| 1. |
- Bergman, Åsa, 1972, et al.
(författare)
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El Sistema - möjligheter och hinder för social inkludering
- 2016
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Ingår i: Sigurdsson, O. & Sjölander, A. (red.) Kultur och hälsa i praktiken. - Göteborg : University of Gothenburg. - 9789188348722 ; , s. 231-246
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 2. |
- Bergman, Åsa, 1972, et al.
(författare)
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Navigating Between an Emic and Etic Approach in Ethnographic Research. Crucial Aspects and Strategies when Communicating Critical Results to Participants
- 2018
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Ingår i: Ethnography and Education. - 1745-7823 .- 1745-7831. ; 13:4, s. 477-489
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Tidskriftsartikel (refereegranskat)abstract
- There is a fundamental tension in ethnographic research between trying to understand participants from within their own perspective and viewing them with greater distance. With this in mind, the aim of this article is to describe how a reflexive communication model was developed during the study of El Sistema Gothenburg, and to discuss aspects and strategies that are crucial when navigating between an emic and an etic approach. It is argued that by reflexive communication, researchers can make their results useful for participants and that reflecting upon the relationship is even more important when communicating critique. With the help of this model, communication of critical results was facilitated by the establishment of an integrative approach that combined the insiders’ and outsiders’ perspectives and was based on the formation of a strong relationship between the researchers and the participants, as well as by the participants’ own cultivation of theoretical understanding.
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| 3. |
- Bergman, Åsa, 1972, et al.
(författare)
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Social change through Babumba and Beethoven – musical educational ideals in El Sistema
- 2014
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Ingår i: Svensk tidskrift för musikforskning. - 0081-9816. ; 92:2:2014, s. 43-58
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Tidskriftsartikel (refereegranskat)abstract
- The El Sistema music education programme, which is based on a Venezuelan model developed in the 1970s, was introduced in Gothenburg, Sweden in 2010. One cornerstone of this choir and orchestra school is the use of music as a tool for individual and social development in order to provide a more democratic society through increased integration and decreased segregation. By using a discourse-analytical perspective as a starting point, this article aims to investigate how El Sistema legitimises music, and discuss discourses on music in relation to the idea of music as a tool for social and individual development. The results of our ethnographical study show that rhetoric related to music is largely based on aesthetic discourses developed during the 19th century in a manner similar to the late 19th-century Swedish folkbildningprojekt (adult education project). The discussion also addresses the blurring of aesthetic values and norms in the late modern era.
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| 4. |
- Bergman, Åsa, 1972, et al.
(författare)
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Struggling for integration : universalist and separatist discourses within El Sistema Sweden
- 2016
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Ingår i: Music Education Research. - : Informa UK Limited. - 1461-3808 .- 1469-9893. ; 18:4, s. 364-375
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Tidskriftsartikel (refereegranskat)abstract
- This article focuses on the El Sistema programme, which started up in Sweden in 2010 with the objective to deal with segregation problems typical for Swedish urban areas. The purpose of the article is to examine how promoting integration through music and music education is constructed within El Sistema as a way to help children growing up in multi-ethnic suburbs participate in Swedish society. The empirical material used derives from two different ethnographic research studies conducted in Gothenburg and Malmö. The results show that integration is constructed through two antagonistic discourses competing for hegemony. In the first, the idea of integration is based on a rhetoric of similarities between people playing music together, a rhetoric drawing on the modernist idea of humans as universal and alike. In the second, integration is articulated through a rhetoric of differences related to cultural affiliation.
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| 5. |
- Bergman, Åsa, 1972, et al.
(författare)
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Studying El Sistema as a Swedish community music project from a critical perspective
- 2014
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Ingår i: International Journal of Community Music. - : Intellect. - 1550-7327 .- 1752-6299 .- 1752-6302. ; 7:3, s. 365-377
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Tidskriftsartikel (refereegranskat)abstract
- Sweden has a long tradition of implementing cultural activities in community-based organizations, even though the concept of community music is rarely used. One project in line with this tradition is El Sistema, a global movement that reached Sweden a few years ago. This article aims to discuss to what extent and in what ways El Sistema in Sweden can be regarded as an example of community music practice and further to argue for a critical approach when analysing this particular music education venture. By using discursive tools we try to move beyond preconceptions based on educational and cultural beliefs. In addition, a critical perspective also makes it possible to pay attention to what is at stake in a specific music education context.
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| 6. |
- Bergman, Åsa, 1972, et al.
(författare)
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The music education project El Sistema as context for learning and identity creation
- 2013
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Ingår i: Community Music & Music Pedagogy, Symposium i München, February 21-23th 2013.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In this presentation we want to discuss some preliminary results from our on-going ethnographical research project focusing the learning context related to the music education endeavor El Sistema in Gothenburg, Sweden. In September 2010, El Sistema started as a co-operation between the school for arts and culture in Hammarkullen, Gothenburg and Gothenburg Symphony Orchestra (GSO). El Sistema offers participation in a symphony orchestra and/or choir to children from the age of 4 years, three to five times a week. El Sistema is based on a Venezuelan model where the aim is to use the music as a resource for social and human development without giving up on the musical quality. Rather, there is a strong believe in the idea that high musical quality is created through strong social solidarity. The program is also based on the idea that the children, in order to reach their full musical potential, must work hard and target-oriented (Tunstall, 2012). Another important aspect for the pedagogical context of El Sistema is the presence of role-models, both in form of professional musicians and more experienced peers. For that reason, the children get the opportunity to meet musicians from GSO on a regular basis. Both in order to get a chance to experience “music on a high level” but also to get access to the musical room of the Concert Hall, and get a chance “to meet the human behind the musician” (Sarner, unpub. script). In September 2011, after contact and acceptance from superiors of El Sistema, we did begin our scientific investigation of this music pedagogical setting. The overall purpose is to investigate El Sistema Gothenburg (ESG), as a community-based learning context, with focus on contextual considerations such as history, values, environment, pedagogical settings, collaborations, policy and educational challenges. What kind of identity constructions and learning possibilities are afforded in the context of ESG (from autumn 2012 involving nine of ten districts)? In the light of ESG’s ambition to obstruct segregation and decrease social gaps, our aim is to study identityconstruction, hindrances and possibilities for developing musical skills and social, cultural and musical power relations within in this learning context. The theoretical framework is founded on a social constructionist and a poststructuralist perspective (Burr, 1995). The results will also be discussed in the light of cultural, social and pedagogical theories concerning children, and youths’ identity creation and learning processes in the late-modern society (Beck, 1992; Ziehe, 1989; 2004). Methods we have used, and are planning to use are: participating observations and focus group discussions with pupils, parents, teachers, musicians from GSO, administrators of ESG and others with relevant information regarding the venue. The ethnographical perspective will also result in a study of how the participants acts and interacts in different situations and what pattern those acts create. References Beck. U. (1992). Risk Society: Towards a new Modernity. London: Sage Publications Ltd. Burr, V. (1995). An introduction to social constructionism. London: Routledge Sarner, C. (opublic manus). El Sistema i Hammarkullen. Presentation for The Collegium for Arts and learning, University of Gothenburg 2011-01-26 Tunstall, T. (2012). Changing lives. Gustavo Dudamel, El Sistema and The Transformative Power of Music. New York: W.W. Norton & Company. Ziehe, T. (1989). Kulturanalyser: Ungdom, utbildning, modernitet. Stockholm/Stehag: Symposion Bokförlag & Tryckeri AB. Ziehe, T. (2004). Øer af intensitet i et hav af rutine: nye tekster om ungdom, skole og kultur. København: Politisk Revy.
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| 7. |
- Björck, Cecilia, 1970, et al.
(författare)
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Potentials and Challenges in Redesigning Traditional Text Seminars in Doctoral Education in Sweden
- 2023
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Ingår i: Nordisk tidsskrift for utdanning og praksis. - 2535-7697. ; 17:1, s. 72-86
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Tidskriftsartikel (refereegranskat)abstract
- The text seminar has a long and strong tradition in academia, not least in postgraduate education. In these seminars, doctoral students are socialised into the research community to be able to act as researchers in an academic setting. However, research suggests that the traditional and strictly regulated form of doctoral seminars may hinder doctoral students’ learning. In response to this problem, this article presents and discusses an analysis of an attempt to redesign doctoral education seminars in Sweden by a design theoretic approach to learning. The result shows that while certain seminar forms functioned as somewhat limiting for learning, other forms and multimodal resources were able to open for alternative meaning-making and ways of staging the identity of a researcher.
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| 8. |
- Borgström Källén, Carina, 1961, et al.
(författare)
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Doing gender beside or in music: Significance of context and discourse in close relationship in the Swedish music classroom
- 2018
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Ingår i: British Journal of Music Education. - : Cambridge University Press (CUP). - 0265-0517 .- 1469-2104. ; 35:3, s. 223-235
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Tidskriftsartikel (refereegranskat)abstract
- This article explores the significance of context and discourse from a gender perspective within three different studies of the Swedish music classroom, conducted in lower secondary school, upper secondary school and higher music education respectively. The theoretical point of departure is that gender performances as well as the music classroom are discursively constructed within a specific context. The result suggests that if discourse and context are directed towards music as identity and skill, gender is performed in music, but if the music classroom is constructed as educational, gender is performed beside music. A conclusion is therefore that the impact of gender in the music classroom has to be understood as a matter of school discourse and school context in close relationship. It is argued that studying the interplay between context and discourse can be a way ahead for understanding the complexity in the relationship between music education and gender.
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| 9. |
- Borgström Källén, Carina, 1961, et al.
(författare)
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Focusing the interplay between context and discourse in exploring music education and gender.
- 2016
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Ingår i: The 20th conference of Nordic Network for Research in Music Education. NNMPF. Hamar, Norwey, 8-10 March, 2016..
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Konferensbidrag (refereegranskat)abstract
- In this paper we argue for a need to bring both school context and discourse to the table when exploring music education from a gender perspective. A closer look at the on going interplay between context and discourse can be a way ahead for our understanding of the complexity in the relationships between music education and gender. Music education in conjunction with gender has an existing and on going body of research (Green, 2012), albeit a significant part are focusing questions of gendered representation (Harrison A.C. & O'Neill, 2000; Lamb, Dolloff & Howe, 2002; Harrison S.D., 2007; Abeles, 2009). However gender related research in music education that deepens our understanding of gender norms in conjunction with the specific music classroom appears to be areas that are less explored (Green, 1997; Abramo, 2011; Armstrong, 2011; Wych, 2012). This is a shortcoming, as a greater understanding of the dynamic processes that govern students’ construction of gender in the music classroom can challenge and rethink how issues of gender are understood in music education, and thereby counteract gender marked restrictions when learning music. With this in mind, this paper aims at exploring the significance of school context and discourse in interplay from a gender perspective within three different studies of the Swedish music classroom. The three studies, chosen for this presentation, gather empirical data from music education within three of the Swedish school forms; the lower secondary, the upper secondary and the university. A subordinated purpose is to discuss three newly conducted Swedish research and developmental projects, since these studies are yet to be included in the body of international research focusing gender and music education. One central theoretical point of departure is that gender in relation to school music practices has to be understood discursively where for instance contextually dependent and contextually independent identities, respectively, appear to be exposed in one and the same context, i.e. in the same discursive practice (Foucault, 1969/2002). Social status, sex and age are examples of important discursive factors in the determination of who can have the mandate to take place and create space within a specific context. Another theoretical point of departure is to understand gender as socially constructed and as performative (Butler 1990/1999/2006; Connell, 2000, 2005, 2009). One core concept here is the heterosexual matrix (Butler, 1990/1999/2006), used to understand how gender is always related to a hetero normative framework that regulates which bodies, genders and desires are assigned to be culturally intelligible and naturalized. Our findings show that doing gender in music classrooms is a matter of what is at stake – music or education. When the context is related towards music, gender is performed in music. On the other hand, if the context regards the music classroom as educational, gender is performed besides music. One important conclusion from this analysis is that neither context nor discourse is static in the music classroom, but constantly constructed and reconstructed in social interaction. The construction of gender always takes place in a context as a part of a social process. Guiding how gender is produced in the music classroom, however, is the students’ adaption to discourse. We therefore argue that the music education has to be analysed as a collective social practice governed by context and discourse in constant interplay. A conclusion is that gendered differentiation has to be understood as a matter of discourse and context in close relationship.
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| 10. |
- Borgström Källén, Carina, 1961, et al.
(författare)
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Performing gender when music is, or is not, at stake – a meta-analysis on students’ adaption to discourse
- 2017
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Ingår i: Nordic Research in Music Education. Yearbook 2017, 97–116. - 1504-5021 .- 2535-4027. ; Vol. 18, s. 97-116
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Tidskriftsartikel (refereegranskat)abstract
- ABSTRACT In this article, a meta-analysis is conducted in order to explore how gender is constructed in relation to music classroom school discourses, in three qualitative studies. Conducting meta-analysis is a way of reflecting on data in new ways, and it is argued that it could be productive in creating new understandings of issues within the field of music education research. Theoretically, all three studies, as well as the reinterpretation, draw on social constructionism and the method is based on qualitative meta-analysis in the social sciences. The result of the analysis indicates that construction of gender is a matter of what is at stake in the music classroom – music or education.
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