| 1. |
- Kempe, Anna-Lena, Docent, 1964-, et al.
(författare)
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Kartan och terrängen : orientera i det didaktiska landskapet
- 2023
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Syftet med den här boken är att ge lärarstudenter och yrkesverksamma lärare en översiktlig karta över relevant forskning som stöd för att kunna göra grundade och väl avvägda val i det didaktiska landskapet. I boken diskuteras hur olika didaktiska val får konsekvenser för villkoren för lärande samt understryker vikten av att som pedagog reflektera över dessa val. Boken tar även upp emotionella, sociala och kognitiva aspekter av lärande, olika sorters tänkande och vikten av meningsskapande. I de sista kapitlen går författarna på djupet gällande undervisning som fenomen, analyserar moraliska praktiker och erbjuder avslutningsvis en konkretiserad modell för hur undervisning kan planeras gemensamt i ett lärarlag.Boken vänder sig till studerande på samtliga lärarprogram och till yrkesverksamma lärare.
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| 2. |
- Parkes, Kelly, et al.
(författare)
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Applied music studio teachers in higher education : exploring the impact of identification and talent on career satisfaction
- 2015
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Ingår i: International Journal of Music Education. - : SAGE Publications. - 0255-7614 .- 1744-795X. ; 33:3, s. 372-385
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Tidskriftsartikel (refereegranskat)abstract
- The purpose of this study was to explore how highly trained performing musicians, currently working in higher education conservatoires or universities, understand, categorize, and reflect on their identification as a studio music teacher. Using an online survey involving participants (N = 173) across nine western countries, respondents identified how they saw themselves, as performer, teacher, or both. Quantitative items illustrated their beliefs in regard to talent (self-concept) and identification with two domains (teaching and performing), as well as levels of satisfaction in both roles. Results showed that participants held two identities as both teachers and performers, that they felt slightly more talented at teaching, and that they were more satisfied with performing than with teaching. Using regression, the authors documented that identification with being a teacher predicted 41% of the variance in whether studio teachers were satisfied with being a teacher. Performing talent predicted 26% of their satisfaction with being a performer. The findings are significant to music educators because they demonstrate the complexities associated with the interplay between identification with teaching and with performing. Institutional leaders who recruit and employ advanced musicians to teach in the studio should explore this interplay or balance and, where appropriate, put in place mechanisms to support individuals as they navigate through these domains.
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| 3. |
- West, Tore, 1960-, et al.
(författare)
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Bedömning i högre konstnärlig utbildning : ett designteoretiskt, multimodalt perspektiv
- 2013
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- I den här artikeln intresserar vi oss för bedömning som sker i interaktionen mellan lärare och student i relation till hur undervisningssituationen utformats och gestaltats i sin specifika institutionella inramning. Artikel fokuserar och belyser bedömning som en aspekt och resurs för lärande i högre konstnärlig utbildning. Studenter som antas till dans- och filmutbildningar samt till de bildkonstnärliga högskolorna erbjuds i stor utsträckning en fri studiegång där fokus på personlig och konstnärlig utveckling ofta är central. Till skillnad från andra högskoleutbildningar där det finns ett större fokus på att inhämta ett specifikt, avgränsat och definierat kunskapsstoff i utbildningen handlar studierna inom konstnärlig högre utbildning i större utsträckning om att tillhandahålla förutsättningar för framgångsrikt konstnärligt arbete. I högre konstnärliga utbildningar bedöms studenters resultat inte främst utifrån fastställda och generella betygskriterier utan i relation till personlig utveckling (Högskoleverket 2006). Det behövs därför nya perspektiv och begrepp som – utifrån utbildningarnas förutsättningar – kan ge en förståelse av bedömning inom högre konstnärlig utbildning.
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| 4. |
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| 5. |
- West, Tore, 1960-, et al.
(författare)
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Interaktion och kunskapsutveckling : en studie av frivillig musikundervisning
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In a joint dissertation project, 11 brass instrument and guitar lessons, with 4 teachers and 21 students aged 9-35 years, were videotaped, transcribed and analyzed. Two were group lessons and 9 were private lessons. The object of the project was to study how music teaching and learning can be understood from an institutional perspective by describing, analyzing and interpreting musical instrument lessons. The lessons were viewed as social encounters in which the action of participants creates and re-creates social orders at different institutional levels, by means of communication routines using speech, music and gesture. Data were derived from micro-ethnographic transcriptions of speech, gesture and music of a total of five hours of videotape, supplemented by text analyses of 14 method-books. The transcripts were analyzed as text from the perspective of critical discourse analysis. At the analytical level the study applied the cognitive concepts of experiencing and learning music, as well as those of educational genres of speech and music use. The analyzed data were interpreted and discussed from the perspectives of interaction-theory and institution-theory. The results show how the music during the lessons was broken down into separate notes, as read from the score. Music was not addressed as phrases, rhythms, or melodies. Expressive qualities of music performance were not addressed. The characteristics of the interaction were found to be asymmetric, with the teacher being the one controlling the definition of the situation. Student attempts to take initiative were ignored by teachers. This asymmetric pattern of interaction had negative consequences for students’ as well as teachers’ opportunities to learn. The organization of the teaching situation as well as teaching methods is discussed from the perspective of institution-theory. A major conclusion is that the way instrument teaching is organized leaves little room for students and teachers to discuss and reflect on the teaching process.
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| 6. |
- West, Tore, 1960-
(författare)
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Learning Through the Arts : En kritisk forsknings- och dokumentationsöversikt
- 2002
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Rapport (övrigt vetenskapligt/konstnärligt)abstract
- I denna översikt görs en kritisk granskning av dokumentationen om skolundervisning där en yrkesverksam konstnär deltar enligt programmet ”Learning Through the Arts” (LTTA). LTTA är utvecklat i Kanada och introduceras nu i Sverige i ett samarbete mellan The Royal Conservatory of Music i Toronto (RCM), Kungl. Musikhögskolan i Stockholm (KMH) och Kista stadsdelsnämnd.
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| 7. |
- West, Tore, 1960-, et al.
(författare)
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Musical transformations
- 2010
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Konferensbidrag (refereegranskat)abstract
- The scope of this presentation is to apply key concepts from design theory and social semiotics in order to investigate how the design of different forms of representation in music teaching and learning shapes the semiotic configuration of tuition and the process of meaning making and learning. There are several historically developed systems for representing music, even though the printed score seems to be the most frequently used system. In fact, the printed score seems to be the general focus of attention during one-to- one situations in formal instrumental teaching. Different systems of signs and forms of representation have emerged for different settings and functions. Within the context of such systems specific signs can be interpreted to make meaning. Dissimilar systems of representations of the same phenomena – like musical notation or tablature – bring different features of the phenomena in focus and leave other aspects in the shadow. Different systems also require various interpretation strategies and affect the patterns of interaction in the social settings where they come to use. We analyse and compare different systems for representation of music with a particular focus on how they shape the social power relations during tuition and how they bring forward certain musical features while leaving out others. We also discuss musical literacy in relation to different types of systems for representations. The printed music score is often taken to be a perfect image of the sounding music although it requires many years of experience to understand how to interpret the score of a musical work in a specific context. Instruction books for tuition in instrumental teaching and learning seldom have a written text, and leave the student with just the printed music as a guide. A discussion will be made regarding how different systems of signs can affect students’ possibilities to learn.
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