| 1. |
- Björck, Cecilia, 1970
(författare)
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Kreativitet som glidande diskurs: Berättelser om Biophilia Educational Project
- 2018
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Ingår i: Nordisk musikkpedagogisk forskning : Årbok. - 1504-5021 .- 0333-3760. ; 18, s. 75-95
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Tidskriftsartikel (refereegranskat)abstract
- In 2014, the three-year-long Biophilia Educational Project was initiated by the Icelandic artist Björk Guðmundsdóttir. The project links science, music and technology in a curriculum for 10–12-year-olds which has been implemented regionally in the Nordic countries as an alternative to conventional educational approaches. Adopting Michel Foucault’s notion of discourses as tactical elements, this article examines how the aims and potential benefits of the Biophilia project are discursively constructed by different actors involved in the process. The analysis draws on material from the project’s web site, from the funder’s web site, and from the web site of one of the local municipalities where the project has been implemented. It also draws on policy documents and on published media interviews with Björk. Results, discussed in relation to neoliberal discourses in education, show how meanings, especially regarding the term creativity, shift when different actors describe the project’s aims and objectives, and how contrasting subject positions are thereby produced.
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| 2. |
- Ericsson, Claes, 1947-, et al.
(författare)
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The Music Classroom in Focus : Everyday Culture, Identity, Governance and Knowledge Formation
- 2010
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Ingår i: Nordic Research in Music Education. - Oslo : Norges musikkhøgskole. - 0333-3760. ; 12, s. 101-116
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Tidskriftsartikel (refereegranskat)abstract
- This article is based on a larger research project with the purpose to study how market aesthetics and student’s music culture are expressed in the Swedish music classroom. The empirical material consists of video observations of classroom activities in secondary school settings in Sweden. The theoretical framework consists of poststructuralist and social constructionist theory combined with theories of late modernity, while our methodological point of departure is discourse analysis. Some important analytical concepts are identity, dominance, governance and knowledge formation. Three different strategies for incorporating market aesthetics and students’ music culture into music education were identified: learning about, reflecting on and applying. An ideological dilemma occurred when the fostering mission of school was confronted with the will to meet the students’ demands for freedom of expression. The results of the project also suggest that standardised and regulated forms of activity were counterproductive to creativity in music making. Six different strategies of gentle governance in the music classroom were identified. Popular music was presented by the teachers in a way analogous to the canon of art music that is predominant in the teaching of music history at school.
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| 3. |
- Kullenberg, Tina, 1968-, et al.
(författare)
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“You MAY take the note home an’… well practise just that” : children’s interaction in contextualizing music teaching
- 2016
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Ingår i: Nordic Research in Music Education Yearbook Vol. 16. - 0333-3760. ; 16, s. 101-119
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Tidskriftsartikel (refereegranskat)abstract
- The article takes “music as symbol” as its analytical point of departure, described by Jorgensen (2003). In doing so, the authors stress the role of symbolic functioning in music, focusing at how children understand and make sense of music in talk and practice. The aim of this text is to theoretically explore the nature of dialogical music education. In order to do so we reuse empirical data from a previous study. These data contain four children’s instructional interaction in a teaching activity, that is, the task to teach each other singing songs. Further, we examine our data through the lenses of two theoretical concepts, based on communication theory: double dialogicality and communicative formality. Our interactional data point at the contextual nature of musical sense making. The children’s communication was not only merely interpersonal in nature. Rather, it also clearly referred to an embedded cultural context that existed beyond the local interactional context. This article illustrates how such kind of music-educational sense making is socially constructed in action.
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| 4. |
- Kullenberg, Tina, et al.
(författare)
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“You MAY take the note home an’… well practise just that” : children’s interaction in contextualizing music teaching
- 2016
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Ingår i: Nordic Research in Music Education Yearbook Vol. 16. - 0333-3760. ; 16, s. 101-119
-
Tidskriftsartikel (refereegranskat)abstract
- The article takes “music as symbol” as its analytical point of departure, described by Jorgensen (2003). In doing so, the authors stress the role of symbolic functioning in music, focusing at how children understand and make sense of music in talk and practice. The aim of this text is to theoretically explore the nature of dialogical music education. In order to do so we reuse empirical data from a previous study. These data contain four children’s instructional interaction in a teaching activity, that is, the task to teach each other singing songs. Further, we examine our data through the lenses of two theoretical concepts, based on communication theory: double dialogicality and communicative formality. Our interactional data point at the contextual nature of musical sense making. The children’s communication was not only merely interpersonal in nature. Rather, it also clearly referred to an embedded cultural context that existed beyond the local interactional context. This article illustrates how such kind of music-educational sense making is socially constructed in action.
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| 5. |
- Lindgren, Monica, 1958, et al.
(författare)
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Discourses on music in Swedish primary and preschool teacher education
- 2013
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Ingår i: Nordisk musikkpedagogisk forskning : Årbok. - 1504-5021 .- 0333-3760. ; 14:1, s. 91-103
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Tidskriftsartikel (refereegranskat)abstract
- This study investigates prevailing discourses on music in the field of creative arts in Swedish teacher education for primary school and preschool, following the programme based on the 1999 teacher education reform. The data were collected from 19 focus group interviews with teacher educators and student teachers from ten higher education institutions that offer such teacher education programmes. Theories related to language as action and the consequences of linguistic actions are central to the study. To identify and discuss the discursive formations, analytical tools inspired by discourse psychology and discourse theory were used in the analysis. The analysis demonstrates that an academic discourse focusing on theory, reflection, and textual production has pushed aside skills-based practice. A second discourse, characterized by subjectivity and relativism vis-á-vis the concept of quality, is also found in the material. Finally, a therapeutic discourse is articulated and legitimized based on the idea that student teachers should be emotionally balanced. The constructions may be regarded as strategies that legitimize the creative arts, which no longer have a clear identity in this teacher education context. The discourse on technical skills in music, which previously occupied a hegemonic position in the discursive field, has fallen apart, allowing other discourses to take root.
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| 6. |
- Lindgren, Monica, 1958, et al.
(författare)
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The construction of social inclusion through music education: Two Swedish ethnographic studies of the El Sistema programme
- 2016
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Ingår i: Nordisk musikkpedagogisk forskning : Årbok. - 1504-5021 .- 0333-3760. ; 17, s. 65-81
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Tidskriftsartikel (refereegranskat)abstract
- Drawing on theories from sociology and music education, as well as closely linked disciplines, the article discusses how social inclusion is constructed in the choir and orchestra school El Sistema. The objective of the programme in Sweden is to use music as a vehicle for individual and social development as well as to serve as an intercultural meeting place and thereby for social inclusion. The results, generated from two ethnographic studies, in Gothenburg and Malmö, show that there are different ways of constructing social inclu- sion within El Sistema. Viewed from an integrative sociological perspective on music education, the students are primarily positioned as representatives of the El Sistema community, rather than as independent agents in control of the music and their learning. However, the programme also allows for tem- porarily interrupting the community rationale by enhancing teachers’ agency and allowing the children to participate on their own terms—though this is mainly limited to the social events.
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| 7. |
- Söderman, Johan
(författare)
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Hur hiphopkulturen möter universitetsvärlden : hiphop Academicus!
- 2011
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Ingår i: NMH-publikasjoner. - : Norges musikkhøgskole. - 0333-3760. ; 13:2011, s. 57-75
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Tidskriftsartikel (refereegranskat)abstract
- How hip-hop culture meets the academic world: Hip Hop Academicus! Since hip-hop started over 35 years ago in New York, it has been associated with social activism and education. In addition, hip-hop pioneer Africa Bambaataa has argued for knowledge as the fifth element in hip-hop (e.g. rapping, deejaying, break- dancing, graffiti). Accordingly, it is not surprising that academic institutions in universities and K-12 schools are interested in hip-hop with regards to the history of this street culture. This article is aiming to highlight this “hip-hop academization” and analyze the mechanisms in these academization processes. The research ques- tions are as follows: Who is the expert and what is at stake? What symbolic fights are going on between pioneers of the culture and academics? How do hip-hop scholars talk about the academization? Theoretical framework stems from sociologist Pierre Bourdieu, including his work in cultural fields and capital forms. The empirical data, which have been collected with an ethnographical approach, are observations and recordings from academic events concerned with hip-hop and individual inter- views with hip-hop scholars in New York City during 2010. The results show how hip-hop at the university is an attractive label, a door opener for the scholars but at the same time regarded as low culture. The pioneers construct the scholars as outsiders in order to maintain themselves as foremost experts of the culture.
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| 8. |
- von Wachenfeldt, Thomas, et al.
(författare)
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Manifesta och latenta ideologier om lärande inom svensk spelmansrörelse under 1920-talet
- 2012
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Ingår i: Nordic Research in Music Education Yearbook. - Oslo : Norwegian Academy of Music. - 0333-3760. ; 13:9, s. 115-130
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Tidskriftsartikel (refereegranskat)abstract
- The purpose of this article was to illuminate existing educational ideologies in the Swedish fiddler movement (Spelmansrörelsen) 1923-1927. This period was characterized by the organization and to some extent institutionalization of Swedish folk music. Furthermore, the purpose was to discuss the results in relation to the folk music education of today. The empirical data was taken from the journal Hembygden, which was a magazine for scholars, enthusiasts and practitioners of folk music. Theoretically, the study was based on a concept of ideology developed by Sven-Eric Liedman: in every time there are two basic forms of identifiable ideology, manifest and latent. From the empirical material as a whole (around 900 articles), a selection was made to find articles dealing with aspects of learning among the fiddlers (33 articles). After content analysis the following themes were generated: Fiddlers’ repertoire, Fiddlers’ masters, Rooms for learning, Learning formation. The writers in Hembygden often emphasized the autodidactic aspects of learning and especially the importance of learning by ear. This manifest ideology of authenticity presumed that learning directly from another fiddler by playing together was to prefer to formal schooling. In spite of a tendency towards more ensemble playing, the folk music education of today in Sweden is characterized by a similar retrospective ideology as in the 1920s.
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| 9. |
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