NMH - Brage (Norges musikkhøgskole)
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Musikkopplevelse som muligheter for følelseskunnskap : en studie av musikkopplevelse som medierende redskap for følelseskunnskap, med vekt på emosjonell tilgjengelighet og forståelse
No full textAvhandling (Ph.D.) - Norges musikkhøgskole, 2009Summary in English
Our culture seems to carry an idea of music being closely connected to emotion (Benestad 1983; Budd 1992; Dissanayake 2001; Hjort & Laver 1997; Juslin & Sloboda 2001b; Langer 1942/1979: Matravers 2001; Meyer 1956; Myskja 2000; Swanwick 1994). On a general level, this even includes developing human personality (Aristoteles 1997; Elliott 1995; Gadamer 2007; Platon 2001; Reimer 2005). This project investigates music experience more explicitly in the way it relates to emotion learning and knowledge. Its research question is: Can music experience be considered to be a mediating tool for emotion knowledge? If so, how? 38)
The project is empirical and based on ten semi-structured, individual interviews of five women and five men of different ages and with different genre preferences. Five of them are music professionals and five are from other professions. The analysis, which was performed in several sequences, can be called ideographic content analysis, or more specifically meaning condensation, with elements of meaning categorization and meaning interpretation, primarily inspired by van Manen’s (2001) hermeneutic-phenomenological and Giorgi’s (1985, 1989) phenomenologic-psychological methods.
The study started with a phenomenological approach, seeing experience as reality. However, it acknowledges that avoiding interpretation is impossible. Therefore, not only lived experience, but also the knowledge learned from the experiences, were considered relevant data. Accordingly, this analysis is also inspired by phenomenography (Marton & Booth 1997), socio-cultural (Vygotskij 1934/2001; Säljö 2004, 2005, 2006) and discursive (Heritage 1984; Hutchby & Wooffitt 1998; Winther Jørgensen & Philips 1999) thinking. The initial analytical steps were very close to the empirical material, while the later ones took into account theory from music psychology (Juslin & Sloboda 2001a; Jørgensen 1989; Sloboda 2005), emotion theory (Mayer & Salovey 1997/2004; Monsen 2000) and learning theory. The project could thus be considered to be in-between several “prototypes” (Rosch 1978).
The preliminary analysis categorized the empirical material as a whole, dividing the material into two research questions: ‘What aspects of music experience can be considered to mediate emotion knowledge?’ ; and ‘What aspects of emotion knowledge can be considered to be mediated by music experience?’ The many aspects of music experience were grouped into four perspectives: the structural perspective includes the categories manners of meeting, music elements and genres; the relational perspective is divided into the categories alone, interaction, dialogue, meeting, care and acknowledgement; the referential perspective comprises the categories describe, remember, reverberation and embodied; the affording perspective includes the categories open, abandon, awake, strengthen, care and change.
In the preliminary analysis, the aspects of emotion knowledge were categorized as emotion(al) 39) availability, consciousness, empathy, understanding, reflection, expressivity, regulation and interaction. In the main analysis, the research questions were limited to ‘What aspects of emotional availability can be considered to be mediated by music experience?’ and ‘What aspects of emotional understanding can be considered to be mediated by music experience?’ The question related to availability includes both the more embodied awareness and the mental consciousness inspired by the phenomenological theory of consciousness (Christensen & Zahavi 2003; Merleau-Ponty 1945/1994). However, the limitations of reflection were discussed based on an embodied focus and formulations from the interviews which regarded the first bodily reaction as the first movement in reflection, and considered reflection also to be non-verbal. Furthermore, the western individually-based understanding of awareness was inspired by more intersubjective thinking (Stern 1985/2000, 2004). The analysis also emphasized that the emotions involved in music are often experienced as recognizable, even though they seem to be “new”, and that the music experience can be a necessary tool, a more superficial memorandum, and something which changes the ability to be emotionally available whether music is present or not. Availability was further seen in the light of attending different emotional spaces, and enduring them. The data were also analyzed in relation to categorical, dimensional and vitality aspects of the knowledge. They were all represented in the material. However, vitality affects (Stern 1985/2000) seem to have a more important role in music experience than they have in general emotion theory. The same is the case for traditionally negative emotions, compared to older research in music psychology, although “negative emotions” are not necessarily experienced as negative in music experience.
The first part of the analysis of emotional understanding concerned reflection, understood as both a mirror/echo and a sequence of thought. The second part focused on self-knowledge, including material on identity. This part also acknowledged the possibility of both a pre-reflexive and reflexive understanding, paralleling the pre-reflexive and reflexive consciousness. Emotional understanding of others was called intersubjective understanding because of the social aspects.
The issues of sharing, relations and empathy were strongly emphasized in the data. Although the starting point was rather traditional in its individual focus, both of the categories from the main analysis were led in a more intersubjective direction. The chapter on understanding was concluded with material on nonverbal understanding and tacit knowledge, which seemed to be very important in music experience. The last chapter discusses some of the pedagogical and psychological questions raised or alluded to in earlier chapters. It discusses whether emotion knowledge, as a part of the intrinsic content of music education, also deserves a more explicit space. Problems of referentialism and absolutism are discussed in relation to the phenomenological stance and instrumentalism, and the topics of intersubjectivity and reflection are developed into further discussions and questions. Another possibility for further research into the topic is related to theories of learning strategies, possibly also defined as appreciation strategies. The chapter also includes a discussion of the nonverbal aspect of the topic, the problems it caused and the problems it could cause in a society which relies
heavily on the verbal development of knowledge alone. The chapter concludes with some reflections concerning categories, gender perspectives and further research into the empirical material.
38) The term ’emotion knowledge’ is used for instance by Denham & Kochanoff (2002:239ff), but here it is a translation of the Norwegian term ’følelseskunnskap’. In the translation of this term, ‘emotion’ is preferred to ‘feeling’ because in English, the term ‘feeling’ is often connected only to the (conscious) sensation of emotion, whereas in Norwegian, ‘emosjon’ is not colloquial.
39) The most consistent term would be ’emotion availability’, though this may sound strange. However,
certain theoretical perspectives consider emotion learning to be about emotional content, while
emotional learning mainly refers to the form (of any learned content). This study focuses on
emotion(al) content, also on this categorical level. Whether the two are possible to separate is another
discussion
Musikkopplevelse som muligheter for følelseskunnskap : en studie av musikkopplevelse som medierende redskap for følelseskunnskap, med vekt på emosjonell tilgjengelighet og forståelse
No full textAvhandling (Ph.D.) - Norges musikkhøgskole, 2009Summary in English
Our culture seems to carry an idea of music being closely connected to emotion (Benestad 1983; Budd 1992; Dissanayake 2001; Hjort & Laver 1997; Juslin & Sloboda 2001b; Langer 1942/1979: Matravers 2001; Meyer 1956; Myskja 2000; Swanwick 1994). On a general level, this even includes developing human personality (Aristoteles 1997; Elliott 1995; Gadamer 2007; Platon 2001; Reimer 2005). This project investigates music experience more explicitly in the way it relates to emotion learning and knowledge. Its research question is: Can music experience be considered to be a mediating tool for emotion knowledge? If so, how? 38)
The project is empirical and based on ten semi-structured, individual interviews of five women and five men of different ages and with different genre preferences. Five of them are music professionals and five are from other professions. The analysis, which was performed in several sequences, can be called ideographic content analysis, or more specifically meaning condensation, with elements of meaning categorization and meaning interpretation, primarily inspired by van Manen’s (2001) hermeneutic-phenomenological and Giorgi’s (1985, 1989) phenomenologic-psychological methods.
The study started with a phenomenological approach, seeing experience as reality. However, it acknowledges that avoiding interpretation is impossible. Therefore, not only lived experience, but also the knowledge learned from the experiences, were considered relevant data. Accordingly, this analysis is also inspired by phenomenography (Marton & Booth 1997), socio-cultural (Vygotskij 1934/2001; Säljö 2004, 2005, 2006) and discursive (Heritage 1984; Hutchby & Wooffitt 1998; Winther Jørgensen & Philips 1999) thinking. The initial analytical steps were very close to the empirical material, while the later ones took into account theory from music psychology (Juslin & Sloboda 2001a; Jørgensen 1989; Sloboda 2005), emotion theory (Mayer & Salovey 1997/2004; Monsen 2000) and learning theory. The project could thus be considered to be in-between several “prototypes” (Rosch 1978).
The preliminary analysis categorized the empirical material as a whole, dividing the material into two research questions: ‘What aspects of music experience can be considered to mediate emotion knowledge?’ ; and ‘What aspects of emotion knowledge can be considered to be mediated by music experience?’ The many aspects of music experience were grouped into four perspectives: the structural perspective includes the categories manners of meeting, music elements and genres; the relational perspective is divided into the categories alone, interaction, dialogue, meeting, care and acknowledgement; the referential perspective comprises the categories describe, remember, reverberation and embodied; the affording perspective includes the categories open, abandon, awake, strengthen, care and change.
In the preliminary analysis, the aspects of emotion knowledge were categorized as emotion(al) 39) availability, consciousness, empathy, understanding, reflection, expressivity, regulation and interaction. In the main analysis, the research questions were limited to ‘What aspects of emotional availability can be considered to be mediated by music experience?’ and ‘What aspects of emotional understanding can be considered to be mediated by music experience?’ The question related to availability includes both the more embodied awareness and the mental consciousness inspired by the phenomenological theory of consciousness (Christensen & Zahavi 2003; Merleau-Ponty 1945/1994). However, the limitations of reflection were discussed based on an embodied focus and formulations from the interviews which regarded the first bodily reaction as the first movement in reflection, and considered reflection also to be non-verbal. Furthermore, the western individually-based understanding of awareness was inspired by more intersubjective thinking (Stern 1985/2000, 2004). The analysis also emphasized that the emotions involved in music are often experienced as recognizable, even though they seem to be “new”, and that the music experience can be a necessary tool, a more superficial memorandum, and something which changes the ability to be emotionally available whether music is present or not. Availability was further seen in the light of attending different emotional spaces, and enduring them. The data were also analyzed in relation to categorical, dimensional and vitality aspects of the knowledge. They were all represented in the material. However, vitality affects (Stern 1985/2000) seem to have a more important role in music experience than they have in general emotion theory. The same is the case for traditionally negative emotions, compared to older research in music psychology, although “negative emotions” are not necessarily experienced as negative in music experience.
The first part of the analysis of emotional understanding concerned reflection, understood as both a mirror/echo and a sequence of thought. The second part focused on self-knowledge, including material on identity. This part also acknowledged the possibility of both a pre-reflexive and reflexive understanding, paralleling the pre-reflexive and reflexive consciousness. Emotional understanding of others was called intersubjective understanding because of the social aspects.
The issues of sharing, relations and empathy were strongly emphasized in the data. Although the starting point was rather traditional in its individual focus, both of the categories from the main analysis were led in a more intersubjective direction. The chapter on understanding was concluded with material on nonverbal understanding and tacit knowledge, which seemed to be very important in music experience. The last chapter discusses some of the pedagogical and psychological questions raised or alluded to in earlier chapters. It discusses whether emotion knowledge, as a part of the intrinsic content of music education, also deserves a more explicit space. Problems of referentialism and absolutism are discussed in relation to the phenomenological stance and instrumentalism, and the topics of intersubjectivity and reflection are developed into further discussions and questions. Another possibility for further research into the topic is related to theories of learning strategies, possibly also defined as appreciation strategies. The chapter also includes a discussion of the nonverbal aspect of the topic, the problems it caused and the problems it could cause in a society which relies
heavily on the verbal development of knowledge alone. The chapter concludes with some reflections concerning categories, gender perspectives and further research into the empirical material.
38) The term ’emotion knowledge’ is used for instance by Denham & Kochanoff (2002:239ff), but here it is a translation of the Norwegian term ’følelseskunnskap’. In the translation of this term, ‘emotion’ is preferred to ‘feeling’ because in English, the term ‘feeling’ is often connected only to the (conscious) sensation of emotion, whereas in Norwegian, ‘emosjon’ is not colloquial.
39) The most consistent term would be ’emotion availability’, though this may sound strange. However,
certain theoretical perspectives consider emotion learning to be about emotional content, while
emotional learning mainly refers to the form (of any learned content). This study focuses on
emotion(al) content, also on this categorical level. Whether the two are possible to separate is another
discussion
Rytmisk musikkundervisning som estetisk praksis : en casestudie
No full textAvhandling (Ph.D.) - Norges musikkhøgskole, 2009The subject of this dissertation is rhythmic music teaching. "Rhythmic music" is synonymous with "popular music". Rhythmic music teaching is, in short, an oral approach to teaching, where rhythm, participation, movement, improvisation and playing together are essential. The purpose of the study is to examine how rhythmic music teaching is constituted as aesthetic practice. My research questions are: How are aesthetic values expressed in rhythmic music teaching, and how are these values constituted as self-evident?
I designed the study as a case study of a percussionist, Tobias, who teaches at a Danish rhythmic conservatory. Data have been collected through participant observation, interviews and document studies. The theoretical point of departure is Pierre Bourdieu's theory of social practice; habitus, practical sense, doxa and illusio have been useful concepts in the analysis. I have applied Maurice Merleau-Ponty's phenomenology of the body and John Dewey's pragmatism as supplements to Bourdieu's somewhat structural orientation. This enabled me to identify aesthetic values in rhythmic music teaching, as seen from the agent's point of view. In order to examine how these values are constituted as self-evident, I identified various objective structures; in teaching situations, in narratives, and in structures within the conservatory context. I found that these structures to a large degree coincided with and mirrored the aesthetic values as expressed and exercised in the classroom. I also identified various social control mechanisms; in some cases subtly and efficiently transformed into self- limitation and self-control. As a consequence, these structures and mechanisms function to maintain the given aesthetic order, thereby reproducing aesthetic practice. The coinciding of incorporated and reified structures produces a coherent belief system. Inside such a belief system, the rhythmic activity - and thus also the aesthetic values - appears as meaningful, obvious and self-evident. Participatig in music teaching is participating in aesthetic practice, which implies an incorporation of aesthetic values. To incorporate aesthetic values is to incorporate guidelines for taste and action, which has both ethical and epistemological implications: It forms the perception of what is legitimate, and, consequently, what the individual may be required to learn, know, believe and think, as well as what he or she may require of themselves and of others
The development of form-awareness by means of aural sonology
Get PDFNorges musikkhøgskole. Masteroppgave. Anvendt musikkteori. - Den trykte versjonen har vedlagt lydfiler (CD) som pga rettighetsspørsmål ikke kan legges ut på nettet.In this Master thesis I wish to examine the benefit that performance students and musicians can have from the ability to use aural sonological analysis as an aid in the approach and presentation of contemporary music to an audience. The original idea of this thesis was born from the personal experience of the chasm that often seems to exist between contemporary music and the audience with which it seeks to communicate. As a performer of contemporary music shamelessly dragging friends and family to listen to my concerts I was often intrigued by the lack of understanding and communication which sometimes occurred in the concert between music and audience despite the obvious willingness of the audience to understand. I became interested in the concert situation itself and if maybe the presentation of contemporary music demanded something particular in this situation.
Aural Sonology consists of an analytical system where the object of analysis is the aural aspect of music; music as heard as supposed to the written aspect (the score). The musical object experienced through listening will never be an objective fact like a score but will always change according to how we listen. Therefore the subject of listening intentions or listening behavior is central in aural sonology as a means to achieve a systematic approach to the object one is analyzing. The subject of listening intentions is also relevant when it comes to understanding what takes place in a concert situation because it helps to place the focus equally on the listener and the musician. The knowledge of the different listening behaviors we may encounter in an audience is an important knowledge for musicians who wish to work with the presentation of music of a more contemporary date (it may indeed be just as important a tool for the presentation of the traditional classical repertoire as well but that is not the topic of this thesis)
Nordic Research in Music Education. Yearbook Vol. 11
Get PDFInnhold – Contents: Music didactics as a multifaceted field of cultural didactic studies / Petter Dyndahl & Live Weider Ellefsen. - The role of music in music education research : reflections on musical experience / Øivind Varkøy. - En kulturpsykologisk modell av musikaliskt lärande genom musicerande / Cecilia K. Hultberg. - Det store skillet? : om skriftlighetens betydning for kognitiv bevissthet i musikalsk læring / Hilde Synnøve Blix. - Om musikaliska generaliseringar / Stojan Kaladjev. - Musikk og tilpasset opplæring – om å kunne spille på flere strenger : et blikk på musikalitet, multiple intelligenser og læringsoverføring / Odd Torleiv Furnes. - Sanselighedspædagogik og livsduelighed : skolens vej mod en omvurdering af musik som sanseligt-æstetisk fag / Frederik Pio. - Ömsesidig nyfikenhet och respekt – fenomenologisk didaktik som utgångspunkt för musikundervisning i grundskolans lägre åldrar / Cecilia Ferm Thorgersen. - Følelseskunnskap – kunnskapsområde i musikkfaget? / Torill Vist. - Students’ attitudes to aural training in an academy of music / Inger Elise Reitan. - Identitation’ – Researching identity processes of professional singers from a discourse-theoretical perspective / Tiri Bergesen Schei. - Musiklærerkompetencer i et relationsfelt mellem pædagogik og fag / Finn Holst. – Forskningsnote - Research note : introduktion til musikpsykologi / Sven-Erik HolgersenIt is a great pleasure for the Nordic Network for Research in Music Education to be able to publish important research articles in its peer-reviewed Yearbook year after year. This is Volume 11 in the series. It contains twelve comprehensive articles and a research note as well as information about doctoral theses in music pedagogy and closely related disciplines accepted in 2009 in the Nordic countries. The issues dealt with in the texts of this volume are multifaceted, and several of the topics have clear relations to articles published in previous volumes of the Yearbook. So we are convinced that a cross-search in the volumes for topics of interest and research-based knowledge in the field of music education will prove both informative and rewarding. The Yearbook features texts in English and in Scandinavian languages; all articles have abstracts in English, which will also be available on the homepage of the Network
Nordic Research in Music Education. Yearbook Vol. 11
Get PDFInnhold – Contents: Music didactics as a multifaceted field of cultural didactic studies / Petter Dyndahl & Live Weider Ellefsen. - The role of music in music education research : reflections on musical experience / Øivind Varkøy. - En kulturpsykologisk modell av musikaliskt lärande genom musicerande / Cecilia K. Hultberg. - Det store skillet? : om skriftlighetens betydning for kognitiv bevissthet i musikalsk læring / Hilde Synnøve Blix. - Om musikaliska generaliseringar / Stojan Kaladjev. - Musikk og tilpasset opplæring – om å kunne spille på flere strenger : et blikk på musikalitet, multiple intelligenser og læringsoverføring / Odd Torleiv Furnes. - Sanselighedspædagogik og livsduelighed : skolens vej mod en omvurdering af musik som sanseligt-æstetisk fag / Frederik Pio. - Ömsesidig nyfikenhet och respekt – fenomenologisk didaktik som utgångspunkt för musikundervisning i grundskolans lägre åldrar / Cecilia Ferm Thorgersen. - Følelseskunnskap – kunnskapsområde i musikkfaget? / Torill Vist. - Students’ attitudes to aural training in an academy of music / Inger Elise Reitan. - Identitation’ – Researching identity processes of professional singers from a discourse-theoretical perspective / Tiri Bergesen Schei. - Musiklærerkompetencer i et relationsfelt mellem pædagogik og fag / Finn Holst. – Forskningsnote - Research note : introduktion til musikpsykologi / Sven-Erik HolgersenIt is a great pleasure for the Nordic Network for Research in Music Education to be able to publish important research articles in its peer-reviewed Yearbook year after year. This is Volume 11 in the series. It contains twelve comprehensive articles and a research note as well as information about doctoral theses in music pedagogy and closely related disciplines accepted in 2009 in the Nordic countries. The issues dealt with in the texts of this volume are multifaceted, and several of the topics have clear relations to articles published in previous volumes of the Yearbook. So we are convinced that a cross-search in the volumes for topics of interest and research-based knowledge in the field of music education will prove both informative and rewarding. The Yearbook features texts in English and in Scandinavian languages; all articles have abstracts in English, which will also be available on the homepage of the Network
Music and adaptation – a matter of differentiation
Get PDFMusic and adaptation – a matter of differentiation
Adaptation for individual differences is a core principle in the national curriculum in
Norway. The article refers to studies that claim that differentiation should be closely
associated with the principle of adaptation. With music as a point of departure, the
article investigates some of the opportunities for differentiation that may be found in the intersection between music, language, and mathematics. This is approached through concepts of intelligence and subintelligence, as found in the theory of multiple intelligences. – The discussion builds upon results from experimental psychological research stating that a particular subintelligence typical for musical ability may also be a subintelligence in mathematics or language. The article also points to the fact that some of the skills associated with a particular school subject may also be found in other school subjects. Discussions of these findings are based on central thoughts from the theory of “transfer of learning”. A basic principle in this theory is that all forms of learning depend on transfer and application of knowledge and skills from
one context to another. – Based on these conditions, the article concludes that a
mutual cooperation across school subjects is important for learning and cognitive
development, as well as for adaptation and differentiation.
Keywords: differentiation, musical ability, multiple intelligence, transfer of learnin
Pedagogy of sensuality and capability of life (livsduelighed). The School’s path towards a reassessment of music as sensual-aesthetic subject
Get PDFIn this article music is discussed as a sensual-aesthetic subject in the Danish ‘Folkeskole’ (compulsory primary and lower secondary school). Special attention is given to music as a sensual subject. This topic is developed in two directions: (i) The overall curriculum of the ‘Folkeskole’ is criticized as being divided into a ‘structure of opposites’. Among other things this structure includes the opposition between academic-theoretical (‘bookish’) subjects opposite the aesthetic (‘artistic’) subjects. Based on this criticism a ‘pedagogy of sensuality’ is suggested as a relevant approach. (ii) As a way to develop the problems concerning the sensuality-approach to the subject music discussed in (i), the concept ’capability of life’ livsduelighed) is suggested as a key concept for an ontological grounding of music as a school subject. This perspective draws on the ontological concept of Lichtung (clearing) found in Martin Heideggers Sein und Zeit (1927). Keywords: cabability of life (livsduelighed), school subject music, sensuality, Martin Heidegger, clearing, Theodor Wilhel
Musikkterapi som gruppetilbud for ungdom
No full textI denne artikkelen tar jeg sikte på å beskrive et musikkterapiprosjekt hvor det ble arbeidet med en gruppe ungdommer i alderen 16-18 år. Prosjektet er gjennomført ved en barne- og ungdomspsykiatrisk avdeling. Det er tradisjon for å gi tilbud om familieterapi i barne og ungdomsspsykiatrien. Det forekommer imidlertid sjeldnere at det gis tilbud om ungdomsgrupper.
Prosjektets fokus var musikkens betydning i forhold til ungdommenes selvopplevelse, samt relasjonene dem imellom. Det ble i tillegg foretatt en kartlegging av betydningen
musikkopplevelsene hadde for ungdommenes fortellinger om seg selv. Det tverrfaglige samarbeidet mellom lege og musikkterapeut under arbeidet med denne gruppen blir også belyst. Videre vil jeg nevne noen teorier jeg anser som relevante
Spill og refleksjon. En studie av en musikalsk interpretasjonsprosess av Harrison Birtwistles Deowa i relasjon til sju andre komposisjoner for kvinnestemme og klarinett
Get PDFAvhandling (Ph.D.) - Norges musikkhøgskole, 2009 :
På grunn av opphavsrettslige spørsmål er innholdet på den tilhørende CDen ikke publisert her.This dissertation involves a study on the process of a musical interpretation of Deowa (1983) for soprano and clarinet, written by the English composer Sir Harrison Birtwistle (b. 1934), a leading composer in Europe. Although Birtwistles‘s music is often performed in Europe as well as in the United States, it is rarely performed in Norway. Interestingly, Deowa, which is a vocalise and the only composition Birtwistle has composed for soprano and clarinet duo, is hardly ever given any attention, either by performers or musicologists. This particular work creates thus an interesting point of departure regarding an investigation of what the process of musical interpretation entails. In this doctoral project Deowa is studied in relation to seven other musical works for female voice and clarinet. This includes another work by Birtwistle and music by Anton Webern, Pascal Dusapin, Bjørn Kruse and Lene Grenager, all of which are composed between 1924 and 2004. My perspective as a performing clarinettist together with my collaboration with the soprano Astrid Kvalbein creates a starting point in the present project. Consequently, the project has two dimensions. One is based on my experience as a clarinet player and the other is based on my theoretical reflections. Attached to the text is an audio recording with the eight musical works. Whereas these are presented side by side on the recording, Deowa constitutes the core of the written dissertation. Here musical interpretation is investigated both in relation to the actual musical works and to the interpretation process. This creates the basis for a theoretical discussion. The understanding of aesthetic experience as sensuous knowledge creates a basis for the dissertation. This promotes an argument to understand musical interpretation as performing, reading, listening and/or imagining music, which in turn implies a manifold and process orientated musical understanding. The theoretical perspective taken is hermeneutic, and is to a considerable extent connected to writings by Hans-Georg Gadamer, Paul Ricoeur and Umberto Eco. Gadamer‘s term 'play' is given particular attention.
Finally, the dissertation consists of the following parts: 1 Introduction, 2 En(coun)tering the musical work, 3 Text study, 4 Score analysis, 5 Relational perspective, time/duration, play and 6 Conclusion