NMH - Brage (Norges musikkhøgskole)
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Humor og musikkterapi
Get PDFJeg har ved hjelp av kvalitative forskningsintervjuer forsøkt å kartlegge humor i musikkterapien, under norske forhold, får jeg legge til. Seks informanter har gitt meg til sammen åtte timer på minidisk med tanker, refleksjoner, meninger og betraktninger om humor og humorhistorier fra musikkterapien. Ut av dette materialet og egne erfaringer har det utkrystallisert seg visse kategorier av humor, som ser ut til å trives i musikkterapigrupper. Og visse betingelser viser seg å måtte være til stede i en viss grad for at humorfortolkning skal finne sted. Og sist, men ikke minst, det ser ut som denne humoren i musikkterapigruppene har viktige funksjoner
Konsert med spedbarn som målgruppe
Get PDFVi har fått et ganske uvanlig oppdrag; å lage en konsert for spedbarn. Komponisten Eivind Buene har ansvaret for det klingende materiale, multimediakunstneren Boya Bøckmann for det visuelle. Bjørn K. Nielssen skal skape rommet der konserten skal foregå og Kristiansand Symfoniorkester bidrar med fire musikere. Selv har jeg ansvaret for utviklingen av selve konseptet, og er i tillegg den femte musikeren i ensemblet
Musical answerability : a theory on the relationship between music therapy improvisation and the phenomenon of action
Get PDFAvhandling (Ph.D.) - Norges musikkhøgskole, 2008What is the relationship between music therapy improvisation and the phenomenon of action? This thesis seeks to build a theory on how actions manifest themselves in music therapy improvisation and how they are cultivated and thought about by music therapists. A video recorded excerpt of a music therapy improvisation with a multi-handicapped client is used in order to produce the empirical material, and the theoretical material includes discussions on relevant established theories. New theoretical perspectives are also introduced, such as the Russian linguist and philosopher Mikhail M. Baktin's terms carnival and dialogue. In a reflective synthesis of the various sources, the author, who is an experienced music therapist with a broad musical background, presents another perspective:"Musical answerability" is suggested as a theory that incorporates the existential, sociological and practical relational perspectives connected to the relationship between music therapy improvisation and the phenomenon of action. The dissertation will be of interest to therapists, musicians, educators and other professionals who are interested in improvisation
Studentevaluering av individuell hovedinstrumentundervisning : en case-studie av en høyere musikkutdanningsinstitusjon
Get PDFNorske musikkutdanningsinstitusjoner befinner seg i spenningsfeltet mellom manghundreårige mesterlæretradisjoner og dagens krav til studiepoengproduksjon, ”accountability” og kvalitetssikringssystemer. I dette spenningsfeltet skal den obligatoriske studentevalueringen av undervisning i ulike musikkfag finne sin plass og funksjon.
Dette høgskolepedagogiske forskningsprosjektet har som bakgrunn de utfordringer som oppsto når systematisk studentevaluering ble innført i den individuelle hovedinstrumentundervisningen ved Norges musikkhøgskole. For å kartlegge og belyse disse utfordringene ble det foretatt intervjuer med hovedinstrumentlærere og deres studenter med utgangspunkt i følgende problemstilling: Hvordan oppfatter, praktiserer og erfarer hovedinstrumentlærere og deres studenter studentevaluering av individuell hovedinstrumentundervisning?
Viktige funn i undersøkelsen er at to konstituerende faktorer ved hovedinstrument-undervisningen kan virke hemmende for studentevalueringen: For det første, studentenes behov for å ha en nærmest uforbeholden tillitt til hovedinstrumentlærerens autoritet: Kravet om å innta en distansert og vurderende holdning til undervisningen kan oppleves som uforenlig med en slik tillit. For det andre, behovet for å ha en velfungerende og uanstrengt relasjon til hovedinstrumentlæreren: Redselen for å såre eller irritere læreren gjennom evalueringene kan virke hemmende på studentenes villighet til å gjennomføre evalueringer. Videre tyder resultatene på at de metodene som velges for å gjennomføre evalueringene har stor betydning for om studentevalueringen blir gjennomført i denne formen for undervisning.
Prosjektet har ført til endringer i prosedyrene og metodene for studentevaluering ved Norges musikkhøgskole. Det har også resultert i at det er utarbeidet en håndbok for studenter og lærere for å imøtekomme de spesielle utfordringer som begge parter står overfor når den individuelle hovedinstrumentundervisningen skal evalueres
Studentevaluering av individuell hovedinstrumentundervisning : en case-studie av en høyere musikkutdanningsinstitusjon
Get PDFNorske musikkutdanningsinstitusjoner befinner seg i spenningsfeltet mellom manghundreårige mesterlæretradisjoner og dagens krav til studiepoengproduksjon, ”accountability” og kvalitetssikringssystemer. I dette spenningsfeltet skal den obligatoriske studentevalueringen av undervisning i ulike musikkfag finne sin plass og funksjon.
Dette høgskolepedagogiske forskningsprosjektet har som bakgrunn de utfordringer som oppsto når systematisk studentevaluering ble innført i den individuelle hovedinstrumentundervisningen ved Norges musikkhøgskole. For å kartlegge og belyse disse utfordringene ble det foretatt intervjuer med hovedinstrumentlærere og deres studenter med utgangspunkt i følgende problemstilling: Hvordan oppfatter, praktiserer og erfarer hovedinstrumentlærere og deres studenter studentevaluering av individuell hovedinstrumentundervisning?
Viktige funn i undersøkelsen er at to konstituerende faktorer ved hovedinstrument-undervisningen kan virke hemmende for studentevalueringen: For det første, studentenes behov for å ha en nærmest uforbeholden tillitt til hovedinstrumentlærerens autoritet: Kravet om å innta en distansert og vurderende holdning til undervisningen kan oppleves som uforenlig med en slik tillit. For det andre, behovet for å ha en velfungerende og uanstrengt relasjon til hovedinstrumentlæreren: Redselen for å såre eller irritere læreren gjennom evalueringene kan virke hemmende på studentenes villighet til å gjennomføre evalueringer. Videre tyder resultatene på at de metodene som velges for å gjennomføre evalueringene har stor betydning for om studentevalueringen blir gjennomført i denne formen for undervisning.
Prosjektet har ført til endringer i prosedyrene og metodene for studentevaluering ved Norges musikkhøgskole. Det har også resultert i at det er utarbeidet en håndbok for studenter og lærere for å imøtekomme de spesielle utfordringer som begge parter står overfor når den individuelle hovedinstrumentundervisningen skal evalueres
Institusjonaliseringen av de rytmiske musikkutdanningene ved Høgskolen i Agder
Get PDFAvhandling (Ph.D.) - Norges musikkhøgskole, 2007Hva skjer når et tradisjonelt klassisk musikkonservatorium etablerer utdanningstilbud innen alternative sjangere som pop, rock og jazz? Denne studien analyserer og beskriver utdanningen innen rytmisk musikk ved et norsk konservatorium, fra de første ideene og forsøkene på 1980-tallet, via utviklingsmessige problemer og konflikter på 1990-tallet, blant annet i forhold til det klassiske fagmiljøet ved samme institusjon, og fram til et fullt utbygd utdanningsprogram på 2000-tallet med bachelor- og mastergradsstudier og vedtak om doktorgradsutdanning. Avhandlingen tar opp en rekke aspekter ved institusjonaliseringsprosessen, blant annet hvordan man i begynnelsen begrunnet og legitimerte utdanningen, hvordan det nye fagområdet ble integrert i en akademisk institusjon, hvordan en praksisbasert virksomhet utviklet seg til et disiplinfag, hele tiden med fokus på å identifisere de ulike kreftene som virket innenfor og utenfor på institusjonen, og som hadde betydning for hvordan programmet utviklet seg. Studiet av de rytmiske musikkutdanningene ved Høgskolen i Agder perspektiveres i forhold til det øvrige konservatoriefeltet i Norge og ett konservatorium i USA
Gehørtrening i praksis : hva sier fagplanen og hva opplever studentene?
Get PDFBackground, method and material (Chapter 1–3). The aim of this present study is to examine the ear training/aural training discipline in higher music education, solely based on the students’ experience. It is a fact that little research has been done on the subject of ear training. Thus teaching is based more upon experience than on scientific research. This study is based upon a survey carried out in 2001 among students at the Norwegian Academy of Music (NMH). 104 students took part in the survey, which is more than 90% of the total group. In this study I will discuss four main questions:
1. What kind of subject is aural training? (Chapter 4)
2. What is the relation between aural training and the total music study? (Chapter 5)
3. Which abilities, skills and knowledge do we develop in aural training? (Chapter 6)
4. What is the relationship between the aural training teaching and the student him/herself? (Chapter 7)
All the questions have a didactic perspective connected to theory concerning the different levels of a curriculum: from the ideological plan, through the conceived/interpreted, implemented till the experienced plan, which is the aim of this study. As I want to see the relation between the formal written paper and the experienced curriculum, I give an analysis of the actual curriculum for aural training at NMH in which the discipline is one of many subsidiary disciplines. As a background I give a short presentation of relevant theoretical fields connected to the concepts of musicality, the musical ear, perception, knowledge, and learning with special emphasis on the following: developing the relative musical ear, the categorical perception related to Chomsky’s theories of reading for understanding the phenomenon of audiation (the inner ear, perceive and conceive musical structures), a wide concept of knowledge including theory, skills and attitudes, and Dreyfus’ 5 stages in skill learning.
Chapter 4-7: results
Chapter 4 – what kind of subject is aural training? The first spontaneous thoughts or associations about aural training revealed different aspects:
1. The aim and content of the discipline that can be connected to the curriculum.
2. The aspect of achievement, which revealed mostly negative thoughts, like nervousness, bad mastery, not being good at, stress etc.
3. The aspect of motivation, which is mostly positive, expressed in words like: enjoyable, interesting, important, useful, good feelings.
4. The aspect of practice, connected to the instrument, the musical ear in general, and this revealed both a narrow and a wide range of usefulness.
To a question examining whether aural training is a theoretical or a practical discipline, there was a clear tendency towards the practical side (table 4.1). Comments tell that the ‘theory’ is both connected to knowing practical methods and to understanding on a more abstract level. Theory is also connected to conceptions and vocabulary from the theory of music, about scales, harmony, form, style etc.
Chapter 5 – The relationship between aural training, music education and other disciplines
My premise is that even if the study of music is divided into different disciplines, there should be a link between them and that the student should also experience this link.
Chapter 6 – which abilities, skills and knowledge do we develop in aural training?
The main purpose of any discipline in a curriculum is learning. The teacher uses the curriculum as a guide for teaching, but learning is a result of what develops in the student’s mind. The question comprises 28 different abilities, skills and knowledge: to what degree do they learn
or develop these abilities?
Among the 28 different skills and abilities asked for, the ability of harmonic consciousness is recognized as the most important. But the term “most important” might be understood in two different ways: what the student thinks is most important in general or what is most important to develop in aural training.
Chapter 7 – What is the relationship between the aural training teaching and the students themselves?
As the chapters 4-6 were concerned about aural training as a discipline, this chapter is concerned with how the students experience different factors related to themselves, based on seven questions: to what degree they experience the factor of stress, of well-being, of the workload, of the demands of achievement, of one’s own mastery, of one’s own development and the amount of lessons.
There is an inner coherence between the factors. Especially important are the factors of stress and of well-being. The verbal comments to these questions contributed to interpreting the results.
Chapter 8 – Aural training – in practice - conclusion
The connection between the written curriculum and the experienced plan show that the plan is realistic, it is more moderate concerning both the content and what is developed than indicated by the answers from the students, and the teaching in aural training at NMH is very varied. I also discuss what a subsidiary discipline is, and in this context I emphasize the function of audiation as a characteristic of aural training
Musikkverket som gestalt og hendelse : mellom verk og improvisasjon
Get PDFNorges musikkhøgskole. Hovedoppgave. Utøving med fordypningsemne. - Til denne elektroniske utgaven av oppgaven medfølger verken noter («Vers la
Flamme») eller omtalte innspillinger, av opphavsrettslige årsaker."Hva gjør et verk til et verk? Er det en vesensforskjell på improvisert musikk og notert musikk? Har tilstedeværelse i spillet, eller selve utøveren noe med verkgestalten å gjøre? Gjennom Martin Heideggers kunstfilosofi, og Lasse Thoresens sonologi setter Smørdal søkelys på disse spørsmålene." - - -
"What makes a musical work? Are there fundamental differences between improvised music, and notated music? Does performing with musical presence, or the performer him-/herself contribute to the "work"-gestalt? Through Martin Heideggers philosophy on art, and the sonology invented by Lasse Thoresen, Smørdal examine these questions
Tempo fluctuations in the performance of Joseph Haydn´s Keyboard Sonata in F major, Hob. XVI:29
No full textAvhandling (doktorgrad) - Cornell University, 2006We know from eighteenth-century sources on performance practice that tempo fluctuations in the shape of agogic rubato, contrametric rubato and sectional changes of tempo were used extensively by performers in the late eighteenth century. Tempo fluctuations based on the performance aesthetics of the late eighteenth-century, comprehensive knowledge of music, and "good taste" are recommended in famous treatises by: Carl Philipp Emanuel Bach, Leopold Mozart, Daniel Gottlob Turk, Johann Joachim Quantz, Friedrich Wilhelm Marpurg, and later Carl Czerny.
Today, recordings and live performances of the keyboard music of Joseph Haydn and his contemporaries seldom display any use of this expressive device, and there seems to be a lack of knowledge or understanding of how, and to what degree a performer might include it in his or her execution of music from the Classic era. This thesis investigates both what kind of tempo fluctuations were used, and how these were notated in the score, through study of musical rhetoric, topoi and analysis.
A case study of Joseph Haydn's Keyboard Sonata in F Major, Hob. XVI: 29 attempts to clarify the difference between what is conventionally thought of as written and unwritten expression markings. A close reading of the score confirms the notion that it contains an abundance of information if the performer knows how to read the conventions of notation.
A survey of fourteen recordings confirms the initial notion that the majority of today's performers use a modicum of tempo fluctuations in the rendering of this music. This thesis also speculates what possible reasons there might be for such a sparse use of tempo rubato.
Problems of centuries, the lack of knowledge of conventions of notation, the development of recording technology and changes in the aesthetics of live performance are all brought into the picture
Fagdidaktikk som basis- og undervisningsfag : bidrag til et teoretisk grunnlag for studier av utdanningskvalitet
Get PDFSubject didactics as a basic and teaching subject – a contribution to theoretical foundations for studies of educational quality
Questions of educational quality have been on the general education agenda for more than twenty years. Within higher music education the quality concept have been operationalized in several ways, though little attention seems directed towards the quality of teaching and learning of the specific subjects that the students actually study. This fact, combined with an impression that the field of educational quality have been scarcely represented within music education research, are the points of departure for this article. Regarding the teaching and learning of specific subjects as a core area of educational quality, I discuss aspects of a theoretical foundation for studying this within music didactics in the german/scandinavian understanding of the word, as a part of music teacher education. My suggestion is that such studies may depart from a distinction between music didactics as a basic subject and as a teaching subject. As a basic subject, or the teachers’ knowledge base, music didactics establishes itself in relations between music and didactics, influenced by various cultural knowledge traditions. Among these, practical knowledge traditions of creating and performing music and academic traditions of education and musicology seem among the most important. Within the teaching subject, the two-part relationship between the teacher and the subject knowledge base expands to a three-part relationship between the teacher, the knowledge base and the student. This distinguishes the teaching subject by characteristics that may be analyzed in three perspectives: 1) subject internal factors, 2) the institution as context and 3) the context of society and culture. Further, it is necessary to look closer into how the teaching subject relates to the basic subject, these relations appearing as complex and dynamical. The concept of educational quality then, may be approached through how teachers can develop knowledge of relations as described, and the competence to operate within them