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Visions for Intercultural Music Teacher Education
No full textThis open access book highlights the importance of visions of alternative futures in music teacher education in a time of increasing societal complexity due to increased diversity. There are policies at every level to counter prejudice, increase opportunities, reduce inequalities, stimulate change in educational systems, and prevent and counter polarization. Foregrounding the intimate connections between music, society and education, this book suggests ways that music teacher education might be an arena for the reflexive contestation of traditions, hierarchies, practices and structures. The visions for intercultural music teacher education offered in this book arise from a variety of practical projects, intercultural collaborations, and cross-national work conducted in music teacher education. The chapters open up new horizons for understanding the tension-fields and possible discomfort that music teacher educators face when becoming change agents. They highlight the importance of collaborations, resilience and perseverance when enacting visions on the program level of higher education institutions, and the need for change in re-imagining music teacher education programs
Musiikin tunnekokemukset toimijuuden ja hyvinvoinnin rakentajina
No full textArtikkeli tarkastelee musiikin olemusta tunteiden tavoittajana oppilaiden kokemusmaailmassa ja osana musiikkikasvatustyötä, nostaen tunnetasoisen kokemisen keskiöön pyrkiessämme ymmärtämään oppilaiden vuorovaikutustaitoja, toimijuutta ja hyvinvointia.The active and natural presence of the emotional level of experience is, from an educational perspective, a special feature of music. Musical emotions are being actively studied, and this article discusses what music and emotion research can potentially provide for music education. Music can reach the world of emotional experiences in multiple ways: it can be a tool for allowing concrete sound expression for personal feelings or it can be used to create an emotional sense of group cohesion at the level of bodily afective experiences. However, music does not automatically function as a positive resource for emotionality, interaction and well-being, but the use of the emotional potential of music requires the music educator to be sensitive and open to critical refection. At best, knowledge and understanding of the emotional power of music can be an excellent tool for advancing music education in the direction of building a socially sustainable future.peerReviewe
Visions for Intercultural Music Teacher Education
Full text linkThis open access book highlights the importance of visions of alternative futures in music teacher education in a time of increasing societal complexity due to increased diversity. There are policies at every level to counter prejudice, increase opportunities, reduce inequalities, stimulate change in educational systems, and prevent and counter polarization. Foregrounding the intimate connections between music, society and education, this book suggests ways that music teacher education might be an arena for the reflexive contestation of traditions, hierarchies, practices and structures. The visions for intercultural music teacher education offered in this book arise from a variety of practical projects, intercultural collaborations, and cross-national work conducted in music teacher education. The chapters open up new horizons for understanding the tension-fields and possible discomfort that music teacher educators face when becoming change agents. They highlight the importance of collaborations, resilience and perseverance when enacting visions on the program level of higher education institutions, and the need for change in re-imagining music teacher education programs
Learning from cosmopolitan digital musicians : identity, musicianship, and changing values in (in)formal music communities
No full textThis compilation dissertation comprising the summary and four blind peer-reviewed articles examines the culture of music making and musical learning, and the construction of musical identity in the world of digital and virtual media. The main research goal is to increase the knowledge and understanding about where and in what ways do participants in digital technology enabled communities of musical practice learn and use music in the processes of their identity construction, and to reflect upon what implications the answers to these questions can be expected to have in terms of the values and practices within formal music education. The examination proceeds by advancing heuristically a social theory of learning in general, and of so-called communities of practice, in particular, as this theory provides a lens to understand the intertwined relationship between learning, identity construction and participation in communities. The research project was designed as a qualitative study of multiple cases containing strong features of narrative research, and was conducted with the participation of digital musicians who represent different age groups, nationalities and levels of expertise. Two of the cases are online communities: mikseri.net and operabyyou.com. A third case study is a face-to-face group of students and teacher of a Music Performance and Production course at a London-based music college. The research material includes observation field notes, online discussions, video recorded observations and individual interviews. Each article provides a viewpoint into the main problem concerning musical learning and identity work within digital technologies enabled music-related communities. The findings of the research project illustrate how digital music and information technology has opened up new and wider opportunities for musical learning. Concurrently, the findings question the sharp division between highly specialised musical expertise and amateur music making, as well as the divisions between different musical styles and genres, and the various roles of music makers. Digital musicianship appears to be closely related to values both favouring communication and an exchange of musical ideas, and celebrating simultaneous participation in various global and local communities for pursuing individual and social musical identities in more flexible and open ways. In the study, these extensive cultural changes are suggested to manifest a democratic revolution that provides individuals with the access needed to use their intelligence more freely for musical growth and expression, and to share in the values of musical cultures more democratically. However, based on the study's findings, it is also argued that while informal music practices represent essential aspects of our society's community life, they do not necessarily represent ideal models for the music classroom. As such, in order to realise and comprehend the multidimensionality of students' music learning, the study suggests that it is essential for music educators to pay heed to music making inside and outside school, as well as in the whole continuum between the formal and informal poles, and to promote learning that facilitates the construction of identity and ownership of meaning by placing matters of democracy at the centre of attention.Tämä yhteenveto-osasta sekä neljästä vertaisarvioidusta artikkelista muodostuva artikkeliväitöskirja tarkastelee musiikin tekemistä ja oppimista sekä musiikillisen identiteetin rakentumista digitaali- ja virtuaalimedian maailmassa. Tutkimuksen päätavoitteena on lisätä tietoa ja ymmärrystä siitä, missä ja millä tavoin digitaalisten ja musiikillisten käytäntöyhteisöjen (communities of practice) osallistujat oppivat musiikkia ja käyttävät sitä identiteettityössään. Tutkimuksessa myös pohditaan, millaisia seuraamuksia tutkimuksen esiintuomilla kysymyksillä voidaan odottaa olevan muodollisen musiikkikasvatuksen arvoihin ja käytäntöihin. Oppimisen, identiteetin rakentumisen sekä yhteisöihin osallistumisen välistä suhdetta tarkastellaan oppimisen sosiaalisen teorian näkökulmasta. Tutkimushanke on laadullinen tapaustutkimus, johon sisältyy narratiivisen tutkimuksen piirteitä. Tutkimus tehtiin eri ikäryhmiä, kansallisuuksia ja asiantuntijuuden tasoja edustavien digitaalimuusikoiden keskuudessa. Tutkimus koostuu kolmesta tapauksesta, joista kaksi (mikseri.net ja operabyyou.com) ovat verkkoyhteisöjä. Kolmas tutkittava tapaus on Lontoossa sijaitsevan musiikkioppilaitoksen Music Performance and Production -linjan opiskelijoista ja opettajasta muodostuva ryhmä. Tutkimusaineisto koostuu kenttäjakson aikana kertyneistä muistiinpanoista, tutkittavien verkkoyhteisöjen keskustelualueilta valituista viesteistä, videotallennetuista havainnoista sekä haastatteluista. Kukin artikkeli tarkastelee päätutkimusongelmaa eri näkökulmista pyrkien kuvaamaan ja ymmärtämään digitaaliteknologioiden mahdollistamissa musiikillisissa yhteisöissä tapahtuvaa oppimista ja identiteettityötä. Tutkimushankkeen tulokset osoittavat, että digitaalinen musiikki- ja informaatioteknologia on avannut uusia ja yhä laajenevia mahdollisuuksia musiikilliselle oppimiselle. Tulosten pohjalta voidaan myös kyseenalaistaa tiukka rajanveto pitkälle erikoistuneen musiikillisen asiantuntijuuden sekä harrastuspohjaisen musiikin tekemisen välillä, kuten myös musiikin lajien ja tyylien sekä musiikintekijöiden roolien välillä. Tutkimus osoittaa, että digitaalimuusikkous liittyy arvoihin, jotka edustavat kommunikaatiota ja musiikillisten ideoiden keskinäistä jakamista. Myös samanaikainen osallistuminen erilaisiin globaaleihin ja paikallisiin yhteisöihin on tärkeä osa digitaalimuusikkoutta. Tämä osallistuminen tarjoaa entistä joustavampia ja avoimempia mahdollisuuksia yksilöllisten ja yhteisöllisten musiikillisten identiteettien rakentamiseen. Tässä tutkimuksessa edellä kuvattujen kulttuuristen muutosten ymmärretään heijastelevan 'demokraattista vallankumousta', joka mahdollistaa entistä vapaamman tiedon tuottamisen musiikillisen kasvun ja ilmaisun välineenä sekä musiikkikulttuurien arvojen entistä tasa-arvoisemman jakamisen. Tutkimustulosten pohjalta voidaan kuitenkin väittää, että musiikin oppimisen epämuodolliset käytännöt eivät välttämättä tarjoa malleja musiikin koulussa tapahtuvaan oppimiseen. Musiikkikasvattajien tärkeä tehtävä onkin huomioida sekä koulussa että sen ulkopuolella tapahtuva musiikin tekeminen sekä edistää oppimista, joka tukee identiteetin ja musiikillisen omistajuuden rakentumista.Artikkeliväitöskirjan yhteenveto-osa ja 4 eripainosta.fi=ei tietoa saavutettavuudesta|sv=okänd tillgänglighet|en=unknown accessibility
Intercultural game in music teacher education : Exploring El Sistema in Sweden
No full textEl Sistema, the originally Venezuelan music teaching movement is spreading worldwide, suggesting Western classical music as a tool for counteracting poverty and segregation. In Sweden, this represents an interesting and perhaps pro- voking twist, as the hegemony of classical music in music teacher education has since long been replaced by the hegemony of popular music. Based on eldwork during the implementation of El Sistema in Malmö, the most multicultural town in Sweden, this chapter analyses El Sistema through the concept of habitus crises, an important ingredient in the development of intercultural pedagogic competencies. Through the understanding of El Sistema as a glocal phenomenon, the potential of the El Sistema intervention is discussed. The discussion is framed by a mapping of the tension elds that El Sistema teachers are navigating. The experiences of the El Sistema teachers in Malmö point towards a music teacher training that actively pre- pares for teaching in segregated, multi-cultural and socio-economic vulnerable areas. The chapter concludes with suggestions for future music teacher training in interacting ethnospaces: stimulating habitus crises and promoting transformative learning
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Supporting Collaboration in Changing Cultural Landscapes : operabyyou.com as an Arena for Creativity in ‘Kaleidoscopic Music’
No full textA steadily growing curiosity about informal music learning environments (e.g. Green, 2001; Johansson, 2004; Karlsen, 2010; Veblen, Messenger, Silverman, & Elliott, 2013), conjoined with a growing interest in online music communities (e.g. Ballantyne, Barrett, Temmerman, Harrison, & Meissner, 2009; Miller, 2012; Partti, 2009; Partti & Karlsen, 2010; Salavuo, 2006; Waldron & Veblen, 2008), continues to be one of the most widespread trends within music education research. Teachers, researchers and musicians all seek to come to terms with rapidly changing cultural landscapes of music-making and -learning. Indeed, one of the most striking cultural shifts of recent times has to do with people turning away from solely consuming ready-made media content offered by television, for instance, to actively participating in the user-generated culture of social media, such as online fan production and citizen journalism. Statistics reveal that in Finland – one of the top 10 countries in Europe in the prevalence of Internet use – 86 per cent of 16 to 24-yearold Finns participate in some web-based social network service(s) (Official Statistics of Finland, 2011). Similarly, a recent survey by the Pew Research Center (Lenhart, Purcell, Smith, & Zickuhr, 2010) shows that over two-thirds of American teen Internet users – that is, 93 per cent of all American teens – reported using an online social networking site; and over a third stated that they use the Internet for sharing online media content, such as artwork, stories and videos, that they had created themselves. This emerging cultural phenomenon in new media is often referred to as participatory culture, and has been connected to the potential for more democratic cultural, political and civic engagement occurring largely outside of formal institutions of education (see, for example, Jenkins, Clinton, Purushotma, Robinson, & Weigel, 2006; Kann, Berry, Gant, & Zager, 2007; Schäfer, 2011)
Tutkimuskanavan valinta on eettinen kysymys
No full text”Yksipuolinen keskittyminen oman julkaisuluettelon salonkikelpoisuuteen ei yksinkertaisesti enää riitä”, kirjoittaa Taideyliopiston musiikkikasvatuksen professori Heidi Partti. Blogiartikkelissaan hän tarkastelee tieteellisen julkaisemisen käytäntöjä sekä oman kokemuksensa kautta että laajemmin. Kriittinen silmäys tieteelliseen julkaisukulttuuriin nostaa esiin kysymyksen julkaisukanavan valinnasta eettisenä valintana
Oopperasäveltäjäksi oppimassa : Opera by You -verkkoyhteisö musiikillisen asiantuntijuuden kasvualustana
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