NMH - Brage (Norges musikkhøgskole)
Not a member yet
866 research outputs found
Sort by
Hope and recognition. A music project among youth in a Palestinian refugee camp
Get PDFHope and recognition are keywords that characterize the cultural and humanitarian aid The Norwegian Academy of Music together with NORWAC2 and Forum for Culture and International Cooperation are doing in South-Lebanon. Since 2002, Norwegian music educator Vegar Storsve together with Petter Barg and Inger Anne Westby have conducted a music project in the Palestinian refugee camp Rashedie and in a Lebanese special school in the city of Tyr. They have organized a community music project for health and cultural cooperation across different religious and political groups in Lebanon. This article will describe parts of this work and discuss how such a music project may have consequences for development and health promotion among children and young people in refugee camps. The authors have their background in music education and music therapy. However, this project was conceived as a music educational project. with the growth of community music and community music therapy, we find reasons to discuss this project as a prototypical community music project. The explicit health aspect and the influence from community music therapy also open a discussion about the borders between these areas of practice. What creates a strong link between the two approaches is the underlying theory of “community of practice”, which will be discussed below (see Wenger, 1998; Ansdell, 2010). The questions raised in this article concern to what extent a music project can strengthen a sense of self and identity, as well as the experience of belonging to one’s own traditions among Palestinian youth. Further, how is it possible to organize a music project that gives possibilities for musical learning and personal growth? And how can such a project afford new role models and responsibilities that may give hope for a better future
The professional development of music teachers. Understanding the music teacher as a professional and as a competency nomad
Get PDFThe Danish educator John Kreisler (2007) introduced the concept "competency nomad" in order to grasp what it means to be a professional teacher today amidst changes in the dominant conditions of society. This paper discusses the professional development of music teachers and the music teacher as a professional in the perspective of being a competency nomad. We will question whether acting nomadically is the new form of professional music teacher identity. The variety of vocational arenas that music teachers work in today includes a wide range of knowledge and competencies, from being a musician in an educational setting to being a school teacher in an artistic setting. As educators of music teachers, we are interested in exploring how music teacher students in their pre-service education learn to develop as professionals across such different arenas. In order to manage such diversity, music teachers may need new ways to act professionally, and it might be advisable to challenge the idea of formal and specific qualifications to another concerning competency
Storycomposing in music therapy. A collaborative experiment with a young co-researcher
Get PDFThis text describes how a young person interprets his own musical creations created in a meaning reconstruction process after a traumatic loss. He investigates his own music therapy process as a co-researcher with a therapist-researcher. The source of this study is a two-year music therapy process with a 7-to-9-year-old boy after the accidental death of his sibling. The music therapy method used is Storycomposing, which is based on personal musical inventions and interaction. The research process takes place five years later with the same boy. Now 14 years old, the boy was invited to be a co-researcher. This text also introduces the Storycomposing method, which was created together with children under school age in 1999-2002 in a day-care centre. During this period, Storycomposing showed its practical efficiency both as a music therapy method and in other musical contexts. The method is also used as a research tool in this research experiment. The text describes the communication between mind and music within the Storycomposing method in a meaning making process from a child’s perspective. As the creator of Storycomposing, I want to discover more about how Storycomposing functions and facilitates a child to recover mentally. First, the background and the principles of the Storycomposing method is presented. Then the episodes from the collaborative research project with a young co-researcher is described. These episodes are elements of research narratives in my forthcoming doctoral thesis
Music teacher education as professional education
Get PDFThe motives for describing music teacher education as professional education can be manifold. Since professions are regarded to have a certain, powerful position in society (Molander & Terum, 2008; Vågan & Grimen, 2008), along with a kind of exclusiveness and higher status than other vocational groups, some descriptions may seem to rest on a wish to strengthen the status of the music teacher vocation. These endeavours accord with the increased use of the terms ‘profession’ and ‘professionalism’ in the rhetoric of other vocational groups in order to express a positive selfimage and to obtain recognition of their own competence (Molander & Terum, 2008), hence propelling a process of professionalisation (Fauske, 2008). Other reasons to focus on the profession of music teacher education seem to be based on a notion that it will contribute to the improvement of education by stimulating discussions about what it entails to carry out music teaching professionally, or to a higher degree of professionalism than before (Johansen, 2012). In addition to such normative purposes, it is also held that conceiving music teacher education as professional education may afford new descriptive-analytical perspectives as a basis for its systematic studies (ibid.). Finally, these descriptive-analytical perspectives can be seen to provide a fruitful framework for comparative studies of music teacher education across different cultures and countries (ibid.). All these reasons to describe music teacher education as professional education necessarily presuppose that the corresponding vocation for which it qualifies its graduates can be defined as a profession. In other words, such descriptions presume that music teaching is conceived as professional practice, and that music teachers are regarded as the executors of that profession. In this chapter we will start by suggesting and discussing some ways in which music teaching can be described as a profession. Thereafter the question of understanding music teacher education as professional education will be addressed. Finally some implications for the future development of that education will be drawn
Nordic Research in Music Education. Yearbook Vol. 13
Get PDFInnhold - Contents: Introduction. - How can music contribute to Bildung? On the relationship between Bildung, music and music education from a phenomenological point of view / Frede V. Nielsen. - Towards a critical curriculum theory in music education / Ralf Sandberg. - Hur hiphopkulturen möter universitetsvärlden: Hiphop Academicus! / Johan Söderman. - Musiklærerkompetencer mellem uddannelse til og udøvelse af musikundervisning / Finn Holst. - Væren og makt. Om opplevelser og forståelser av instrumentalpedagogiske praksiser / Elin Angelo og Øivind Varkøy. - Manifesta och latenta ideologier om lärande inom svensk spelmansrörelse på 1920-talet / Thomas von Wachenfeldt, Sture Brändström og Juvas Marianne Liljas. - Schubert arrangements och vägen dit. Inblick i en kollaborativ studie av Mats Bergströms konstnärliga överväganden under bearbetning och instudering av Franz Schuberts Sonat i a-moll, D 821, den så kallade Arpeggionesonaten / Cecilia K. Hultberg. - Seizing the dynamic moment in situation-originated learning: The origin of songcrafting examined through Dewey's theory of inquiry /Sari Muhonen & Lauri Väkevä. - Creative structures or structured creativity – Examining algorithmic composition as a learning tool / Peter Falthin. - Analytiske og holistiske tilganger til vurdering – en teoretisk drøfting av vurderingsstrategier og vurderingshandlinger i musikkfaget / John Vinge. - Ethical implications of music education as a helping profession / Thomas A. Regelski. - Forskningsnoter - Research notes. Rhythmic music education as aesthetic practice / Catharina Christophersen. - Didaktisk kompetence i kunstneriske musikuddannelser – en undersøgelse af gode instrumental- og sammenspilslærere i rytmisk musik på professionelle musiker- og musikpædagoguddannelser i Norden / Torben Westergaard. - Er spilleopplæringen i norsk grunnskole i takt med nasjonale rammer? Elevens egen stemme om innhold og metode / Odd-Magne Bøe. - Pre- and postnatal music education for early mother-child interaction / Kaarina Marjanen. - Doktoravhandlinger i Norden 2011. - Nordic Research in Music Education 283. ---- Artiklene av Odd-Magne Bøe og Frede V. Nielsen utelatt fra den elektroniske versjonen av Årboken. ---- The articles by Odd-Magne Bøe og Frede V. Nielsen are omitted from the electronic version of the YearbookVolume 13 of Nordic Research in Music Education Yearbook includes eleven articles and four research notes. The themes of the articles include philosophical and historical perspectives on music education, epistemological and psychological perspectives on music teaching and learning, as well as creativity, evaluation and ethical considerations on music education
Holistic quality learning in musikdidaktik from a student perspective. Where, when and how does it occur?
Get PDFMusikdidaktik is a central subject in music teacher education, where the students are expected to learn about teaching and related learning of music, from practical, theoretical and philosophical perspectives. As part of a larger study of educational quality, six student groups were interviewed about teaching and learning quality in the subject of musikdidaktik. They answered questions on learning, identity, and choice of content. In this article the author concentrates on student perspectives of holistic quality learning, which include those activities or processes that lead to stable knowledge and useful competence. In order to grasp the phenomenon of holistic quality learning in musikdidaktik focus group participated in 90-minute interviews that were recorded and transcribed. Data were analyzed by applying phenomenological methods. Three questions provided the structure for the analysis. They were: Where does quality learning in musikdidaktik occur? When does quality learning in musikdidaktik occur? How does quality learning in musikdidaktik occur? Analysis revealed that holistic quality learning occurred in different educational rooms and were defined by musicHeducational authenticity, communication, reflection and meaningfulness. The results are important at any institution responsible for quality developmental work in relation to music teacher education
Musikk i norsk - "Bokstaver, musikk og bevegelse" : læreres erfaringer med et undervisningsopplegg med norsk og musikk
No full textNorges musikkhøgskole. Hovedoppgave. MusikkpedagogikkDet danske verket "Bokstaver, musikk og bevegelse" av Helle Couppé er blitt brukt i norske grunnskoler i mer enn et tiår. Underrubrikken "Lesing på musisk-kreativt grunnlag" indikerer at elementer av musikk og annen skapende aktivitet er innebygget i verket, som primært er et lese- og skriveinnlæringsverk. I mer enn ti år har jeg holdt kurs i Norge i dette lese- og skriveinnlæringsopplegget. Forfatteren Helle Couppé er grunnskolelærer, logoped, audiopedagog og rytmikklærer i Roskilde, Danmark. Arbeidsmetoden i verket er den musikkpedagogiske metoden rytmikk (se 1.1.). Å undervise i rytmikk i Norge er spennende og krevende på en gang: rytmikk som metode er lite kjent og det er få rytmikkpedagoger i landet. Mitt behov for å få kunnskap om hva som skjer i skolehverdagen etter en-dags-kurs har hele tiden vokst. For å få vite mer om hva lærere i grunnskolen erfarer i sitt arbeid og hvordan de bruker det tverrfaglige opplegget, har jeg undersøkt dette i Kongsberg kommune og Skedsmo kommune. Hovedoppgaven som foreligger her er et resultat av denne undersøkelsen
Pre- and postnatal music education for early mother-child interaction
Get PDFSuccessful communication underpins the success of human interaction. Music education and early interaction are well known as separate phenomena. In the research reported here, music was considered as communication. The focus of the study was aimed at the gap between the connections of music education with interaction, supporting development through musical nurture. Multiple strategies methodology: qualitative and quantitative measures, theoretical, data, investigator and methodology triangulation were employed in this investigation. Systematic video analysis, however, was used as a main method. The philosophical background was phenomenological, while the empirical study was conducted as an adaptation of an action study. The musical-emotional communication in the groups of mothers and babies were compared by separating the participants in three groups:1) for both preand postnatal musical sessions (E); 2) only for postnatal musical sessions (C1); and 3) for no musical sessions at all (C2). Strong, multiple connections between music and interaction were found in the early behaviour of the mother and the baby, and in the infant’s development. Based on vocal, visual, bodily and emotional evidence, especially the prenatal musical experiences were found to be significant for the mother-infant-bonding. In conclusion, early interaction can be musically supported. Keywords: Early interaction, fetuses, infants, mothers, musi
OASE. Om kulturskoleutvikling og lokal forankring av Den kulturelle skolesekken : rapport fra et samarbeidsprosjekt mellom grunnskole, kulturskole og musikklærerutdanning
Get PDFOASE er et kulturskole- utviklingsprosjekt som omfatter samarbeid mellom kulturskolene og grunnskoler i en rekke kommuner og studenter i musikklærerutdanning. Oase er også betegnelsen på det kunstneriske møtet – verkstedene, forestillingene og konsertene - som ble til i samarbeid mellom grunnskolens og kulturskolens lærere og elever og musikklærerstudentene.
OASE har hatt fokus på musikk- og kunstformidling til og med barn og ungdom i grunnskolen – i tråd med målsettingene for Den kulturelle skolesekken. Det er den aktive, involverte og medskapende eleven, og den utøvende kulturskolelæreren som har stått i sentrum for OASE. OASE har lagt målene for Den kulturelle skolesekken til grunn for arbeidet, men prosjektet har ikke vært en del av DKS- tilbudet i de medvirkende kommunene.
Dokumentasjonen av OASE springer ut av ønsket om at prosjektet skal bidra til erfaringsspredning om den utøvende kulturskolelæreren, kulturskolens rolle i forhold til grunnskolen og Den kulturelle skolesekken, og mulige modeller for samarbeid, og består både av tekst – i form av denne rapporten – og filmopptak (DVD) som viser oasene og formidler deltaker-erfaringer. Rapporten foreligger i både trykket utgave m/DVD og i elektronisk form. Rapporten er todelt. Første del presenterer OASE-prosjektet og drøfter sentrale problemstillinger knyttet til musikk- og kunstformidling innenfor grunnskolens og Den kulturelle skolesekkens rammer, samt utfordringer og muligheter i samarbeidet mellom grunnskole og kulturskole. Her ses også OASE-prosjektet i lys av kulturskolelærerrollen og kulturskolens utvikling til et ressurssenter for grunnskolen. Rapportens del 1 beskriver også prosjektet faglig og organisatorisk, presenterer deltakerne, og oppsummerer erfaringene fra prosjektet. Denne delen av rapporten er skrevet på oppdrag fra og på vegne av styringsgruppen for OASE og Musikk i Skolen som prosjekteier.
Rapportens andre del presenterer Oase-studien som er gjennomført av undertegnede og inngår i et større forskningsprosjekt om forskning på musikklærerutdanning ved Norges musikkhøgskole. Den har OASE som case, der musikklærerstudentenes møte med musikkformidling og gjennomføring av oaser – konserter, forestillinger og verksteder – innenfor grunnskolens rammer utgjør kjernen i undersøkelsen. Studien er gjennomført som en spørreundersøkelse til alle studentene som har medvirket i OASE, og tar sikte på å høste erfaringer med OASE av betydning for kulturskolens og musikklærerutdanningens videre utvikling. Studien har et kombinert utdannings- og kulturpolitisk perspektiv, og fokuserer på studenters utvikling av musikklærer-identitet og profesjonsforståelse i spennet mellom undervisning i grunnskole og kulturskole og utøving og formidling av musikk til barn og ungdom. I denne delen av rapporten presenteres en del funn fra undersøkelsen som kan være av interesse for OASE-prosjektet, og som kan kaste lys over problemstillinger som drøftes i rapportens del 1
God praksis
Get PDFNorges musikkhøgskole. Masteroppgave. MusikkpedagogikkI denne oppgaven har jeg undersøkt praksisundervisningen ved masterstudiet i musikkterapi ved Norges musikkhøgskole. Praksisundervisning omtales ofte som musikkterapeutenes ”hovedinstrument” og er således et svært viktig fag i musikkterapistudiet. Problemstillingen for oppgaven er:
Hva er god praksisundervisning for mastergradsstudiet i musikkterapi ved Norges musikkhøgskole?
Jeg har sett på hvilke kvalifikasjoner og egenskaper som preger en god musikkterapeut, og praksisundervisningens rolle i denne læreprosessen.
Oppgaven består av en teoridel hvor jeg beskriver emnene musikkterapi, musikkterapeuten og praksisundervisning. Mye av mine refleksjoner her er basert på litteraturstudier, men også egen erfaring – forforståelse – både som musikkterapeut og praksislærer gjennom tjue år. Videre følger en kvalitativ undersøkelse hvor jeg benytter metoden fokusgruppeintervju av praksislærere og novisemusikkterapeuter. Mitt vitenskaplige ståsted er innenfor hermeneutisk fenomenologi, som innebærer at jeg ser på praksisundervisningen som et erfart fenomen som krever fortolkning. Jeg forholder meg i hovedsak til mine tolkninger av informantenes utsagn. Analysemetoden er systematisk tekstkondensering.
Informantene mener musikkterapeutens kompetanse består av ferdigheter og egenskaper innenfor de musikalske, personlige og relasjonelle områdene, og at praksisundervisning dreier seg om observasjon, handling, refleksjon og etikk/rammer.
Min konklusjon kan sammenfattes i disse fem punktene:
* God praksisundervisning forutsetter relasjon
* God praksisundervisning forutsetter refleksjon
* God praksisundervisning forutsetter aktivitet og handling
* God praksisundervisning forutsetter kontinuerlig utvikling
* God praksisundervisning forutsetter at alle ser sammenheng - - -In preparing this thesis I have studied placement learning in the master of music therapy programme at the Norwegian Academy of Music. Placement learning is often referred to as the main instrument of the music therapist, and is as such a very important part of the music therapy study. I have stated the problem of my thesis as follows:
What is considered good practice learning for the master of music therapy programme at the Norwegian Academy of Music?
The thesis consists of a theoretical part in which I describe the terms music therapy, the music therapist and practice learning. This part is based on literature review and on my own experience and pre understanding as a music therapist and practice mentor over the course of 20 years. Following this is a qualitative investigation in which I have used the method of focus group interviews with placement mentors and novice music therapists. My scientific standpoint is based on hermeneutic phenomenology, which allows me to view practice learning as a phenomenon, while simultaneously including interpretation of the data collection. I have used systematic text condensation as method of analysis.
My informants are of the opinion that the competence of the music therapist consists of qualities and abilities within musical, personal and relational areas, and that practice learning is all about observation, actions, reflection and ethics/given constraints.
My conclusion may be summarized in these five points:
* Good practice learning demands relations
* Good practice learning demands reflection
* Good practice learning demands activity and actions
* Good practice learning demands continuous development
* Good practice learning demands experiencing a correlation between the constituent parts of the masters programm