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- Calissendorff, Maria
(författare)
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"Om man inte vill spela – då blir det jättesvårt" : en studie av en grupp förskolebarns musikaliska lärande i fiolspel
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation project involved following a group of six pre-school children (five years old) in the first year of their learning the violin together and where their parents were present at the lessons. The purpose of the study was to generate a theory which could increase our understanding of how small children learn an instrument where their parents are present at the lessons. The focus was on the child’s perspective. In line with Grounded Theory, the theory was built up as the investigation proceeded. All the lessons and concerts during the first year of learning were observed. The children, parents and teacher were interviewed three times. From the observations there emerged “leads” that were followed up in subsequent observations, interviews and chats. From the leads came categories, from which in turn came the core category learning style. The children differed in their ways of concentrating and of imbibing, dealing with and remembering information. They had different learning styles. Environmental, emotional, social, physiological and psychological factors affected each child’s learning style to a different extent. The study’s theory of learning style was subsequently integrated into the Dunn & Dunn Learning Style Model and could thereby be regarded as formal. The conclusion is that if the teacher is to pay regard to the children’s individual learning styles (these having chiefly to do with different perceptual preferences), he or she must present the content of the lesson in different ways.
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| 2. |
- Eriksson, Helene
(författare)
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Systematisk analys och lösning av pianistiskt tekniska problem : instuderingsmodell tillämpad på F. Chopins etyder op. 25
- 2006
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The problem-area studied in the present thesis concerns pianistic technique, with special reference to the possibilities of enhancing the efficiency of pianistic practice and increasing the awareness of chosen strategies of practice. The main aim of the thesis was to develop, on the basis of literature and praxis, a model for the systematic analysis and solution of problems of pianistic technique, as a tool to realize musical intentions. In accordance with this aim, it seemed fruitful to take advantage of knowledge from a number of relevant disciplines (regarding for example, prerequisites for pianistic technique and the practical solution of musical and pianistic problems). Hereby the work has obtained an inter-disciplinary character. General Systems Theory and Systems Analysis were applied as theoretically and methodologically unifying bases, respectively. It may be pointed out that in the field of systems analysis a number of useful descriptive techniques have been developed and become well-established. These techniques and a specially designed model have been applied, partly to the musical structures which are dealt with both from a level-related and a block/line-related systems perspective, partly to the solution of problems of pianistic technique. In the latter case inter- as well as intra-musical factors are considered. To test and evaluate the special model it has been applied to Chopin’s 12 Etudes, Op. 25, and an artistic illustration of the results of this application has been given, partly through the playing of a piano concerto on stage and partly in the form of a DVD-recording. The suggested approach and the special model have proved suitable for organizing pianistic practice and for realizing musical intentions. It has proved possible: to develop a model for the systematic analysis and solution of problems of pianistic technique, as a tool to realize musical intentions; to apply this model to Chopin’s 12 Etudes, Op. 25; to give an artistic illustration of the results of this application, partly through the playing of a piano concerto on stage and partly in the form of a DVD-recording.
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| 3. |
- Georgii-Hemming, Eva, 1960-
(författare)
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Berättelsen under deras fötter : fem musiklärares livshistorier
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The dissertation concerns five music teachers who teach on the course Artistic Activity at upper secondary school and the main aim is to acquire an understanding of the teachers’ views of the core subject Music. A further aim is to describe the five teachers' personal experiences of music in various social, educational and musical contexts, and how these experiences affect their teaching. The empirical material is designated life stories and comprises narratives, written by the teachers themselves and orally related to the researcher through conversations. The problem area concerns relations between life’s different directions in a number of interacting temporal and contextual dimensions. For this reason the interpretation of the teachers’ views of music as experience and as school subject is carried out on three levels of abstraction regarded as interacting with one another. The individual teachers’ narratives concerning their lives were on a first level of abstraction analysed and contextualised biographically, from which emerged five life histories which constituted the basis for in-depth hermeneutic interpretation. By way of interpretations on the personal, educational and institutional level the discussion concludes on the third level of abstraction, where focus is on the relationship between the teachers’ work and the broader educational discourse in society. The study also offers a discussion of the possibilities and problems of hermeneutics as an overall theoretical frame of reference. Furthermore it takes up theoretical angles of approach concerning narratives, this in connection with life history method. The study indicates that what is essential in the relationship between the five music teachers’ personal experience of music and their work is not the concrete experience of different types of music, of different musical contexts or of particular educational environments where such experience has been acquired. There is no straightforward relation of cause and effect and indeed there are certain differences between the teachers in this respect. However, there is a vital relation in that what the teachers have derived from their own musical experiences – pleasure and play, skill, a sense of community, outlet for emotion – is what they want to pass on to the pupils. Musical knowledge is regarded as personal and as being generated in processes where the pupils’ everyday culture is reconstructed. When this basic attitude to music comes into conflict with the teacher’s work, there appears another, joint discourse which is considered distinctive of contemporary life. Accordingly, the discussion takes up the theme of the individual in the centre, both in education – where the focus is on the pupil’s resources, requirements and need to assume responsibility – and in society as a whole, where such values as freedom of choice have acquired greater importance than collective ones.
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