NMH - Brage (Norges musikkhøgskole)
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Music didactic intentionality as social construction
Get PDFThis article discusses contemporary music education aiming at a new understanding of teaching and learning contemporary music. Today in Sweden, the interest for contemporary music within formalised music education is growing rapidly. This raises questions about what content is taught and how this affects pupils’ learning of music. The theoretical framework is inspired by a social-constructionist perspective (Burr, 2003). Thus, this text argues against an essentialist perspective on subject matter, teaching methods or content. Teaching practices are seen as cultural practices formed through and by discourses in different contexts, which have implications for the concept of learning. Earlier research has investigated discourses mainly by focusing on language, while this article discusses the possibility of understanding “intentionality” as a place where discourse on learning takes place. Therefore didactic intentionality is suggested to be understood as not only the relationship between pupil and content but also as a way to understand how discourses work in music education contexts. This may prove to be a useable concept when analyzing music education practices.2014-04-3
Nordic Research in Music Education. Yearbook Vol. 14
Get PDFContents. - Introduction. -
The changing concept of aesthetic experience in music education / Hanne Fossum & Øivind Varkøy. -
Research and research education in music – disciplinary or interdisciplinary approach? / Tiri Bergesen Schei, Magne Espeland, Brynjulf Stige. -
Den musikaliska salongen i Falun : en studie av den borgerliga salongen som pedagogisk miljö / Juvas Marianne Liljas. -
Folkmusikundervisning på fiol och gitarr och dess historiska rötter / Thomas von Wachenfeldt, Sture Brändström och Juvas Marianne Liljas. -
Discourses on music in Swedish primary and preschool teacher education / Monica Lindgren & Claes Ericsson. -
Studenter med intellektuell funktionsnedsättning i rytmikundervisning inom högre musikutbildning: subjektspositioner, identitet och kunskapsbildning /
Marie-Helene Zimmerman Nilsson & Claes Ericsson. -
Musikdidaktisk intentionalitet som social konstruktion / Karl Asp. -
Value changes in Norwegian music education : From increased acceptance of rock to a reduced status for classical music? / Knut Tønsberg. -
Music history as a polyphony : a heuristic study of learning and teaching music history / Leena Unkari-Virtanen. -
Crossing borders : perspectives on learning in a school musical project / Lorentz Edberg. -
The duty of gamelan : a gamelan pedagogue’s philosophy of work / Elin Angelo. -
The “native”, the “halfie”, and autoethnography : ethics and researcher identity in fieldwork / Nicholas Ssempijja. -
Forbløffelse som udgangspunkt for forskning i musikpædagogiske praksisser / Kirsten Fink-Jensen. -
Dissertations 2012. - Nordic Research in Music Education. Yearbook Vol 14The present volume 14 of Nordic Research in Music education Yearbook includes thirteen articles. The articles introduce a wide variety of themes and approaches that reflects the extensive scope of the present interests of the Nordic music education research community. The articles are divided into three sections according to their principal study interest. The first section consists of two articles that share a philosophical/theoretical orientation. The second section includes nine articles that report a variety of research projects. The third section includes two methodological articles
Church Musician – calling and profession
No full textAvhandling (Ph.D.) - Norges musikkhøgskole, 2013The dissertation Church Musician – Calling and Profession focuses on a relatively small professional group in Norway – the cantors. This group is marginal in terms of its size, but the cantor profession has long held a significant position within the church, schools and in everyday cultural life. The Church of Norway is an institution in a state of rapid change, and the professional role of the cantor will soon become a complex one. In the present study I therefore discuss the following research question: What characterises the professional conditions of newly qualified church musicians, and how do these conditions contribute to the candidates’ understanding of their professional role? The education required for cantors is a four-year bachelor degree in Church Music, which is a study path in the conservatoire tradition. The programme in its earliest form was formalised in 1883 at «The Kristiania school for organists» – the precursor to the Norwegian Academy of Music in Oslo (founded in 1973). However, because of reforms and increasing complexity within the church, the traditional study path is challenged by alternative qualifications. The cantor profession seems gradually to be seeking new legitimacy.
This dissertation seeks to illuminate both knowledge-based, institutional and personal conditions of significance for graduate church musicians’ professional understanding. The dissertation concludes that the cantor profession is a very complex ministry, expected to perform a growing range of tasks in the professional field. It is thus questionable whether a study path based on a traditional music conservatoire education (both in form and content) is a meaningful one for future church musicians. The study concludes that some basic questions must be addressed before the Norwegian Academy of Music and other institutions offering church music education can shape future education plans: - What does it mean to prepare musicians for professional life? - Is it possible to satisfactorily combine the separate perspectives of musical discipline and professional needs within the framework of a four-year bachelor degree? If not: - Should church music education primarily be a musical discipline or a vocational preparation?
The project falls under the focus area «Research in and for Higher Music Education» at the Norwegian Academy of Music
Et felt av muligheter. Om potentielle strukturer, interaktive musikkting, helse og musikkterapi
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiThis master thesis is written within the five-year research project RHYME (2010-2015, www.rhyme.no). The target group for RHYME is children with severe disabilities and their families. RHYME will develop and test three new generations of interactive, ICT-based, musical tangibles. The master thesis addresses the following research question: What are the potential structures in health-promoting co‐creation between children with disabilities, close others and co-creative tangibles in the research project RHYME – and how can these further our understanding of the term structure in music therapy? In order to illuminate the research question a qualitative research method, with interpretation of theory and also interpretation and analysis of interviews, is used. The study is mainly rooted in the philosophy of hermeneutics. Umberto Eco’s aesthetical ideal of openness and the concept field of possibilities are presented, along with perspectives on structure in music therapy. Through analysis of interviews with the participating children’s close others, a field of potential structures occurring in the co-creation is revealed. With this as a starting point and on the basis of Eco’s aesthetical ideal, potential structures in music therapy are discussed. In the conclusion, the concept of field of possibilities is suggested as being able to further the understanding of the term structure in music therapy, and also as an ideal for the music therapy process
The musical identities of Danish music therapy students : a study based on musical autobiographies
Get PDFMusic therapists need both advanced musical and therapeutic skills to work as ‘health musicians’ in the vast area of ‘health musicking’ (Trondalen & Bonde, 2012), which ranges from working with groups in the community to individual sessions with mental health patients in hospital clinics. The balance between musical and therapeutic skills in this training is the subject of continuous discussion in the training program at Aalborg University, as are the ways in which the musical identity of a music therapist is formed and then identified, and the ways in which we might study it. Tony Wigram, Inge Nygaard Petersen and Lars Ole Bonde (2002, chapter 6.3) wrote about these questions in relation to the program at Aalborg and deliberately distinguished between the skills and traits developed as part of one’s personal life story and the skills and qualifications developed through the training. The former includes inborn musical aptitude, a history of musical experiences, family and social influences, preferences and emotional sensitivity, knowledge of styles and genres and a high level of competency in one or more instruments. The latter includes improvisational skills and flexibility, an awareness of meaning within music, response techniques adjusted to a client’s needs and finally “an integration of personal musical autobiography and preferences”. This text will examine what such an integration might look like, primarily from the student’s perspective. In 1997, Even Ruud published the book Musikk og identitet [Music and identity] the first empirical narrative study of music as a core element in the identity construction of Norwegian music therapy students. I was fascinated by it, both methodologically and theoretically, and starting in 1999, I developed a course titled Music and Identity for Danish graduate students in the music therapy training program at Aalborg University. Professor Ruud has collaborated on some of the courses, so their connection to the original study has been strong. Over the last thirteen years, around eighty students (in their eighth semester) and around twenty experienced music therapists have taken the course and thereby contributed with data to the present study. The course is based on a ‘musical autobiography’ written by each student, in the later years accompanied by short narratives on music and health and individual interviews focusing on selected musical experiences. The purposes of the course are as follows:
• to explore the impact of personal musical experiences on the (developing) professional identity of the novice music therapist;
• to use these experiences as the personal basis for a theoretical understanding of how music can be involved in identity work, including music as a health resource;
• to explore how music reminiscence, music experiences and musical preferences over the lifespan can be used in music psychotherapy with different client groups. -
In this article, I will focus on the first and second aspects of the coursework in particular. I will begin with a short literature review and theoretical framework, then I will present the methodology of the present study, its data and selected results. I will conclude with a discussion of the specific aspects of music identity construction in music therapists
Students with intellectual disabilities in rhythmics at the Academy of Music: subject positions, identity and knowledge formation
Get PDFThis article is based on a larger research project where the overall ambition is to critically discuss the encounter between students with intellectual disabilities and the Academy of Music. The aim of the article is to study the subject positions that are offered to the students, and how identity is constructed in interaction between the participants in teaching situations. The aim is also to describe the knowledge formation in a broad sense. The theoretical points of departure are the poststructuralist and the social constructionist theories, where the subject is considered as an agent that constructs reality in social interaction, but also as restricted by prevailing discourses. Discourse analysis is being used, with the aid of analytic tools developed within discursive psychology. Two different prominent discourses in rhythmics are identified: the protective therapeutic discourse, and the reproductive musical discourse. As a final conclusion, subject positions as well as knowledge formations contained in these discourses are discussed.2014-04-3
To practise improvisasion. A qualitative study of practising practices among jazz students, with a particular focus on the development of improvisation competence
No full textAvhandling (Ph.D.) - Norges musikkhøgskole, 2013The thesis To practise improvisation. A qualitative study of practising practices among jazz students, with a particular focus on the development of improvisation competence is aimed at illuminating the motives, goals, objects and modes of actions that distinguish instrumental practising among jazz students, and at increasing the knowledge of how improvisation competence can be developed through practising. The rationale of the study is based on the assumption and potential dilemma that musical improvisation often imply playing something different from what one has practised, in order to create spontaneously in an aural, interactive and unpredictable musical context. The empirical data consists of 13 qualitative, semi-structured interviews with students within higher jazz education in Norway and Sweden, distributed on different main instruments. The interviews were triangulated with a follow-up case study with three of these students, where Stimulated Recall interviews based on individual as well as collective practise sessions were used. The study employs Activity Theory as the basic theoretical framework. Instrumental practise is seen as a cultural-historically developed activity, with its meaning and motives derived from the basic activity of performing in the jazz tradition. Practising practices are determined by the social world constituted by the educational environment and the wider jazz field, including norms, values and the use of cultural tools. The concept of expansive learning is employed to analyze learning activity that is potentially open-ended. The findings show how the participants emphasize the development of a personal “sound” or “voice”. They search for a high degree of autonomy and ownership with respect to the choice and utilization of learning material, and towards the institution and teachers. Objects of practising improvisation span from gaining control of technicalities, such as rhythmic time feel, feeling of form, chords, scales and motor skills; to processual aspects of improvising, such as increasing musical association abilities, letting go of cerebral control in the moment, etc. Practising can involve experimenting with musical conventions and instrument norms connected to a traditional division of labour in band contexts. The concept explorational practise is launced to capture these experimental and improvisational aspects, as supplement to the scholarly established concept deliberate practise. Findings also point to how collective music making practices such as playing in bands motivates and give meaning to individual practise. Practising in bands is thus considered as a necessary learning arena for developing abilities specific to the interactive situation, such as responding to each other and developing ideas collectively
Hopper og spretter, den. Som en gummiball! En kvalitativ intervjustudie om favorittmusikk blant mennesker med Downs syndrom
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiThe subject of this study is favorite music and Down syndrome. The research question is: "Does one type of music appeal more than other types of music to people with Down syndrome, and what impact could favorite music have on their identity?" I wanted to study musical preferences among people with Down syndrome on the basis of my own preunderstanding on this subject. The method I used is qualitative semi structured in-depth interviews with four informants, who all are adults, and men with Down syndrome. Theories about favorite music, music, musical preferences, identity and developmental issues are central. The results from the interviews are discussed in relation to this theory. The purpose of this study is to provide new knowledge about a topic and a group of people with which and who music therapist are often confronted. In music therapy we learn that it is important to acknowledge the client's musical preferences. The informants from this study tell that they, to a large extent, listen to a lot of the same music and that they all feel strongly “dance bands” and dance music.
The informants from this study tell that they, to a large extent, listen to the same music. I conclude with the following: “dance bands” and music from the DDE (a popular Norwegian band) are types of music that appeal more to the informants in this study than other types of music. For music therapists it is therefore necessary to be prepared for, and acknowledge this as a possible fact when they meet with clients with Down syndrome in music therapy. Favorite music and identity are in a mutual relationship. They have impact on each other
Research and research education in music – disciplinary or interdisciplinary approach?
Get PDFThe main purpose of this article is to contribute to a discussion about the future of research and research education in music. The multiple existing traditions of music research constitute a rich resource. Increasingly however, similar topics are researched from different angles, often with watertight bulkheads between such various music disciplines as, e.g. music education, musicology, music therapy and performance studies. Music is a common denominator in these disciplines and interdisciplinarity could inform the various ways that music today is practiced, communicated and researched. Examples from interdisciplinary music studies will be highlighted in the article, particularly with regard to the advantages and challenges of interdisciplinary approaches to research education in music. Basic issues are discussed and characteristics of some research fields are illuminated, with the purpose of addressing trends in research education within music.2014-04-3
Together! RagnaRock, the band and their musical life story
Get PDFLifelong dedication and membership indicate in and of themselves how important RR has been for its members and leaders. In general, their musical life story is about the change of identity from clients to rock musicians, but this band’s narrative is also about so much more: certain music, rehearsal methods prepared especially for the band, instrumental learning, significant events and performances, feelings and experiences, even eye contact in rehearsals. The story is very personal and unique for each member, of course, and it contains more unexpressed experiences than the data collected for this study can ever reveal. However, a musical story as happy as RR’s derives as much as anything from sensitive and competent leadership. The leaders have all had several roles. First, they led the band itself, drawing upon musical, educational and therapeutic skills while playing instruments as well. Second, they had to be not only bandmates but friends or even mothers/fathers’. When conflicts occurred, for example, they had to negotiate resolutions. When the band went out on tours, they had to make arrangements by booking hotels and buying meals and so forth. But most of all it was the unique togetherness that made the RR story so happy, a togetherness that developed over years through a shared love of music, playing, and each other. RR is therefore an example of how we might create healthful personal and social capital through bonding and bridging for people with handicaps. The band has helped its members avoid isolation, which is today perhaps the biggest threat for people with handicaps, and as such, band participation has been an important component of health for them! Through our study of RR, we have also found it to represent a means of creative and aesthetic expression that allows for the performance of the self and the development of identity.12 This reminds us, as well, that playing in a band like RR offers an arena where people with various personal prerequisites can join in but remain who they are. In this sense, RR is an example of how to arrange for activities that accommodate basic needs and at the same time preserve human dignity. Mary Law (2002) quotes Adolph Meyer, one of the founders of occupational therapy, who speaks of the human being as an organism that maintains and balances itself in the world of reality by leading an active life. The use that we make of ourselves, says Meyer, “gives the ultimate stamp to our every organ” (Meyer in Law, 2002, p. 640). Therefore, arrangements like RR constitute powerful affirmations of everyone’s need to feel wanted, useful and needed