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- Ferm-Almqvist, Cecilia, et al.
(författare)
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Assessment as learning in music education : The risk of "criteria compliance" replacing "learning" in the Scandinavian countries
- 2017
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Ingår i: Research Studies in Music Education. - : Sage Publications. - 1321-103X .- 1834-5530. ; 39:1, s. 3-18
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Tidskriftsartikel (refereegranskat)abstract
- Recent reforms in England and the USA give evidence that teaching methods and content can change rapidly, given a strong external pressure, for example through economic incentives, inspections, school choice, and public display of schools' and pupils' performances. Educational activities in the Scandinavian countries have increasingly become dominated by obligations regarding assessment and grading. A common thread is the demand for equal and just assessment and grading through clear criteria and transparent processes. Torrance states that clarity in assessment procedures, processes, and criteria has underpinned widespread use of coaching, practice, and provision of formative feedback to boost achievement, but that such transparency encourages instrumentalism. He concludes that the practice of assessment has moved from assessment of learning, through assessment for learning, to assessment as learning, with "assessment procedures and practices coming completely to dominate the learning experience" and "criteria compliance" replacing "learning". Thus, formative assessment, in spite of its proven educational potential, threatens to be deformative. In this article we will explore to what extent and how this development is visible in two cases, presenting music education in one Norwegian and one Swedish compulsory school setting. Three thematic threads run through this exploration: quality, power, and instrumentalism.
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| 2. |
- Ferm, Cecilia, et al.
(författare)
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Assessment as learning in music education : The risk of ‘criteria compliance’ replacing ’learning’ in the Scandinavian countries
- 2014
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Konferensbidrag (refereegranskat)abstract
- Assessment as learning in music education - the risk of ‘criteria compliance’ replacing ’learning’ in the Scandinavian countriesRecent reforms in England and USA give evidence that teaching methods and content can change rapidly, given a strong external pressure, for example through economic incentives, inspections, school choice and public display of schools’ and pupils’ performances. Educational activities in the Scandinavian countries have increasingly become dominated by obligations regarding assessment and grading. A common thread is the demand for equal and just assessment and grading through clear criteria and transparent processes. Torrance (2007) states that clarity in assessment procedures, processes and criteria has underpinned widespread use of coaching, practice and provision of formative feedback to boost achievement, but that such transparency encourages instrumentalism. He concludes that the practice of assessment has moved from assessment of learning, through assessment for learning, to assessment as learning, with assessment procedures and practices coming completely to dominate the learning experience and ‘criteria compliance’ replacing ‘learning’. Thus, formative assessment, in spite of its proven educational potential, threatens to be deformative (Torrance, 2012). In the symposium we will explore to what extent and how this development is visible from four perspectives. Four examples of assessment investigation of dance and music education in primary, lower and upper secondary schools will function as entrances to the dilemma.The symposium will start with an introduction of assessments demands in general and in the Scandinavian countries specifically, ending up in the theories of Torrance, and the risk of assessment as learning or even. Thereafter the following perspectives and settings will be described.Professionalism in Action – Music Teachers on an Assessment JourneyIf assessment practices within education have led, as Torrance (2007) claims, to instrumentalism in the form of “assessment as learning [and] criteria compliance” (p. 281-282), how can teachers and researchers reclaim the exploratory notions of (music) education? In an ongoing collaborate Research and Development and Participatory Action Research project, a group of Swedish upper secondary school music teachers together with a researcher investigates issues regarding assessment, for instance why equality is not spelled “exactly the same thing” and how teachers balance professionalism with accountability. Demands on documentation of dance knowledge in upper secondary schools in Sweden – how does that processing assessment practice?In the syllabuses from Gy11, expressed dance performance can be seen as an embodied action. Though, students and teachers are asked to evaluate themselves and fill out a written rubric in the same way as all other subjects at studied upper secondary schools. The focus on criteria-referenced feedback can have coherence to assessment as learning instead of assessment for learning. Based on observations, conversations and written reflections teachers are expressing the insufficiency with the rubric in combination to dance. How is the demand on documentation processing the assessment practice? Through a study of grading conversation teachers´ conception of qualities are illuminated. What is the base for what is assessed and communicated and how is that effect the teaching professionalism? What is prepossessing teachers´ conceptions of qualities?An outline of an understanding of assessment as didactical self-defence strategiesThe findings of Vinge (2014) indicate a clear tendency towards a systematic criterion based assessment practice in the compulsory music of subject in lower secondary schools in Norway. This change in practice follows the implementation of the latest curriculum reform (LK06, the knowledge reform), a curriculum reform initiated to enhance student learning within the frames of international competency comparison. Music teachers make use of new assessment principles and techniques designed to enhance student learning, associated with the so-called assessment for learning concept. However, the analysis indicates that these principles and techniques are being used mainly for grading purposes and settings – assessment of learning. All though teachers seem to face lots of difficulties in the construction of various assessment schemes; once adopted they seem to become important tools in the teachers’ strive for effectiveness and control. This poses a central question, which will be elaborated in this presentation: Who is assessment actually for? Is it for the students or the teacher? Teaching for learning or teaching for documentation: on the effects of a curriculum reformThe Swedish 2011 curricular reform brought considerable change to the school system. Among other changes, grading was to take place from school year 6 and not from year 8 and a new grading regime was introduced with more grades and more detailed criteria than in the preceding curricula. In this presentation, preliminary results from a survey among music teachers in Swedish compulsory school will be discussed. The survey is based on the findings in a qualitative study of music teachers’ perceptions of this reform (Zandén & Ferm, forthcoming) and aims at giving a representative picture of the effects of the reform on music education and music teachers’ professional situation. Finally Lauri Väkevä will draw lines between the different contributions, comment critically, and conclude with with a Finnish perspective.
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| 5. |
- Lindgren, Monica, 1958, et al.
(författare)
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Music teacher education for the future: Reflections on change.
- 2023
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Ingår i: Action, Criticism, and Theory for Music Education (ACT). - 1545-4517. ; 22:3, s. 7-40
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Tidskriftsartikel (refereegranskat)abstract
- This article conceptualizes and discusses change in music teacher education. Results from the FUTURED research project provide the starting point for the article. The project ex- plored various dimensions of change within the music education programs in Norwegian generalist teacher education. In this project, change was regarded as having a transform- ative capacity closely related to co-construction and complexity. Telling new stories about education, and thereby imagining different educational realities, may be seen as a possible trigger for change. In this article, therefore, the authors contrast the current situation against an imagined reality to create a heuristic framework for a critical discussion of change. Based on a meta-analysis of research findings, the authors propose a vision for a future music teacher education, which they then use to highlight and discuss several in- tersecting dimensions of educational change: values and traditions, demographics, educa- tional practices, curricula, and society.
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| 7. |
- Zadig, Sverker, et al.
(författare)
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Informella stämledare : Körledares erfarenhet av samarbete mellan sångarna i körstämman
- 2015. - NMH-publikasjoner 2015:8
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Ingår i: Nordisk musikkpedagogisk forskning. Årbok 16 2015 : Nordic Research in Music Education. Yearbook Vol. 16 2015, - Nordic Research in Music Education. Yearbook Vol. 16 2015. - 9788278532089 ; 16, s. 183-207
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Bokkapitel (refereegranskat)abstract
- Informal leaders in the choral voice.Choir leaders’ experience of collaboration between the choristers.Most choirs and choir leaders have the aim to make the individual voices soundas unison as possible in the different choral voices, according to both timing,synchronisation and vocal blend.The aim of the present study was to investigate experienced choir leaders’experience and understanding of potential collaboration between the choristersin the choir, and what consequences that might result in.The study is qualitative in character: semi-structured interviews were carriedout with experienced Swedish choral conductors representing a broad spectrumof the praxis field, regions, ages and different gender. The interviews weretranscribed in verbatim and were analysed.The result shows that all the interviewee experienced informal leaders in theirchoirs and two main categories were identified: (i) with a focus on leadersof the musical line, musicianship/music-maker, and (ii) with a focus on thechoral blend, the blenders.As a conclusion, in order to develop choirs to sound more even, synchronisedand in blend, it might be of value to consider where to place a musical leaderin the choral voice, and also to what degree this phenomena should be madeexplicit and discussed with the members of the choir.
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