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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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- Asp, Karl
(författare)
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Om att välja vad och hur : musiklärares samtal om val av undervisningsinnehåll i ensemble på gymnasiets estetiska program
- 2011
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study investigates how teachers of the subject ensemble in Swedish upper secondary school talk about their choices of subject content in light of their background as musicians and/or music teachers? According to current regulations and curricula (Läroplan för de frivilliga skolformerna, Lpf 94; Programmål för Estetiska programmet, ES 2000:05) the Swedish upper secondary school system can be described as goal-centered, which implies that the goals of the education are in focus and that methods and material to achieve those goals can show great variances. The aim of this study is to investigate how music teacher talk about their choices of content in relation to several background factors like music teacher education and experience and their experience as professional performers. Research questions are: * How do musicteachers talk in groupinterviews regarding choices of content in ensemble in upper secondary school? * What do musicteachers perceive as essential contents in music teaching in the subject ensemble? The conceptual framework in this study is inspired by Berger and Luckmann’s (1966/1979) theories of the construction of reality. This means that a non-essentialist approach is taken and that subject matter, content and curricula all are understood as constructs in relation to a context, historically and cultural specific (Burr, 2003). This explains the focus on the interviewees professional backgrounds in relation to choice of content. Furthermore it relies on discourse psychology (Potter & Wetherell, 1987) where interpretative repertoires is used as an analytical tool. By focus group-interviews (Wibeck, 2000; Morgan, 1998) data has been collected and then analyzed. The interviewees are both professional musicians and music teachers, and they are all working as music teachers in upper secondary schools. The results of the study indicates that the teachers’ talk about choices of content is constructed mainly through their experiences of performing and professional musicianship and that didactical constructions highly relies on those experiences. This means that music as a subject (cf. Nielsen, 1998) is often seen as a product, as in a concert or a recording, and that the music teachers’ professional experiences of making music is an important ground for accomplishing that task. This raises further questions about how music teaching should be carried out and what implications the focus on a product has on musical learning from a democratic as well as a pedagogical perspective.
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- Fossum, Hanne, et al.
(författare)
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The changing concept of aesthetic experience in music education
- 2012
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Ingår i: Nordic research in music education. - Oslo : Norges musikkhøgskole. - 9788278530771 ; , s. 9-26
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Bokkapitel (refereegranskat)abstract
- The article's goals are to contribute to the clarification of the term aesthetic experience used in the context of music education, and to discuss different interpretations of Kant in this context. As the musical aesthetic experience may be said to be at the core of music education, it should be of vital interest to music education research to clarify the term. Usage of this term in some Nordic literature confirms the impression of a strong influence by Anglo-American thinking at the expense of German ideas and discussions in the last decades. The article reveals how different understandings of the term in the Anglo-American and German fields, respectively, give rise even to contradictory statements concerning the meaning and implications of the term. Keywords: Aesthetic experience, music education, philosophy
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- Georgii-Hemming, Eva, 1960-, et al.
(författare)
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The construction of Academic Academies : Art, research and marketization as competing discourses
- 2017
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Konferensbidrag (refereegranskat)abstract
- Aim of this paperThis paper draws on the on-going comprehensive three-year study Discourses of Academization and the Music Profession in Higher Music Education (DAPHME) conducted by a team of senior researchers in Sweden, Norway and Germany. The overall purpose of the project is to investigate how processes of academization affect performing musician programmes. By focusing discourses in higher music education (HME) the project, more specifically, explores contrasting perspectives on performing musicians’ expertise and societal mandate. Data are gathered through official documents and interviews with institutional leaders and teachers in HME across Europe.Based on the preliminary analysis of about 30 interviews this paper presents findings that concern notions of competence, knowledge and research activities within HME. We will particularly discuss these findings in relation to the analytic framework of critical discourse analysis (Angermüller 2007; Fairclough 1993, 2009, 2010).The Context Performing musician programmes around Europe currently find themselves in a phase of change. While the main concern of HME during the 20th century has been to educate musicians and composers for a profession where conceptions of craftsmanship and artistic skill were given, new conditions for employability and processes of academization are now challenging this expert culture. Since the Bologna declaration 1999, music institutions must stimulate research activities within the context of artistic practice. Musical expertise is thus not enough for today’s music profession. Traditionally, concepts like employability and (artistic) research have not played an important role in music profession. Therefore it is likely that conflicts arise when these enter the discourses on and within music academies. In a wider context, this also concerns the broader issue of the role of higher education in times of marketization and instrumentalization.MethodologyEmpirical data consist of official documents (e.g. syllabi, official presentations, self evaluations, political documents related to the Bologna process) and interviews with leaders and teachers within four institutions in Sweden, Norway and Germany respectively. We are primarily interested in exploring the tensions between different viewpoints within higher education institutions. Therefore we are focusing on those responsible for implementing educational policies on a daily basis, rather than interrogating students’ experiences. The topics addressed in the open-ended interviews, central for this paper, concern notions of competence, knowledge, and artistic research, as well as views on their functions in education and in the music profession.In order to analytically capture and make visible the tensions that indicate negotiations and renegotiations of higher music education, the analytic framework of critical discourse analysis (Fairclough 1993, 2009, 2010), combined with linguistically informed French discourse analysis (Foucault 1974), especially enunciative pragmatics (Angermüller 2007) are used. The reason for this choice is CDA’s view on discourse, not only as language in general but discourses as a form of social interaction and practice (Fairclough 1993; 2009). Changes, and discursive events, in society help to shape both institutions and interactions between actors. This relationship can be understood in terms of a mix of discourses. The method of analysis can therefore demonstrate how multiple, competing discourses are shaped by the politics of education reforms. Over time, different discursive practices within and across institutions are also restructured.Earlier examinations concerning the purposes of higher (music) education, and its role in relation to society and the individual, provided three key discourses (Barkholt 2005; Georgii-Hemming, Burnard & Holgersen 2013; Unemar Öst 2009; Kezar 2004; Hufner 2003, Johansson 2013; Wilson and van Ruiten 2014; Stephens 2013), which served as the foundation for the first phases of our analysis: (i) The classical academic discourse, (ii) The discourse of marketization; (iii) The discourse of artistic freedom.These articulations have a long history in the Western world, but are also present within the European policy arena today. Thus, present-day articulations adhere to, and in different ways reformulate, earlier ideas about higher (music) education. Following Fairclough (e.g. 2010), discursive struggles are fundamental social conditions. Different social actors have access to, and help to create, plural discourses, which does not mean that certain discourses are linked to specific actors. However, depending on the distribution of power particular discourses are easier to obtain than other.With regards to academic institutions, it is fairly common that they acquire a hybrid discourse where elements of the ”Entrepreneurial University” are added to, and fused with, classical European university norms and structures (Melander 2006). This potentially means that art academies are currently in a process of developing hybrid discourses where components from articuations of art, research and market are mixed.ConclusionThis paper deals with empirical discursive objects in a theoretical way and will engage in a critical reflection of the nexus of language, knowledge and practice in contemporary higher music education. Preliminary analyses indicate discourses between at least two social logics: in the world of knowledge to be recognised as part of a specialised art community and in the world of power to be recognised as part of academic organisations with a certain status (c.f. Angermüller 2013).
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