NMH - Brage (Norges musikkhøgskole)
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Meaning and effect of a music concept designed specifically to promote general wellbeing and health for children with cancer receiving music therapy
No full textThis text consists of an extract of my master´s thesis (Sanfi, 2007). It discusses a music concept, which is designed to meet bodily and psychosocial needs of children with cancer when receiving chemotherapy. The theory part relates to the development of the special designed music concept, while the empirical part relates to a supplementary pilot study in which a mixed methods design (i.e. semi-structured interviews and questionnaires) is applied. The combination of methods intends to explore meaning and effect of the music concept. The participants include three children, who received chemotherapy at Aarhus University Hospital Skejby, Denmark. Three main aspects are addressed, starting with the underlying theoretical frame of the music concept. Thereafter follows a presentation of the results of the study. Finally, the theoretical frame and the results are discussed in relation to possible health benefit perspectives of the music concept. The implications of chemotherapy-related side effects are far-reaching and profound, and the results of the study show that the music concept has resource promoting qualities. Among other things the concept structures an overall good and relaxing joint experience for the children and parents. Furthermore, it provides a useful pause from disease, hospitalization, and treatment. In addition, the participants believe that the music concept has health promoting benefits in regard to chemotherapy-related side effects
Musikkterapi og anerkjennelse. Hva er anerkjennelse i musikkterapien og hvordan beskriver musikkterapeuter dette?
No full textNorges musikkhøgskole. Masteroppgave. MusikkterapiFokuset i denne undersøkelsen har vært på fenomenet anerkjennelse. Hva som ligger i begrepet anerkjennelse, og hva det er i musikkterapien som sammenfaller med begrepet. Min egen interesse av hvordan musikkterapeutens rolle var i samspill med klienter og ledsagere, har hatt betydning for valg av tema for min undersøkelse. Selve undersøkelsen har vært todelt. Det har vært et dypdykk i teori rundt fenomenet anerkjennelse med hovedvekt på Løvlie Schibbyes sin tolkning av begrepet. I tillegg har jeg også intervjuet fire musikkterapeuter for å få deres beskrivelse av anerkjennelse. Teoretisk har undersøkelsen dreid seg om hvilken betydning anerkjennelse har i et terapeutisk samspill, og undersøkt om begrepets aktualitet for musikkterapeutens arbeid med klienter. I tillegg til anerkjennelse, har relasjon, og intersubjektivitet vært en del av undersøkelsen. Det er i relasjon med andre at mennesket får oppleve anerkjennelse. Informantenes beskrivelser har vært satt i sammenheng med begrepet anerkjennelse, og anerkjennelsens ingredienser som er; Lytting, Forståelse, Bekreftelse, Aksept og Toleranse. Samtidig har musikkterapeutisk teori blitt knyttet opp mot informantenes beskrivelse og også anerkjennelse og dens ingredienser. Funnene tyder på at musikkterapi i seg selv er anerkjennende og at musikkterapeuten i seg selv innehar en anerkjennende holdning i sitt musikkterapeutiske virke. - - -The focus of this research has been on the phenomenon of recognition, conceptually what it means to be recognised and in particular how recognition is experienced in the field of music therapy. The choice of topic for my research, was influenced by my personal interest in music therapy and, in particular, the interaction of the music therapist and their clients. The research was completed in two parts starting with a deep dive into the theory of the phenomenon of recognition, with great emphasis on Løvlie Schibbye’s interpretation of the term. I then interviewed four music therapists to research their understanding of the term recognition. The research revolved around the importance of recognition during therapeutical interaction, and further, the actuality of this concept in the music therapist’s work with his/her clients. In addition to recognition, the terms relation and intersubjectivity have also been part of this research. It is in relation to other human beings that we experience recognition. The interviewees’ interpretations have been linked with the term recognition and it’s 5 subcomponents, namely: Listening, Understanding, Confirmation, Acceptance, and Tolerance. At the same time, music therapeutical theory has been linked to the interviewees’ information as well as the each of the subcomponents of recognition. The findings of the research, indicates that music therapy in itself gives recognition, and that the music therapist has a positive attitude to recognition through his/her music therapeutical work
Seizing the dynamic moment in situation-originated learning: The origin of songcrafting examined through Dewey's theory of inquiry
Get PDFIn this article we argue that learning initiatives could be better recognized and mediated in order to support meaningful learning and agency in music education.We base our argument on John Dewey’s notions as to how learning initiatives emerge from indeterminate situations as impulsions and how learning as contextual inquiry towards a practical conclusion proceeds. The view proposed is not teacher-centered, student-centered, nor tradition-based, but situation-originated, indicating the significance of the learning situation as a pedagogical point of departure. From this standpoint, the teacher's task is not primarily to realize the goals of the written curriculum, but to inquire into possibilities for interlacing her and her students’ intentions along the curricular aims. This view calls forth the teacher’s capability to seize the dynamic moment: to recognize, inspire, and mediate impulsions towards pedagogically meaningful directions with the help of her previous experiences, curricular understanding, and pedagogical tact. We also elaborate on the more field-specific issues of music education, especially as concerns music teacher education and creativity in the musical classroom. Throughout the article, we use songcrafting as a case to illustrate how a situation-originated perspective can be applied in actual classroom practice. Keywords: composing, inquiry, situational learning, music teacher education, John Dewe
Gryende musikkliteracy : unge instrumentalelevers tilegnelse av musikkliteracy i lys av sosiokognitiv teori om læring
Get PDFAvhandling (Ph.D.) - Norges musikkhøgskole, 2012The research question addressed in this thesis was: How do beginners on a music instrument acquire music literacy in a music studio setting? The study was designed to identify and describe the learning strategies of 8-9 year old music school students by observing and interviewing them during their first year of instrumental lessons. The study of music literacy acquisition is in this thesis based on a sociocognitive view on literacy as a learning process, where knowledge acquisition is regarded as constructed, and learning seen as active meaning-making processes. In this perspective music literacy acquisition entails the ways the learner comprehends and learns both the culture, the ways of expressing meaning, how to use cultural tools, and the ways that the symbols are written and decoded. Four cases were chosen as an empirical base for the investigation: two trombone students and two flute students. I observed the students for a period of nine months, and interviewed them twice during their first year of instrumental lessons. The observations and interviews focused on learning strategies and literacy events. The data was transcribed and analysed using the computer based program NVivo, and a taxonomy of strategies was constructed in close dialog between the strategies that emerged from the empirical material, and strategy categories derived from research literature in language and music research. The study shows that the four students differed to a large degree in their use of strategies, both when it came to what strategies they used, and how many strategies they used. These differences were relatively consistent throughout the year. The strategies the students used were characterised by the meaning making attempts they did when they tried to make sense of both the sociocultural setting and the musical symbol system. They formed temporary perceptions of how the written music was to be understood and used. These were reconsidered by the students, adjusted, and negotiated along the way. The young learners didn’t seem to be uncomfortable with this temporary knowledge. The main strategy categories observed in the material were social strategies, cognitive strategies, memory related strategies, support strategies and listening strategies. Several of the students used support strategies to compensate for the lack of memory related strategies and cognitive strategies in their approaches to music literacy acquisition. Another aspect of the emergent literacy seen in this study is the multimodal ways that the children seem to approach a new symbol system. They expressed their meaning making through speech, gestures, songs, invented symbols, writings, language narratives, sounds and pictures. The study also showed that it is not enough for the teacher to tell the student what strategies that could be used; they have to be tried out and practised in order to be internalized as tools of learning. Teachers’ knowledge of how their students learn to comprehend written music will potentially affect students’ learning processes. This study illuminates this kind of knowledge through observations of beginner student’s behaviour, actions, and their thoughts of their own learning
Barn, musikk, helse
Get PDFInnhold: English abstracts. - Redaktørenes forord. - Forord / Jon-Roar Bjørkvold. - Barn, musik och hälsa : om självutveckling och känslohantering / Bjørn Wrangsjö & Gro Trondalen. - Vitalitetsformer i musikk / Unni Tanum Johns. - Att spela trumma för sitt ofödda barn : och hvad detta kan bety för barnets välbefinnande och hälsa / Maria Bovin de Labbé. - "Mellom liv og drøm." : om vuggesangens helsefilosofiske betydning / Lisa Bonnár. - Et specialdesignet musikkoncepts betydning og effekt (for generel velbefindende og helsefremme hos børn med kræft i kemoterapi) / Ilan Sanfi. - "Da er jeg liksom glad..." : om musikk og helse i barns hverdagslige omgang med musikk / Ingeborg Lunde Vestad. - Storycomposing as method in music therapy : a colloborative experiment with a young co-researcher / Hanna Hakomäki. - Bidrag til fagterminologi for en relasjonell musikkestetikk / Tony Valberg. - Dialogue on intersubjectivity : interview with Stein Bråten and Colwyn Trevarthen / Karette Stensæth & Gro Trondalen. - ForfatterneKreativ skapelse, lek, latter, gråt, musikk og bevegelse er alle kvalitative sider ved menneskelig utfoldelse. En slik vital skapende utfoldelse er kanskje på sitt aller mest utforskende i de tidligste årene av livet. "Barn, musikk, helse" har et bredt anlagt fokus idet tekstene handler om tiden fra før fødsel opp mot teårene. Som en basis for hele vår forståelse av barn, musikk og helse ligger tanken om kommunikasjon som dialogisk fundert: Virkeligheten skapes og utfolder seg i nærvær og fellesskap med andre gjennom musiske samværsformer i bred forstand. Med dette som bakgrunn spør vi i denne boken om mulige sammenhenger mellom barn, musikk og helse. Kapitlene berører alle sammen dette spørsmålet, om enn på ulikt vis og ghennom forskjellige innfallsvinkler
The MUPP project : an overview
Get PDFThe project Music Teacher Education between the Institution, the Practicum and the Profession within the Multicultural Society (MUPP) was carried out in the years 2006–2011 by seven members of the academic staff at the Norwegian Academy of Music in Oslo, Norway. In addition one participant from the University of Uppsala, Sweden, took part in one of the project’s 7 sub studies. Aim - The MUPP project aimed at contributing to the development of new knowledge that would strengthen the education of music teachers, enhance further research and development studies in the field and reinforce the connections between music teacher education and the music teacher profession. We wanted to develop a knowledge ground for educating music teachers who are better equipped than before to face and handle the challenges of the ever expanding variety of vocational arenas of music teaching and learning in the multicultural society
How hip-hop culture meets the academic world: Hiphop Academicus!
Get PDFSince hip-hop started over 35 years ago in New York, it has been associated with social activism and education. In addition, hip-hop pioneer Africa Bambaataa has argued for knowledge as the fifth element in hip-hop (e.g. rapping, deejaying, breakdancing, graffiti). Accordingly, it is not surprising that academic institutions in universities and K-12 schools are interested in hip-hop with regards to the history of this street culture. This article is aiming to highlight this “hip-hop academization” and analyze the mechanisms in these academization processes. The research questions are as follows: Who is the expert and what is at stake? What symbolic fights are going on between pioneers of the culture and academics? How do hip-hop scholars talk about the academization? Theoretical framework stems from sociologist Pierre Bourdieu, including his work in cultural fields and capital forms. The empirical data, which have been collected with an ethnographical approach, are observations and recordings from academic events concerned with hip-hop and individual interviews with hip-hop scholars in New York City during 2010. The results show how hip-hop at the university is an attractive label, a door opener for the scholars but at the same time regarded as low culture. The pioneers construct the scholars as outsiders in order to maintain themselves as foremost experts of the culture. Key words: hip-hop, academization, hip-hop scholars, academic event
Forms of vitality in music and communication
No full textThe notion “forms of vitality” derives from Daniel Stern’s work. It was introduced early in his work as a way of describing intersubjective processes involved in the sharing of feelings, intentions, and attention. This text takes its starting point from his latest book on forms of vitality and discusses how these evolve as affective communication processes that can be better understood by the help of musical concepts. Examples are given from psychotherapy with children. These show how forms of vitality arise spontaneously in the therapeutic relationship, helps to understand the children’s feelings, needs, and intentions, and play an important role in the therapeutic work. Focusing on forms of vitality and recognizing the musical processes involved in these, is seen as an important key to children’s health
Student music teachers' learning trajectories. A relational perspective
Get PDFIn this article we take the concept of ‘communities of practice’ (Wenger, 1998, 2006) as our way of entry into studying conditions for the formation of student music teachers’ learning trajectories (ibid.): the paths that student music teachers follow, have followed or imagine following, in order to learn something. We regard learning trajectories as, not only constitutive paths for learning within communities of practice (Wenger, 1998), but also between, for instance, institutions for music teacher education and the remote practicum (Wenger, 2006). As such they are likely to be conditioned by a variety of contextual factors that can both enable or disable their establishment, maintenance and adjustment. Hence, the aim of this article is: to reveal enabling or disabling factors in student music teachers’ learning trajectories between communities of practice within the institution and in the remote practicum. To this end, we drew upon the data of two previous interview studies of educational quality and student learning within music teacher education at 7 institutions of higher music education in Finland, Sweden, Denmark and Norway
Some propositions for a terminology within the subject of relational music aesthetics
No full text”Relational aesthetics has placed art in the middle of society”, stated the Norwegian newspaper Morgenbladet in 2009. In this article, I point to characteristics within art and science that have fostered the idea of relational aesthetics. I also suggest some possible implications for the field of music if we pursue the thought of what I call a relational aesthetics of music. Such aesthetics challenge the traditional notion of a gap between art and everyday life, intending to intervene with society and bring musical authority back to the listeners at concerts. In this article, I propose some consequences for the concept of “the concert” embedded in new knowledge of the relational as brought forward by David Stern, Colwyn Trevarthen and Stein Bråten, philosophers like Walter Benjamin and Theodor Adorno, and also experiences from ten years of my youth working as a music therapist