bruker han det religiøse språket for å formidle trøst, håp og tro på fremtiden? Hva skiller Springsteens respons på 11.9 fra andre artisters respons på samme hendelse? Hvorfor ble han invitert til å delta på minnekonserten for 22. juli på Rådhusplassen i Oslo 2012? Og hvilken rolle spiller Springsteen for mange mennesker i Norge etter 22. juli?
Det var ikke tilfeldig at Springsteen valgte å fremføre nettopp «We Shall Overcome» under minnekonserten på Rådhusplassen 22. juli 2012. Både sangen og måten den ble fremført på bidro til å ta oppmerksomheten bort fra Springsteen selv. Denne kvelden var han ikke «the Boss» — han var en av oss. Han valgte ikke en sang han selv hadde skrevet, men en sang som opprinnelig er en spiritual, som de svarte i USA sang på bomullsmarkene og i kirkene mens de drømte om en framtid uten slaveri og undertrykking.
Mange av Springsteens tekster bærer preg av at han har arvet det han selv kaller «a spiritual geography» (Springsteen, 2005), mens han samtidig har utnyttet denne dimensjonen kreativt, og skapt et poetisk univers som er hans eget. Springsteen sier at han har bearbeidet religiøsiteten fra sin katolske oppvekst og gjort den åpen, universell og tilgjengelig for alle. Derfor appellerer The Rising både til mennesker som ikke har noe forhold til det religiøse, og til mennesker som identifiserer seg med en religiøs eller åndelig dimensjon. Derfor omfatter Springsteens «menighet» både troende og ikke-troende, og derfor fremsto han som en samlende skikkelse både etter 11. september, og på minnekonserten i Oslo 22. juli 2012
Foreword
Get PDFIntroduction. - . -
Technology has, over the past decades, yielded new ways to creatively explore sound and music, to interact with computers and to engage in social interaction. The change from analogue (device-determined) to digital (program-determined) created a major shift in the interaction paradigm, touching all areas of everyday life. Likewise, the analysis of, and critical reflection on, the use of digital music technology has advanced at a similar pace, feeding into developers’ methodologies. It is hardly surprising that professionals and users across different fields are excited to explore that which materialises when they bring together their skills. The anthology ‘Music, Health, Technology and Design.’ collects articles from a set of international research projects but the most from the national interdisciplinary RHYME project where professionals, children, parents and caregivers have collaborated. In this project they have investigated what interactive sound and media technologies, that integrate hearing, sight, touch and physicality, can bestow upon the health and wellbeing of children with severe disabilities and developmental disorders. When considering the articles as a collection, a number of universal threads can be traced: affordance, transparency, collaboration, appropriation and design needs in terms of system, interaction and relevance. The essence of these threads is discussed in the following
Aural awareness in ensemble rehearsals. A qualitative case study of three undergraduate chamber music ensembles playing Western classical music
Get PDFDissertation for the PhD degree Norwegian Academy of Music, Oslo 2014 - Avhandling (Ph.D.) - Norges musikkhøgskole, 2014Abstract
This thesis aims at understanding the roles and characteristics of aural awareness in ensemble rehearsals, within the contexts of higher music education and Western classical music. The overall idea of the subject area of aural training as a complementary discipline in undergraduate studies, is that it should inform and support performance activities, and lead to aural awareness. For example, one may expect music students to be aurally aware in their unsupervised, curricular ensemble rehearsals. However, the ways in which aural awareness manifests itself in such rehearsals, and how it informs problem-solving processes, has received little attention.
The following research problem is posed in the thesis: In what ways are undergraduate music students aurally aware during ensemble rehearsals, and how does their aural awareness influence their collaborative efforts to improve their playing? Two research questions further refine this problem, asking how aural awareness is part of ensembles’ problem-solving processes, and what kinds of tools the ensembles share in order to improve their playing. This problem area is explored through a qualitative, collective case study with three student chamber ensembles from the Norwegian Academy of Music. Video observations of rehearsals and focus group interviews have been chosen as data collection methods. Working from a sociocultural perspective, the thesis challenges the assumption that aural awareness is merely an individual phenomenon, and defines aural awareness within the collective learning situation of ensemble rehearsals.
The thesis suggests six kinds of tools that are shared by the students in the ensembles: activity, strategic, analytical, conceptual, interpretative, and performing tools. These tools operationalize aural awareness and mediate the students’ understanding of the music, in ways that inform their efforts to improve their playing. The thesis also suggests that there are different ways of negotiating aural awareness in ensemble rehearsals. A two-dimensional table explains the relations between a scale going from cooperation to collaboration, and a scale going from few or no, to several shared tools, showing four ways of negotiating aural awareness: expert negotiations, complete negotiations, incomplete negotiations, and personal negotiations.
The thesis concludes that aural awareness can play the roles as standby, basis for negotiation, and preparation in ensemble rehearsals. The characteristics of aural awareness in ensemble rehearsals are interpreted as craftsmanship, scholarship, and musicianship. Finally, the thesis concludes that these roles and characteristics of aural awareness in ensemble rehearsals can be seen as an Aural Awareness Space. The findings of the thesis contribute to the field of higher music education by providing tangible examples of how undergraduate students are aurally aware. The thesis as such contributes to the field of research into higher music education by assisting to establish a research field of "aural training pedagogy in musical practice," and by defining aural awareness in a collective learning situation through a sociocultural framework
Editor’s foreword
Get PDF-------
The present volume, which is the eighth anthology published in this Series by the Centre for Music and Health at the Norwegian Academy of Music, presents a compilation of articles that explore the many intersections among music, health, technology, and design. These studies all engage with the use, development, and design of interactive and digital media for the potential health benefit of users with some kind of physical or mental needs. They also share a notion of health in a prophylactic and preventive sense, as something that can be maintained continuously through meaningful and life-fulfilling activities, both by oneself and with others and with technological media. The book is divided into two parts. The first and larger part includes articles deriving from the on-going Norwegian multidisciplinary qualitative research project called RHYME. The second part includes articles from a selection of well-known international researchers in the field of music, technology, and health.
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A study of band parents' and band directors' perceptions of parental involvement in three central Buskerud school bands
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkpedagogikkNorway has a rich tradition of instrumental music teaching in the form of skolekorps, or school bands. Norwegian school bands provide extracurricular instrumental music education and consequently often have external management: BAND PARENTS. Because of this autonomy, the Norwegian school band is a fascinating and appropriate setting for studying the implications PARENTAL INVOLVEMENT has for their students’ instrumental music education. The purpose of this study is to investigate band parents’ and band directors’ PERSPECTIVES of parental involvement and its possible effect on three band programs in order to determine areas of potential improvement. With the help of three school bands in central Buskerud, Norway, in a CASE STUDY this study reveals categories of parental involvement in which band parents’ and band directors’ perceptions coincide and are accurate. In addition, this study demonstrates the impact parents have on the DIDACTICS of Norwegian school band education
Band i et musikkterapeutisk perspektiv : Et bandprosjekt med ungdommer på institusjon innenfor psykisk helsevern
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiSummary
This study describes a band project from a music therapy perspective, with adolescents living in a psychiatric institution. The project was lead by two music therapist students and I was one of them. The thesis says: ”How does adolescents living in a psychiatric institution describe their gain from participating in a band project with a music therapy perspective?” The study focus on quotes from the informants that joined the band project. The process of establishing the band is also described. The research design is qualitative and explorative, and the methods used is participatory observation and semi structured interviews. The study is a case study using a procedure of analysis through a hermeneutic – fenomenological perspective. The study found that the band can offer motivation through experiences of mastery, community and collaboration. The band also offers a high degree of participation, and is a place where the participants can have a break from their illness and a place to share emotions.
Sammendrag
Denne studien beskriver et bandprosjekt gjennomført i et musikkterapeutisk perspektiv med ungdom på institusjon innenfor psykisk helsevern, som en medstudent og jeg gjennomførte. Problemstillingen er: ”Hvordan beskriver ungdommer som bor på institusjon innenfor psykisk helsevern sitt utbytte av å være med i en bandgruppe med et musikkterapeutisk perspektiv?”. Studien fokuserer på sitater fra tre informanter som også var med i bandgruppa. Etableringen og gjennomføringen av gruppa er også beskrevet. Forskningsdesignet er kvalitativt og eksplorativt og metodene som er brukt er deltakende observasjon og semistrukturert intervju. Studien er en casestudie som bruker en analyseprosedyre med fire steg der det er brukt en hermeneutisk – fenomenologisk tilnærming. Studien fant at bandgruppa tilbyr motivasjon gjennom mestringsopplevelser, samhold og samhandling. Bandgruppa tilbyr også høy grad av deltakelse og medbestemmelse og er et sted der man kan få pusterom fra sykdom og utløp for følelser
Preparing generalist student teachers to teach music. A mixed-methods study of teacher educators and educational content in generalist teacher education music courses
Get PDFDissertation for the PhD degree Norwegian Academy of Music, Oslo 2014 - Avhandling (Ph.D.) - Norges musikkhøgskole, 2014This study presents knowledge about how generalist student teachers are being prepared to teach music in Norwegian primary and lower secondary schools, by investigating the music courses in undergraduate generalist teacher education and the teacher educators responsible for teaching these courses. When attention is paid to generalist teachers by music education research, the aim is often to investigate the degree to which they feel confident about teaching music. In contrast, few studies investigate the music courses responsible for their teacher preparation, and what conceptions of music, music teaching and musical knowledge and skill are emphasized and transmitted by these music courses and the teacher educators involved.
The study includes three related theoretical and empirical themes. The first aims at describing the teacher educators of music in generalist teacher education, GTE music, and what they perceive to be the main challenges facing GTE music. This description is based theoretically on the work of Bourdieu (1984, 1990). The next focuses on describing and understanding the music courses at a general level, in terms of investigating its structure, content and forms of knowledge, in line with Bernstein’s (2000) notion of recontextualizing. The third focuses on how school music teaching practice is represented, visualized and approximated within GTE music (Grossman, Compton et al., 2009). The research design is a mixed-methods design including both qualitative and quantitative approaches, a choice based philosophically on critical realism (Bhaskar 1998, 2011). Data is collected from ten individual, qualitative interviews with teacher educators from six Norwegian GTE institutions, and from a survey sent to all GTE teacher educators of music. The initial response rate is 74%, and by the use of screening questions, 90 survey respondents (minimum actual response rate 62.9%) were identified as members of the defined population: academic staff at GTE institutions teaching music to one or more generalist student teachers in the period between August 2010 and February 2013. The findings indicate that many teacher educators of music are professionals in a practitioner’s sense, characterized by limited symbolic capital in terms of academic positions and traditional research competence. Their background is characterized not by extensive experience as schoolteachers, but by experience from outside-school settings, professional performance contexts and from teacher education itself. A range of professional sub-identities and positions are identified in the study – the musician, teacher, musical leader, and scholar – creating possible arenas of conflict in the field. The teacher educators report facing two main challenges in their teaching of GTE music: limited time and a number of either formally untrained or informally trained student teachers.
GTE music seems to be recontextualized as a pedagogic discourse (Bernstein, 2000) representing the traditional conservatory model of music studies mainly, evident in the great number of performance and musicology disciplines. The discourse of music didactics is as well a substantial element, while the more research-based model of teacher education is included to a lesser degree. The central forms of knowledge seem to be professional knowledge (produced in, for and about the educational system) and professional practice knowledge (produced by and for practitioners) (Rasmussen & Bayer, 2010). Representations and approximations of both musical practice and school music teaching practice seem to play important roles. What is actually represented and approximated is however a range of different music teaching practices, but musical performance (singing and playing instruments) seem to be given priority. As a result of continuous cutbacks of teaching hours, GTE music seems to have become a highly fragmental and congested yet minute GTE subject. The study has identified important tensions between the teacher educators and the subject of GTE music. On the one hand, the study indicates that the course structure of GTE music (the fragmental conservatory logic) seems to be more conservative than many of the teacher educators involved. On the other hand, the study has identified tendencies of recontextualizing in and transformation of GTE music. One is the academization of GTE music, which is promoted by some and counteracted by others. A second is the move towards an emphasis on the informal domains of pop and rock music and on aural work forms, and the third is the tendency of rendering music and music teaching practice easy and feasible, due to the need for facilitation in low-risk settings demanded by the teacher educators’ perception of the current student teachers as formally untrained
Frå hyggjetreff til gudsteneste for born? : Om musikken sin funksjon i babysongtiltak i Den norske kyrkja og om høgare musikkutdanning sin innverknad på denne funksjonen
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkpedagogikkAbstract. - This survey examines music making for infants with parents (Norwegian: babysong) in the Norwegian church, in the context of music education. The purpose of this survey has been to assess the competence of teachers of babysong in religious education in the Norwegian church. We investigate whether there is a correlation between knowledge background and prioritization of content and values; and we consider the function which music has or may have in the Norwegian church in the teaching of babysong. The theoretical framework is based on music theology and sociology of religion. From the music-‐theological perspective, the emphasis is on the nature of music, aesthetics of music, liturgical aesthetic tradition, listening, the total liturgical experience; and the relationship between the Word, verbal texts and music. The religious-‐sociological focus is on the aestheticisation of religious life, and the consequences of this; particularly for Christian children's song repertoire, which at present is influenced by trends in entertainment and bodily expression. The thesis is based on a questionnaire posed to all leaders of babysong in the Norwegian church. The data consists largely of quantitative material, which, due to question types and formulations, requires hermeneutic interpretation. The results show that babysong leaders have considerable pedagogical training and a certain amount of musical and/or theological training. Activities intended for enjoyment – both musical and social – dominate babysong. Music is highly emphasized by all; somewhat more so by respondents with 5-‐6 years of musical training, but the differences between this group and the rest are smaller than expected. The function of music is to create joy and to disseminate the Christian faith. The author will give a qualitative discussion of the theory and empirical evidence in favor of increased competence in the area of music; specifically, greater awareness of the inherent potential of music to convey existential meaning. Advanced musical training does not necessarily give such awareness. Put starkly, the consequence will be that one moves from a meeting where music is primarily seen as means of enjoyment to a celebration of babysong meetings as church services for children,
where enjoyment, religious education and profound aesthetic experiences may coexist freely