NMH - Brage (Norges musikkhøgskole)
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manifest and latent educational ideologies in the Swedish Fiddler movement (Spelmansrörelsen) in the 1920s
Get PDFThe purpose of this article is to illuminate existing educational idologies in the Swedish fiddler movement (Spelmansrörelsen) 1923-1927. This period was characterized by the organization and to some extent institutionalization of Swedish folk music. Furthermore, the purpose is to dicuss the results in relation to the folk music education of today. The empirical data is taken from the journal Hembygden, which was a magazine for scholars, enthusiasts and practitioners of folk music. Theoretically, the study is based on a concept of ideology deveoped by Sven-Eric Liedman: in every time there are two basic forms of identifiable ideology, manifest and latent. From the empirical material as a whole (around 900 articles), a selection was made to find articles dealing with aspects fo learning among the fiddlers (33 articles). After content analysis the following themes were generated: Fiddlers' repertoire, Fiddlers' masters, Places for learning, Learning formation. The writers in Hembygden often emphasized the autodidactic aspects of learning and especially the importance of learning by ear. This manifest ideology of authenticity presumed that learning directly from another fiddler by playing together was to prefer to formal schooling. In spite of a tendency towards more ensemble playing, the folk music education of today in Sweden is characterized by a similar retrospective ideology as in the 1920s. Key words: Music learning, Swedish fiddler movement, folk music, traditional fiddle music, ideology, playing by ear, formal schooling
Sigiya Ngengoma! Significance of participation in the Field Band Foundation of South Africa
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiThe Field Band Foundation is a non-governmental organisation (NGO) and was established in 1997 to give young South Africans from economically and socially challenged backgrounds, opportunities to learn life skills and develop themselves trough music and dance. Through a positive leisure activity in music and a life skills program the Field Band Foundation aims to address the issues of social difficulty experienced by the participating communities. The Field Band Foundation has identified its role as: “To create opportunities for the development of life skills in the youth through the medium of music and dance”. This mission statement evoked my interest, as I found it to be closely related to music and health promotion. This is a field where I, as a music therapist, have a professional competence. The starting point of the current research project was an interest in investigating how the youth in the Field Band Foundation can gain life skills through the musical activity in a band. - Research focus: This exploratory study is about community music as part of health promotion in everyday life. Its aim is to investigate how participation in a band can be of significance for South African youth from socially and economically challenged backgrounds. The research question is: “What aspects seem to be of significance to the youth in the Field Band Foundation when participating in the band?” The Field Band Foundation assemblage presents several constraints, as the scope of this project does not allow me to enter every aspect with the same degree of detail. I have chosen to maintain a strong focus on the subjective stories of the musicians, as I believe the participant perspective should be emphasized. The amount of information I got during the fieldwork in 2009 was significant, and left me with no option but to limit myself to no more than two main fields of inquiry, namely social perspectives and musicking as self-care. It is my aim to discuss these two foci in a way that sets the stage for discussions that range into more general issues about music and health promotion. Generally, playing in a band involves human interaction. When discussing how participation in a band can be health promoting for the musicians, I choose to keep the focus on the human interaction, which happens in or as a result of the activity of music. Certain aspects limit the value of this study. As indicated earlier I have chosen to focus on the subjective stories of the musicians. Hence, this study cannot be used to draw generalized conclusions about health promoting through participation in a band. This thesis does not aim to evaluate the efficiency of the Field Band Foundation, neither does it focus on educational attitudes, such as curriculum or choice of repertoire
Teaching competence in artistic music education - a study of skilled instructors of instrumental and ensemble performance in jazz/Afro-American music at Nordic schools for professional musicians and music teachers.
Get PDFCase studies of music educators were conducted with a double purpose: on the one hand to describe educators' teaching activities and reflections, and on the other hand to develop some general principles of competence in this particular type of music teaching.
The study was based on three theoretical concepts: Erling Lars Dale's levels of didactic competence, Donald Schön's notion of the reflective practitioner, and Michael Polanyi's notion of tacit knowledge. The empirical material included observations of teaching,interviews with educators and a survey with students in their final two years of study. Keywords: Teaching competence, artistic music education, skilled instructors, jazz/Afro-American musi
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
Health experiences in a choir
No full textNorges musikkhøgskole. Masteroppgave. MusikkterapiThe theme of this study is choir and health. My topic of research is: Could choir singing be important for the experience of health? If so, in what way? The method is based on a survey, which was done electronically in an “Everybody can sing-choir” consisting of 450 members. 158 responded. The empirical data are viewed in the light of different health definitions and previous research on choir and health. Theories of health, quality of life and well-being is central. One purpose of the study is to contribute to the quantitative research on choir singing and health. The salutogenic, social and phenomenological perspective on health is particularly emphasized. The results indicate that a choir can promote health by providing a musical and social community. Singing in a choir can improve one’s breathing and posture, and give opportunities to express oneself. Choir singing can reduce stress and be relaxing by requiring a concentrated presence. This can lead to emotional experiences and experiences of flow. Joy, sense of achievement and meaning are central to the health experience in a choir. The conclusion suggests choir as a health arena, understood in a broad health perspective. - Temaet for denne studien er kor og helse. Problemstillingen er: Kan det å synge i kor ha betydning for opplevelse av helse? I så fall hvordan? Metoden er spørreskjemaundersøkelse. Denne er gjennomført elektronisk i et ”Alle kan synge”-kor med 450 medlemmer. 158 responderte. Empirien ses i lys av ulike helsedefinisjoner og tidligere forskning om kor og helse. Teorier om helse, livskvalitet og velvære står sentralt. Det salutogenetiske, sosiale og fenomenologiske helseperspektiv er spesielt vektlagt. Et formål er å bidra til den kvantitative forskningen om korsang og helse, som det foreligger lite av i Norge. Den kvantitative tilnærmingen komplementeres av de kvalitative dataene i undersøkelsen. Resultatene indikerer at kor kan fremme helse gjennom å tilby et musikalsk og sosialt fellesskap. Å synge i kor kan bedre pust og holdning, samt gi muligheter for å uttrykke seg. Korsang krever en konsentrert tilstedeværelse, og kan derfor virke avstressende og avkoblende. Dette kan igjen føre til sterke opplevelser, og opplevelser av flyt. Glede, mestring og mening er sentralt for helseopplevelser i kor. Konklusjonen foreslår kor som en helsefremmende arena innenfor et vidt helseperspektiv.
Playing the drum to one’s unborn child
No full textThis text focuses on the mother-to-be’s drumming for her unborn child. Drumming is something most of the people have tried in one or another context, but to drum for ones unborn child is something few have experienced. The drum has a long tradition as therapeutic medium as well as a powerful force within its original culture. Today, more and more researchers use the drum to improve and facilitate psychological and physical health (Friedman 2000). For me, as a percussionist and music therapist, it’s been natural to focus on drums within music therapy. During the work with my Master study, I worked with drums encountering pregnant women. One of the findings was that the mother-to-be experienced that “the child became a person” during drumming (Bovin de Labbé 2010). She felt a deep connection to her unborn child that made way for making contact with the child outside the music therapy setting. By tying results from the Master thesis with prenatal research, my own experiences with pregnancy and birth, and the use of the drum in music therapy, I try to find out whether the mother’s drumming for her child may be significant for his or her health. To get closer to an answer, I subsequently deal with the theoretical reasoning facing empirical experience. My question is whether it is possible to come closer to the unborn child through focusing on less material aspects during pregnancy, i.e. aspects besides the question of whether or not the organs function as they should (Schei 2009) and that the child grows normally
Schubert arrangements – transcription and interpretation. A collaborative study of development of musical knowledge in a professional freelance project
Get PDFThis collaborative study explores, retrospectively, musical knowledge development in a professional artistic project from a cultural-psychological perspective: Mats Bergström’s re-editing and -transcribing of Schubert’s Sonata in A minor, D 821 (Arpeggione sonata) for cello and guitar, as well as his historically informed performance preparation and public performance of this work with a colleague. The musicians and a researcher in music education participated in collaborative analytic discussions, starting out from Mats Bergström’s reflective description of the processes of editing and performance preparation. The entire artistic learning process was characterized by an analytical approach, theoretical reflection and reflection-in-action in combination. The functions of the printed score and the instruments as cultural tools changed from the phase of editing to that of performance preparation: from being tools for analysing/understanding the composer’s intentions in order to reproduce these, to becoming tools for developing ideas of timbre/character of the music and individual agogical freedom of expression, including a readiness for mutual responsiveness to the colleague’s new ideas in the spur of the moment. Based on their experiences from this project the musicians draw conclusions transferable to other contexts of interpretation. Keywords: Artistic learning and development, music performance, professional musicianship, cultural tools, collaborative approach ”Schubert arrangements” – transkribering och interpretatio
Våg å tenk stort, våg å tenk enkelt : om skulekonserttilbod for spesialskular
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkterapiDenne teksten handlar om gjennomføring av skulekonsertar på spesialskular. Desse skulane har på lik linje rett til eit skulekonserttilbod frå Den kulturelle skulesekken (DKS) som andre skular. Eg freistar å finne ut av kva som fungerar ved skulekonserttilbodet ved å svare på problemstillinga: Kva erfaringar har musikarar og kulturkontaktar i forhold til gjennomføring av skulekonsertar i møte med elevar med særskilde behov på spesialskular? Eg vil fokusere på det musikalske møtet mellom musikar og målgruppe og sjå på formidling i eit samhandlingsperspektiv. Som grunnlag for dette vel eg å bruke teori av Christopher Small (1998), Hans- Georg Gadamer (1997) og Dorothy Irving (1977). Eg vil vidare diskutere skulekonserttilbodet i lys av diskursfeltet samfunnsmusikkterapi, der eg ynskjer å skape ei bevisstgjering rundt kompetansen fagfeltet har. Oppgåva tek for seg rettar borna har i forhold til kulturtilbodet og kvifor slike tiltak kan vere viktige. Gjennom kvalitative intervju med tre musikarar frå formidlarsida og frå mottakarsida, tre kulturkontaktar gjorde eg funn som handlar om gjennomføring frå forarbeid til sjølve konserten og tankar rundt funksjon, meining og mål med skulekonserttilbodet. Etter inspirasjon av systematisk tekstkondensering som analyse kom eg fram til fem rådande tema som eg har valt å kalle tydingsfulle verkemiddel, kommunikasjon, tilrettelegging, målsetjing og haldning og handling. Eit relasjonelt perspektiv i formidling står sentralt etter analyse og sett i samanheng med musikkestetikken
Hva er jazzbassundervisning? : en diskursanalyse av undervisningspraksiser på jazzbass i høyere musikkutdanning
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkpedagogikkHva er jazzbassundervisning? Det kan virke som et enkelt spørsmål. Allikevel finnes det ikke noe entydig svar på det. De fleste som har hatt eller gitt denne type hovedinstrumentundervisning har nok en klar formening om hva den inneholder og hvordan den foregår utfra hvordan de selv ble undervist og/eller selv underviser. Slik kan praksisen videreføres uten refleksjon over fagets innhold eller fagets standarder og verdier. For å åpne for en slik refleksjon vil jeg foreta en diskursanalyse av tre læreres jazzbassundervisning på høyere musikkutdanningsinstitusjoner i Norge Hvorfor er det viktig? De høyere musikkutdanningsinstitusjonene i Norge har jo bedrevet denne praksisen i mange år allerede og fostret mang en habil bassist som har satt sitt preg på det rytmiske musikklivet de siste tiårene, et musikkliv som av enkelte omtales som mer mangfoldig, suksessfullt og vellykket en noensinne. Som student har jeg gjennom mine åtte år med høyere musikkutdanning mottatt hovedinstrumentundervisning i jazzbass på tre forskjellige utdanningsinstitusjoner og hos fem forskjellige hovedinstrumentlærere, i tillegg til å hatt enkelttimer med flere andre. For å få en dypere og bredere forståelse av hvordan jazzbassundervisningen praktiseres, og hvorfor den praktiseres på en slik måte ville jeg gjøre en systematisk studie av praksisen hos tre basslærer. Ved å belyse temaet gjennom observasjon av undervisning og dybdeintervju med basslærere i høyere musikkutdanning ønsket jeg å ”få øye på”hvordan lærerne tenker om undervisningen og hvorfor de tenker på den måten. For å få øye på dette og sette det i en vitenskapelig kontekst bruker jeg diskursanalyse. Ved hjelp av diskursanalysen vil jeg se hva som utgjør undervisningsfaget hovedinstrument jazzbass på høyere musikkutdanning, det vil si hvordan faget konstitueres
Educating music teachers in the new millennium
Get PDFWe live in times when a row of factors influence music education. Among them, people’s most significant musical experiences are reported not to originate in music education at school ; and to an increasing degree, children and adolescents compose and share each other’s music on the internet. Furthermore, music teaching and learning is legitimated by drawing on a multitude of nonmusical values and musical experience becomes increasingly diversified in multicultural societies. This diversification inevitably challenges musical canons and other aesthetic values . All these various factors present vast challenges to music teacher education. They urge us to look closer into our notions of professionalism and the music teaching as a profession, as well as into teachers’ professional development. Furthermore they challenge our scope of music teaching by drawing attention to how students’ informal music learning affects and interacts with their music learning in formal settings. To face such challenges, several strategies may prove relevant. The present anthology reports from a research and development based project that addressed some of them. By trying out new organizational forms and practices, as well as looking critically into the more traditional ones, we directed our interest towards how such forms and practices can be described, analysed and developed. The project was called Music Teacher Education as Professional Studies Between the Institution, Practicum and Labor Market within the Multicultural Society (MUPP), and was carried out during 2006 to 2011 at the Norwegian Academy of Music (NAM)