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- Angelo, Elin, 1975-, et al.
(författare)
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Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies
- 2019
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Ingår i: Journal for Reserach in Arts and Sports Education. - Oslo, Norway : Cappelen Damm Akademisk. - 2535-2857. ; 3:1, s. 78-100
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Tidskriftsartikel (refereegranskat)abstract
- Policy changes and higher education reforms challenge performing musician programmes across Europe. The academisation of arts education means that classical performance programmes are now marked by strong expectations of research paths, publications, and the standardisation of courses, grades and positions. Drawing on interviews with ten teachers and leaders within the field of higher music education, this article discusses notions of mandate, knowledge and research in classical performance music education in Norway. Against the backdrop of academisation, the aim of this article is to illuminate central tensions and negotiations concerning mandate, knowledge and research within higher music education. The problem concerns issues of who should be judged as qualified and who should have the authority to speak on behalf of the performing music expertise community. The study is part of the larger study Discourses of Academisation and the Music Profession in Higher Music Education (DAPHME), conducted by a team of senior researchers in Sweden, Norway and Germany. Through an analytic-theoretical reading of the empirical data, informed by Foucault’s power/knowledge concept, two discourses on mandate are identified (the awakening discourse and the Bildung discourse) as well as three discourses on knowledge (the handicraft discourse, the entrepreneurship discourse and the discourse of critical reflection) and two discourses on research (the collaborative discourse and the ‘perforesearch’ discourse). The latter of the two research discourses pinpoints a subject position as a musician/researcher with knowledge, craft and skills in both music performing and research.
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- Angelo, Elin, 1975-, et al.
(författare)
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Profesjonsforståelse : en innfallsvinkel til å profesjonalisere det musikkpedagogiske yrkesfeltet
- 2014
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Ingår i: Nordisk musikkpedagogisk forskning. - Oslo : Norges musikkhøg̜skole. - 1504-5021. ; 15
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Tidskriftsartikel (refereegranskat)abstract
- Music-pedagogical philosophy – An approach to professionalize the field of music educationA carefully considered music-pedagogical philosophy is necessary to develop professional knowledge for the individual music teacher, as well as for music-pedagogical communities and for the music teacher profession as a whole. In this article we elaborate on individuals’ music pedagogical philosophies (no: profesjonsforståelser) as a fruitful approach to articulate and discuss leading ideals and norms for quality within the field of music education. We argue that the professions “body of knowledge” is invisible and irreproachable, and that it is crucial to articulate, clarify and discuss the professional knowledge, expertise and mandate that is held within this vocational field. This article is informed by professional literature and research in music education, and focuses the aspects jurisdiction, certification and authorization, as well as power, identity and knowledge. In conclusion we argue that music pedagogical philosophy should be a focused part of music teacher education, in order to professionalize the field and qualify the discussions about quality, both inside and around the field of music education.
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- Bygdéus, Pia, 1963-
(författare)
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Uttryck genom handling : Medierande verktyg i körledararbete med barn och unga
- 2012
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The role of the choir leader is a complex one. When working with a choir, choir leaders often use several aspects of their professional role. The aim of this qualitative study is to describe, verbalise and make visible the mediating tools that choir directors working with children and youth choirs use. In a longitude study, four choir leaders were observed closely while working with their choirs. They also took part in semi-structured interviews. The empirical data material consists of observation notes, reflective writing, individualinterviews, focus conversations and videotapes. Analysed from a sociocultural perspective, the result points to eight groups of mediating tools: a) a listening attitude towards the choir, with the music in focus; b) a variation in ways of working with the choir, where a variety of physical tools are used; c) the use of musical routines; d) the choir director acting as a role model in shaping musicalexpression with the group; e) a concentrated cooperation with the choir through short and expressive instructions; f) reflection in practice by planning and self-evaluation; g) storytelling, which results in memory training, stimulation of the imagination and the sharing of common experience, and h) the use of target images expressed as visions, small/big goals or jointly stated, communicated targets. The choir directors who participated in the study use a variety of approaches and ways of working as a strategy for communicating and working with child and youth choirs.
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- de Boise, Sam, 1985-, et al.
(författare)
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Power Relations in Music Society : the Elite and the Underprivileged
- 2024
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Konferensbidrag (refereegranskat)abstract
- Music spaces, from conservatories to recording studios, have proven themselves unequal and exclusionary. To investigate how power relations condition present-day musical life, the research environment in musicology at Örebro university has been awarded funding for the three-year research program Music, Power, and Inequity (MPI).The aim of this paper is two-fold. To contextualize our studies, we will initially give a brief presentation of the research program MPI. With the specific aim of discussing power relations in music society, we will secondly introduce two studies in their initial phase. Both studies investigate inequalities and hierarchies affecting the underprivileged in musical life, focusing on issues with regards to the music elite and freelance musicians' working lives.The studies' methodologies build on a mixed-method approach. They map socio-economic characteristics of (i) freelance musicians, and (ii) people in power within central music organizations, conduct interviews focusing on musicians' life stories from a feminist intersectional perspective, and perform critical discourse analysis and multimodal analyses of home pages and official social media accounts.Together, the projects contribute a crucial critical analysis of the constitution of the elite in musical life, clarifying the consequences of social distinctions as well as discussing what is required in terms of risk, support, and various forms of social, cultural, and economic background to lead a sustainable working life in music.
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- Dobre Billström, Rebecca, 1983-
(författare)
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Feminist musical engagements : The struggle against gender inequalities in music-making practices
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The debate around gender equality and feminist concerns in relation to musical life are increasingly part of Swedish public discourse. Attention directed to structural gender inequalities in various music scenes by feminist associations, governmental intervention in these issues, and the recent #metoo-protests against sexual harassment and violence in the music industries, are all part of this. Based on interviews with musicians engaging in affecting change, who start out from a gendered perspective, this thesis explores the feminist political potential of both music-making and organisational work to combat inequalities in relation to music, and focuses on several features of such an engagement: the negotiating character of relating to gendering categories as part of feminist attempts to transform music; the relation between power structures and musical performance by discussing embodied practices and musical material concerned with feminist social commentary and what these do politically; and feminist approaches to practice beyond notions of gender equality as representation. The theoretical concept of affective dissonance is used to shed light on musicians’ self-reflective negotiations with social power structures and how these negotiations produce a specific potential for collective feminist action and solidarity within and across music environments. The musicians interviewed are active in various music scenes, from opera, jazz and blues, visa, new music composition and sound art to dansband, rap and folk music and they all engage in different ways with both notions and practices of gender-related and feminist transformation in music-making. This thesis examines the interrelated aspects of such an engagement, of individual experiences of sexism, gender power dynamics and social-professional relationships, musical performance and material, and collective feminist ambitions and capacity in music practice.
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