NMH - Brage (Norges musikkhøgskole)
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Kulturen som brobygger og arena for livsutfoldelse. Erfaringer fra et musikkprosjekt i en flyktningleir i Libanon
Get PDFErfaringer fra et musikkprosjekt i en flyktningleir i Libanon. Musikk har mange verdier som alle barn bør få nyte godt av. Ved å dele kompetanse med musikere, lærere, sosialarbeidere og organisasjonsledere i palestinske flyktningleirer i Libanon, kan vi bidra til at også palestinske barn kan få et tilskudd til å utvikle sin selvfølelse. Gjennom de siste årene er det mange som har engasjert seg i utvidelsen av prosjektet, som i utgangspunktet var, og fortsatt er, en del av NORWACs Mental helse-program i Libanon. God mental helse er bygget på trygghet, gode opplevelser, følelsen av mestring osv. Vi som er involvert i prosjektet, opplever at kulturarbeidet bidrar til dette. Kulturarbeidet i prosjektet ble vesentlig utvidet og styrket gjennom samarbeidet med Sophie Rodin og opprettelsen av stiftelsen Forum for kultur og internasjonalt samarbeid i 2004. Stiftelsens arbeidsområder er musikk, visuelle uttrykk og litteratur. Sophie Rodin er billedkunstner og har innført tegne- og maleaktiviteter som et tilbud til barna på linje med musikken. Hovedtyngden i de visuelle uttrykkene ligger i leirene i nord, i Beddawi og i den nå ødelagte leiren Nahr el-Bared. Stiftelsen arbeider også med oppbygging av bibliotek og formidling av litteratur
Final considerations
Get PDFIn this last chapter we will discuss some of our considerations about how the results of our single studies connect to the overarching research question: How can student music teachers’ learning, and the relevance of music teacher education, be described within the relations between the institution, the practicum and the professional arena, and all in the frames of a multicultural society? By looking back at the chapters of this anthology, along with drawing on other insights that were developed within the single studies of the MUPP project, we will relate our considerations to some implications and challenges for future music teacher education that have emerged in the project. We found that these implications and challenges confront music teacher education with problems of how best to: relate to the society; select content; enhance learning and competence development; promote identity formation; conceive music teaching as a profession; and identify needs for future studies
Analytic and holistic approaches to assessment – a theoretical discussion of assessment strategies and actions in music education
Get PDFIn recent years we have seen an increased emphasis on assessment as a central didactical tool at any level of schooling in the Nordic countries. New “assessment for learning” pedagogies in many forms seek to reform teaching practices in every subject, including music. Yet assessment in music education is an under-communicated theme in Nordic music didactical literature and research. This article investigates assessment theory in the context of music as compulsory subject in Norwegian lower secondary schools. Even though the argument made in this article is situated and exemplified in a specific national educational context, the theoretical discussions may be relevant and recognizable for all Nordic Countries at any level of music education. In this article, assessment is investigated through the concepts analytic and holistic. Empirical data from an ongoing research project is used to exemplify and at the same time develop the theoretical discussion. Epistemological questions underlying assessment theory, such as discourses of objectivity and subjectivity, reliability and validity are addressed. The article proposes an analytic framework for understanding and identifying assessment theory and practices in music education. Moreover, the point is made that the concepts analytic and holistic are not to be recognised as dichotomous concepts, but as an assessment continuum. Key words: General music, assessment theory, analytic assessment, holistic assessmen
Ethical implications of music education as a helping profession
Get PDFAs professionals, music teachers are faced with a range of ethical responsibilities that are tied to the particular benefits that the music education profession, by its very existence, promises to contribute to graduates’ musical abilities and future musical options. However, the ethical dimensions of music education are too often overlooked, both in the preparation of new teachers and in evaluating the practices of in-service teachers. This study provides a philosophical review of key aspects of normative ethics that merit being acknowledged and addressed if music education is to be most fully ethical and music teachers most productively professional. To clarify this ethical responsibility, duty, consequentialist, and virtue ethics are briefly surveyed and common grounds between them are noted in order to recommend a range of criteria for an applied professional ethics of music education. Certain teaching practices from school music and individual lessons are offered as evidence that ethical failings are often involved in many common music teaching practices and that an applied ethics can help music teachers to be most fully professional and effective. Keywords: professional teaching ethics, normative ethics, applied ethics, music education
Forskningsnoter Research notes. Rhythmic music education as aesthetic practice
Get PDFThe study presented is a case study of rhythmic music teaching; an oral approach to teaching, where rhythm, participation, movement, improvisation and playing together are essential. The purpose of the study was to examine how rhythmic music teaching was constituted as aesthetic practice, meaning socially instituted action related to appreciating, performing and teaching music. The theoretical point of departure is Pierre Bourdieu's theory of social practice, also Maurice Merleau-Ponty's phenomenology of the body and John Dewey's pragmatism is applied. The study concludes that participating in music teaching is participating in aesthetic practice, which implies an incorporation of aesthetic values. Incorporating aesthetic values is incorporating guidelines for taste and action, which has both ethical and epistemological implications: It forms the perception of what is legitimate, and, consequently, what the individuals may be required to learn, know, believe and think, as well as what they may require of themselves and of others. Some implications of the study are discussed, focusing on the notion of musical belief, and also on the question of placing the aesthetic within a social and cultural perspective
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
Then I am happy, sort of... On music and vitality in a child culture perspective
No full textIn this text an ethnographical approach to how children use music in their everyday lives is linked with theoretical perspectives from positive psychology. By combining empirical examples on how music is used as a part of Norwegian children’s culture and theoretical perspectives on well-being and happiness, I suggest that music can be understood as a technology of health, that is, as a tool that can support children’s flourishing. Music seems to be able to elicit positive feelings in the moment. However, according to the theortical perspectives, this can also be linked to well-being and health in a long-term perspective.The participants of the study described music as a tool with which children carry ”good things” and good feelings. Further,”joy” was a word frequently used in the participants’ descriptions of music, as well as descriptions of situations where music was used. The word ”joy”, however, seemed to refer to and to be linked with a number of positive feelings, described in the theory of well-being and happiness as contentment, engagement, harmony, balance, and serenity. Such nuances are explored in this chapter. I concentrate first on joy, then on music as a fuel for human relations, children’s needs for harmony and balance, and regulation of emotions
Student music teachers’ learning and its relations to identity
Get PDFThe increased attention towards educational quality in higher education is a global phenomenon. Quality agencies exist in almost every country and evaluations, subject assessments and audits proliferate. Among the concerns of such agencies is to analyse the quality of teaching and learning. This presentation focuses on institutions for higher music education, and the quality of teaching and learning going on within them. One concern which has frequently been addressed as a major challenge for the development of music teacher competence is the relationship between what students learn at the institution and their learning during their school based, pre-service music teacher training. This paper concerns whether and to what extent student learning is related to connections between these two fields, and how various ways of seeing oneself – questions of identity – may affect their learning. Hence, the central question here is: In what ways can student learning between the institution and pre-service music teacher training be described as connected to identity, and in what ways do these identity-learning relations entail either deep or surface learning
Children, music and health. On self development and stress handling
No full textMusic has a value in itself. However, the value and meaning of music is not simply limited to an inherent human aesthetic means of expression or a modality of experience. Music is also well documented in therapy and can be of importance for the promotion of health and wellbeing.This text presents children, music, and health in two ways. Firstly, it addresses the handling of stress focusing affect regulation through music. Secondly, the text investigates the development of self both in a specific and a general perspective.The link between music, emotions, and relationship is explored, including the concept of play. Some aspects from music and brain research are also addressed, in addition to features of child music development.The implication of the specific aspects of self is rooted in Stern’s developmental model of senses of self while the relationship between Music and Self in a more general way, is explored through a model of Richard Schwarts. Illustrating examples are drawn from the field of developmentally informed research, as well as from research on adult experiences of significant experiences of music during childhood. We are suggesting that children’s relating through music in different ways may contribute to wellbeing in the here-andnow as well as being a supportive force to self development also in the longer term. Keywords: Self development, stress handling, affect regulation, music, childre
Music teacher competences between education for and practice of music teaching
Get PDFEstablishing coherence between general pedagogics, subject matter and teaching practice is a well-known and recognized problem in Danish teacher education. I investigate this through three analytical dimensions: 1) music teacher competences between subject matter knowledge and pedagogical knowledge, 2) music teacher competences between theory and practice, and 3) music teacher competences between music teacher education for the professional practice of teaching music and the teaching practices of music teachers in schools. Based on Benners (2010) praxeological understanding of a pedagogical professional practice, an integrated professional practice is argued for. This leads to the analysis of institutional aspects, which is the main theme of this article. The analysis of the institutional aspects is carried out applying Archers (1995) morphogenetic approach. The analysis shows an institutional polarization based on organizational structures, counteracting an integrated professional teaching practice. This leads to the argument for the necessity of professional strategic organization enabling a professional teaching practice. The need for understanding the practice of music teaching as a profession thus is justified through the professional practice of teaching music, and the professional practice is justified in the pedagogical practice of teaching music as such