NMH - Brage (Norges musikkhøgskole)
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Helsebegrepet : selvet og cellen
Get PDFOrdet helse kommer av det oldnorske heill, som betydde ”hel, ubeskåren,
uskadd”. Heill har gitt opphav til ordene hel, hell, hellig – og helse. Det friske og det
sunne har aldri vært rent kroppslige eller materielle egenskaper, helse har alltid hatt
en moralsk og spirituell betydning. På latin er ordet for helse salus, som også betyr
frelse. Det som er godt for kroppen, sjelen og ånden forenes i ett ord. Det greske ordet
for helse hadde betydningen ”det skjønne og det edle”, og for grekerne var helse vel
så mye moral som biologi. Gresk sunnhet i antikken var en etisk og sosialfilosofisk
måte å leve på, i harmoni mellom kropp, sjel, samfunn og natur. Det er et stykke
derfra til vår tids tro på at helse skapes av vitaminpiller, helsestudioer og horder av
”helse”arbeidere.
I denne artikkelen skal jeg nærme meg helsebegrepet fra to ytterkanter, henholdsvis
fenomenologisk filosofi og psykonevroimmunologisk forskning, i forsøk på
å skape en fortelling om helse med rom for både mening og materie, musikk og biologi
Å lære i kor : Belcanto som praksisfellesskap
Get PDFAvhandling (Ph.D.) - Norges musikkhøgskole, 2009Singing in general, and more specifically choir singing, is popular in today’s culture. In Norway more than 200 000 people sing in amateur choirs, which is the field of interest for the present dissertation. A case study was conducted in a local amateur choir, Belcanto, situated in a small Norwegian community. The aim of the study was to increase the awareness and understanding of what sort of institution a local choir constitutes, and of what participation in such a choir is about. The study meets the need for research both on the musical practice of adult amateurs, as well as their learning outside of the traditional musical educational institutions. The main research questions were concerned with the interplay between the musical and the social aspects of the choir practice, and on how participating in a local choir contributes to the development of learning and identity. The study was grounded in earlier choir research as well as music educational theory concerning informal arenas for learning. The study’s theoretical framework was founded on theories of situated learning and in particular theory of communities of practice, but perspectives of sociology and anthropology also informed the work. The research was designed as a case study, combining mainly participant observation, interviews with choir members and document analysis. One of the main fields of analysis dealt primarily with the examination of the role played by the choir in its local community, and how the activities of the choir serve to strengthen the sense of local belonging. The results indicate that the choir members learn how to be inhabitants of their local community through participation, thereby implicating learning and the construction of identity and belonging related to place. The social interaction within the choir and various aspects of the musical interaction of the choir practice were also subject to analysis. Results point to the dependence on and the tensions between the musical and the social interaction, which cause both harmony and disharmony to mark the choir practice. The practice embodies both positive energies such as collaboration and reciprocity, all the while also containing more negative forces like tensions, negotiations and conflicts. The study shows that learning and development in various areas constitute one of the main implications of participation in a choir, which may, in turn lead to an increased quality of life. The results also demonstrate how a local choir constitutes a multifaceted institution in which several different elements interact, and how the balance between them is vital for the existence of the choir. Consequently the application of a comprehensive and contextual perspective is of great importance when dealing with amateur choir practice
Music teacher competences between general pedagogic knowledge and subject matter knowledge
Get PDFEstablishing coherence between general pedagogics, subject matter and teaching practice is a well-known and recognized problem in Danish teacher education. The question raised is how music teacher competences are constituted in a relational field between different knowledge-bases. In order to conduct an investigation into this, the author deal firstly with the didactical-theoretical aspect of the relational problem, and secondly with the methodical
implications this leads to. The didactical concepts Didaktische Rekonstruktion (German Fachdidaktik) and Didactical Transposition-theory (French Didactique) are applied to the discussion of the relation between pedagogical knowledge and subject matter knowledge and their possible integration. On the basis of a double transposition-process, a Didactical
Integration Model is developed. Based on this model the author discusses and evolves the methodical design for an investigation of the subject-didactical competences of music teachers in teaching general music in primary schools and in instrumental teaching in music schools.
Keywords: Teacher competences, relational field, transposition-theory, didactic
reconstruction, didactic integratio
The role of music in music education research : reflections on musical experience
Get PDFFirst in this article the role of theories of musicology in music education research is considered. Second, the case in point is examined where the focus of music education research is brought bo bear directly on music education, to wit music. By concentrating on music in music education research, the focus remains firmly on musical experience as a basis of reflection in music education research. The author has chosen to focus in particular on a specific kind of musical experience - more precisely, musical experience as an existential experience. Keywords: music educational research, role of music, musical experience, existential experienc
Identitation : researching identity processes of professional singers from a discourse-theoretical perspective
Get PDFThe discussion in this article focuses on the use of discourse theory in research on identity formation in professional education. Michel Foucault’s works and ideas inspire researchers to work with concepts like discursive space, governmentality and technologies of the self, to explore social and cultural processes involved in identity formation. Within a discourse-theoretical perspective, identity formation is understood as an ever-evolving process, where individuals at any time embody multiple identities in response to patterns of power-relations among individuals and institutions. Identitation is suggested as a new term for the processes of being, having and seeking identity/identities. These ideas are illustrated by findings from a study of professional singers within classical, pop and jazz music, respectively.- Keywords: identitation, discourse analytic research, Foucault, professional singer
Music didactics as a multifaceted field of cultural didactic studies
Get PDFThe aim of this article is to explore how perspectives from different cultural theories
can inform music education research, more particularly didactic aspects of teaching
and learning music, and predominantly in relation to the institutional framing of
common schooling. In order to rethink music didactics as ‘cultural didactic studies’, the notion of ‘didactic identity’ is put forward and discussed, the term beeing coined on the basis of Lars-Owe Dahlgren’s central didactic identity question. The authors
employ identity as a metaphorical concept: analogous to human subjects’ constructions
of identity, the didactic identities of school subjects are also created and negotiated
by means of, and in relation to, culture, meaning and power. According to this
conception of didactic identity, the school subject music will inevitably be embedded
in discursive negotiations concerned with diverse comprehensions of musical meaning,
much in the same manner as any musical and musico-pedagogical custom. The article
attempts to epitomize the concept of ‘cultural didactic studies’ by distinguishing and deconstructing a certain array of music education binaries, showing how arbitrary
articulations in a temporary network of relations constituting the didactic identity of
music as a school subject come forth as essential, natural and unavoidable categories and connections. Moreover, the aim is to demonstrate how complex, contingent and culturally contextual the didactic identity of the subject of music can be, and, thereby, further to expound and legitimize the versatile concept of didactic identity itself. Finally, an outline of some crucial arguments and premises of cultural didactic studies is suggested along with a few perspectives on how this might be of importance to music teachers and teacher education.
Keywords: music education, didactics, post-structural theory, cultural studies, identit
Ungdom, samspel og komponering
Get PDFI det følgjande vil det bli presentert eit musikkterapeutisk arbeid med ungdom med samansette vanskar og store belastningar i livet. Spørsmålet om terapi for denne gruppa er ikkje kva intervensjon som er utviklande, men kva intervensjonsform som utviklar kven (Roth & Fonagy 1996). Målet med denne artikkelen er å vurdere eigen aktivitet med musikkterapi som metode på ein poliklinikk for psykisk helsevern for barn og unge (BUP), og i den konteksten prøve å vise at musikkterapi er ei aktuell intervensjonsform. Bessel van der Kolk m.fl. (2006) evaluerer eit teaterbasert voldsforebyggande program for ungdom, og spør om det i for stor grad vert snakka om vonde og vanskelege opplevingar, framfor å nytte til dømes drama, musikk og dans for å uttrykke seg. I artikkelen utdjupar han kvifor meiningsfull kreativ aktivitet har betre effekt for målgruppa enn til dømes berre samtaleterapi
Å lære i kor : Belcanto som praksisfellesskap
Get PDFAvhandling (Ph.D.) - Norges musikkhøgskole, 2009Singing in general, and more specifically choir singing, is popular in today’s culture. In Norway more than 200 000 people sing in amateur choirs, which is the field of interest for the present dissertation. A case study was conducted in a local amateur choir, Belcanto, situated in a small Norwegian community. The aim of the study was to increase the awareness and understanding of what sort of institution a local choir constitutes, and of what participation in such a choir is about. The study meets the need for research both on the musical practice of adult amateurs, as well as their learning outside of the traditional musical educational institutions. The main research questions were concerned with the interplay between the musical and the social aspects of the choir practice, and on how participating in a local choir contributes to the development of learning and identity. The study was grounded in earlier choir research as well as music educational theory concerning informal arenas for learning. The study’s theoretical framework was founded on theories of situated learning and in particular theory of communities of practice, but perspectives of sociology and anthropology also informed the work. The research was designed as a case study, combining mainly participant observation, interviews with choir members and document analysis. One of the main fields of analysis dealt primarily with the examination of the role played by the choir in its local community, and how the activities of the choir serve to strengthen the sense of local belonging. The results indicate that the choir members learn how to be inhabitants of their local community through participation, thereby implicating learning and the construction of identity and belonging related to place. The social interaction within the choir and various aspects of the musical interaction of the choir practice were also subject to analysis. Results point to the dependence on and the tensions between the musical and the social interaction, which cause both harmony and disharmony to mark the choir practice. The practice embodies both positive energies such as collaboration and reciprocity, all the while also containing more negative forces like tensions, negotiations and conflicts. The study shows that learning and development in various areas constitute one of the main implications of participation in a choir, which may, in turn lead to an increased quality of life. The results also demonstrate how a local choir constitutes a multifaceted institution in which several different elements interact, and how the balance between them is vital for the existence of the choir. Consequently the application of a comprehensive and contextual perspective is of great importance when dealing with amateur choir practice
Emotion knowledge – a field of knowledge in music education?
Get PDFEmotion knowledge – a field of knowledge in music education? This article presents music experience as a mediating tool for emotion knowledge, and further discusses emotion as a field of knowledge in music education. – The empirical project, which provides the basis for the discussion, proves music experienced as a mediating tool for emotion knowledge. The aspects of emotion knowledge related to music experience were in a preliminary analysis categorized as emotional availability, emotional consciousness, emotional empathy, emotional understanding, emotional reflection, emotional expressivity, emotional regulation and emotional interaction. The main analysis revealed other opportunities for investigation and categorisation, such as revocable and new, dynamic and static, individual and intersubjective, mental and embodied, pre-reflexive and reflexive aspects of emotion knowledge. – These results are in the discussion argued to be a field of knowledge in music education, based on arguments related both to phenomenology, pedagogy and music philosophy. However, different categorisations can easily hide important aspects of the research area, and the article concludes pointing in this direction. - Keywords: music, experience, education, emotion, knowledg
Musikkterapi som hjelp til selvhjelp i kontekst av barnevernsarbeid
Get PDFUtgangspunktet for denne artikkelen er erfaringer som stammer fra en gjennomført
musikkterapivirksomhet i kontekst av en barnevernsinstitusjon. De erfaringene som
hovedsakelig skal deles her handler om hvordan unge mennesker kan bruke egne stemmer til å frembringe fortellinger som kan være med å oppdra samfunnet vårt til hva barnevern ”egentlig” skal være. Utfordringen i lys av et slikt perspektiv blir å bidra til å lage arenaer og muligheter der barn og unge kan få artikulert og fremført sine versjoner av virkeligheten uten at de voksnes stemmer blir for dominerende. Det handler om å lytte til det de unge sier på en slik måte at det får betydning for dem og det miljø de tilhører. Et slikt syn er i tråd med FNs barnevernskonvensjon som sier at barn har en lovfestet rett til å bli hørt og til å være handlende aktører i egne liv (Lov om barnevernstjenester § 6-3, FNs barnekonvensjon §12)