NMH - Brage (Norges musikkhøgskole)
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Music, adolescents and health : narratives about how young people use music as a health resource in daily life
Get PDFIn this text, I focused on the extent to which young people’s use of music can be a healthpromoting resource. Based on an interpretative understanding of health as a category of experience, I found music in turn to impact the subjective interpretation of our relation to the world, to other people and to our existential being. I presented, through three adolescents’ narratives concerning their music use in their daily lives, examples of the ways in which music can be used to regulate, master and influence emotions (as an individual resource) and to inform the construction of identity and socialisation (as a social resource). Finally, I discussed the fact that adolescents find music to be a necessary element in their lives and, potentially, an existential resource in this regard. The adolescents’ narratives about their daily use of music, it became apparent, involve more than the music in itself. They involve music, in various situations, as a deliberate strategy for coping with a host of challenges. Thanks to music’s multifaceted individual, social, and existential application, I concluded that music — as used by adolescents, at least — ought to be viewed as a resource in their experience and cultivation of health. Technological developments continue to make access to music increasingly straightforward, and musical activity will impact young people’s lives for the foreseeable future. In this sense, we have only scratched the surface of this topic, whichdemands further exploration along the lines presented here
Sangskriving i rusomsorgen
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiThe topic of this paper is songwriting as a method in music therapy. I have studied a songwriting project in a care-center for drug abusers. Songwriting in music therapy is described in large studies, as well as in case-research and textbooks. There is still very limited research on songwriting in music therapy among drug addicts. This study analyzes an interview of one participant in a songwriting project. One intention has been to explore what would be the most central aspects of this songwriting-project for the participant involved. Another intention has been to explore whether or not some of these aspects can be relevant and transferrable to future songwriting projects in music therapy among drug addicts.
Since this is a single-case study, it is difficult to say something conclusive about the relevance and transferability of the results to other songwriting projects in music therapy among drug addicts. However, by drawing on other relevant research and literature about songwriting in music therapy, the discussions and conclusions in this thesis indicate that some of the results may be useful in similar songwriting projects in music therapy among the chemically dependent
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
KAMP- i Libanon. Prosjektpraksis i Kandidatstudiet for musikkpedagogikk (KAMP) ved NMH
Get PDFSiden 2005 har studenter fra Kandidatstudiet i musikkpedagogikk (KAMP) ved Norges musikkhøgskole deltatt i et praksisprosjekt i Libanon. Praksisen i Libanon består av tre hoveddeler: musikkundervisning med barn og unge i den palestinske flyktningleiren Rashedieh, konserter i Rashedieh og i libanesiske skoler, og kulturmøter. Vi mente NMH kunne bidra med kompetanse og ressurser som ble etterspurt i prosjektet, og dermed se prosjektet både som arena for undervisningspraksis, kulturutveksling og som bistand. Et møte med barn og unge som lever som flyktninger og under vanskelige livsvilkår, gjør inntrykk og vekker engasjement. Det gir også en fornyet dimensjon å se at musikkaktiviteter kan bidra til økt livskvalitet for barn og unge. Videre bekreftet erfaringer fra studieturene vår idé om at denne praksisen kunne være godt egnet for FoU-virksomhet både på masternivå og på seniorforskernivå. I dette kapitlet gjør vi rede for hvilken plass prosjektpraksisen i Libanon har fått i Kandidastudiet i musikkpedagogikk, hvordan forberedelsene til praksisen foregår, og hva innholdet i praksisen er, inkludert en presentasjon av ideen bak «Flerbruksarrangementer». Avslutningsvis vil vi presentere noen resultater fra et FoU-arbeid som har fokusert på studentenes læringserfaringer fra praksisen. Vi vil konsentrere oss om undervisningen i senteret til BAS i Rashedieh som kan ses som et delprosjekt i prosjektpraksisen
På barrikadene. En studie om idégrunnlaget i norsk musikkterapi
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiThis project focuses on the basic assumptions of Norwegian music therapy. The thesis is formed as a multiple-case-design in which the author studies 9 dissertations submitted for the degree of Doctor Philosophy. Ideas from area ethics and critical philosophy are used to enlighten the crucial aspects of awareness about the basic assumptions forming theory and practices. Findings in this study points at vital connections between Norwegian music therapy and ideas from the humanistic philosophy. These include ideas about social environments and creative actions as part of basic human needs. The dissertations investigated in this study contain ideas about cultural aspects as part of people´s health and quality of life, as well as ideas about individuals being repressed by societal boundaries. Based on findings in the dissertations, the author argues that perspectives from resource oriented music therapy, community music therapy and dialogical dimensions of music therapy may be viewed as parts of the same social academic movement. The dissertations seem to emphasize the importance of promoting possibilities of action as target for music therapy. Promoting social change may be one way to reach this target
Music history as a polyphony. A heuristic study of learning and teaching music history
Get PDFThis article is based on my dissertation (Unkari-Virtanen 2009) wherein I related music history teaching and learning in Finland to the field of music education. The objective of my dissertation was to examine music history from a pedagogical perspective, and to discuss the meaning of music history studies for today’s Higher Music Education students. The basis for the case study was one-year music history course at Stadia Helsinki Polytechnic in 2003–2004. The methodology was based on heuristic research, ethogeny and participatory action research. The core of the data consisted of the students’ anticipatory and contemporaneous accounts, transcribed negotiations, and the students’ essays and exercises. I utilized Rom Harré’s theory of identity in my interpretation of the learning process. Auli Toom’s description of tacit knowledge provided a theoretical basis for the classification of the students’ narratives, which made it possible to create connections with the different phases of Harré’s identity process. As a fundamental part of my study, I also reflected on the role of the teacher in regards to meaningful learning. The role of the teacher can be seen as both an upholder and a developer of tradition. My primary conclusion was that music history, as the active memorizing of an open and democratic musical heritage, can help students to recognize themselves as participants and actors in a living musical tradition. However, shared reflection and collaborative development of both praxis and theoria are needed for music history teaching to be able to renew itself.2014-04-3
Life Stories: Lay Musical Practices among Men and Women with Long-Term Sickness Absence
Get PDFThis text introduces the reader to music’s role in a salutogenic approach to health, focusing on lay musical practice among men and women with long-term illnesses. It is based on a longitudinal study conducted over the course of one year in Norway (Batt-Rawden, 2007, 2010a, 2010b, 2011). One objective of this study was to explore the role and significance of music in the life of these afflicted men and women in or through different life phases, situations, events, issues and contexts. The study was also intended to increase awareness of the ways in which participants, through exposure to and exchange of new musical materials and practices, may learn to use music as a ‘technology of self’ in relation to health and healing. Its qualitative methodological approach derived from a synthesis of the results of participatory action research and in-depth interviews.
Through the interviews and their analysis, I learned how the participants used music and how they engaged in self-monitoring practices and self-care. By using the healthpromotion procedure through an action-oriented, participatory musical methodology, it was possible to explore further the connections, links and relationships between musicking, health, wellbeing and quality of life in-depth, and to investigate how and why research participants believed that some types of music or musical materials came to ‘work’ for them, in close relation to their musical biographies. Over the course of the study, it became quite clear that all of the participants had strong connection with music, thanks to a host of biographical and situated couplings that generated music’s power and effect upon them. The findings here suggest thatmusic’s benefit derives from and through musicking—listening, playing and singing but also musical reflection and narrative—and that its healing powers are directly proportional to the connections music provides to other people and times, and to the sensual or meaningful material itself. Agency, empowerment and learning were not caused directly by music, acting as a kind of objective force, but by music’s specific ability to provide mechanisms and affordances for achieving those healing effects. Even when music was shared, enjoyed and appreciated in social circles, it represented a personal choice
Listening to music – with professional ears. A study of orchestral musicians’ ways of listening
Get PDFThe training of listening skills in higher music education is a central part of the aural training discipline, often called aural analysis or structural hearing. Listening here refers to active, conscious attention paid to the music and its elements through the combination of perceptual and cognitive skills, and understanding. Theories about listening suggest various categories and types of listeners and of listening, mainly along the analytical-emotional spectrum. How do professional musicians react when actively listening to music? What is typical in their ways of listening? What are the links between listening and academic aural analysis? In this study, I interviewed eight professional musicians, seven orchestral musicians and one orchestral conductor, focusing on their ways of listening to music and how this might be related to their profession. As a starting point for the interview, an excerpt from an orchestral piece unknown to the participants was played, which evoked a great variety of reactions, both emotional and analytical. The most typical and dominant way of listening was critical listening, a professional way of listening, valuing the quality of the performance and the performers’ ability. Academic aural training listening was also evident, but to a smaller degree. They also reported that the frequency of their deliberate music listening was strongly reduced, both in live concerts and listening without any purpose, and the importance of silence was strongly emphasized.
Keywords: expert listener, analytical-, emotional- and critical listening, valuing, aural training, aural analysi
Musikk og musikkterapi med ungdommer som viser innagerende atferd
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiIntroduction: This study presents how music and music therapy may influence adolescents with shyness, introvert behaviour or social withdrawal.
Methods: The methods used are a literature review of international research studies, semistructured in-depth interviews with two Norwegian music therapists, and a survey with 15 Norwegian music therapists, who had experience with the target group, as respondents.
Results: 31 of the 42 studies included in the literature review claim to have found positive effects of music and music therapy. The findings in the in-depth interviews describe the importance of activity, facilitation / interpretation, music selection / taste in music, relation, possibility for movement, regulation of emotion, self-expression and understanding of own feelings, the experience of mastering and confirmation / recognition. The respondents to the survey assessed the effect of relational training in music therapy to be statistic significant (p<0.05) good, with a mean value of 3.2, and the effect of confirmation / recognition to be statistic significant (p<0.05) good to very good, with a mean value of 3.63. The music therapists’ assessment of the efficiacy of methods used in the target group showed a mean value of 3.14, which corresponds to an effect of good to very good4.
Discussion: The results from the literature review, the in-depth interviews and the survey are for the most part coherent. In the discussion about whether music and music therapy has a negative effect or not on these adolescents there are some disagreements.
Keywords: music therapy, music, shyness, adolescent
Music analysis. A bridge between performing and aural training?
Get PDFThis article looks at whether music analysis might function as a bridge between the subject of instrumental performance and the subject of aural training in higher music education. It derives from a study with three substudies that was carried out at the Norwegian Academy of Music; lessons given by four instrumental teachers were observed in terms of their use of music analysis, and students were surveyed about their opinions regarding music analysis, both with a questionnaire and in group interviews. The findings demonstrate that music analysis does not presently function as such a bridge, despite the fact that many students think it is very important and seek to improve their capacity in this regard. This inconsistency might be reconciled through minor changes in the way teachers conduct their music analyses for their students, and in the amount of communication between the teachers regarding analytical issues.
Keywords: music analysis, aural training, performin