| 1. |
- Åberg, Sven
(författare)
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Styles and actions : Paradoxes and agreements in the conservatory teacher's practice
- 2010
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- This book is a reworked and translated version of Sven Åbergs doctoral dissertation "Spelrum" (2008). It discusses the transfer of practical knowledge as seen in the practises of conservatory teachers at the Royal College of Music in Stockholm. It is based on material from three series of dialogue seminars conducted with teachers and students. The aim of the dialogue seminar is to bring a practitioner’s personal style of relating to a profession into a form which makes it possible for the practitioner and others to reflect upon. Using the participants’ texts and the seminar protocols as a starting point the dissertation develops some of the themes which emerged. It is divided into three parts:The first discusses conservatory teachers’ relationship to language. Examples include the teachers’ use of indirect ways to »work around« a problem rather than addressing it directly, the use of metaphors and figures of speech, and the fields of disagreement that surround certain central concepts. These disagreements exist within a »thought-style« shared by practitioners of a profession.The second part develops some of the paradoxes inevitably encountered in practical music making and musical education. Examples include planning-spontaniety, simplicity-complexity, reflection-action, clarity-truth, breadth-depth. It is argued that the way in which practitioners’ handle and relate to such »paradoxical fields« constitute an essential part of mature professional skills.The third part discusses the nature of practical knowledge, especially its relationship to the rules that can be established to help transmit such knowledge. The wittgensteinian image of basic rules, which are followed in a way that can not be described in rules, is contrasted by an image in which the learner gains access to patterns of action which are handled on the basis of the percieved meaning of the actions.
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| 2. |
- Hentschel, Linn, 1980-, et al.
(författare)
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Humor, gender and creativity in music education
- 2020
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Ingår i: The topology of music education as a field of researches, policies and practices.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In this paper we will discuss humor as a gendered resource which opens up spaces for creativity in music education. We will do so by re-analysing empirical material from our two doctoral dissertations focusing on music education in secondary schools in Sweden. Humor is often presented as something positive when it comes to education. Humor has for example been pointed out as a resource to create motivation within school-subjects otherwise not regarded as interesting among students. Humor has also been proven fruitful for teachers in order to create a friendly environment and to balance teachers formal position with a more familiar position. In other words, humor seems, within education, to be constructed as a resource to accomplish different educational goals within the classroom. In this paper though, we will discuss difficulties to keep in mind when humor appears in students interactions within the music-classroom. In the following we will draw the attention to some themes we want to discuss which have become visible in our material. When it comes to gender, humor does not seem to be a neutral resource. In studies conducted within the secondary school music-education, humor seems to be more frequently used to express masculinity. Students positioned as boys are also more expected to be humoristic and make jokes than students positioned as girls. Similarly, in research regarding the humor-business, humor seems to represent a masculine domain. Even if this is a hierarchical order that seems to change, it is a discourse that is still being reproduced and thus still have a possible explanatory power. Humor as a masculine domaine is in the material also apparent as students positioned as boys expressing humor are not being questioned, which is the case among students positioned as girls. Language creates binaries. These binaries are contextual and changes over time but are however inevitably producing positions in the particular context. Humor is in our material frequently constructed as the opposite to seriousity. This does not mean that making jokes could not be “serious business”, but rather that the distance to seriousity in itself could be used in interaction to create space, which we would like to discuss in terms of creativity. Making jokes in the different music classrooms can function as resources to create distance to seriousity. In other words, making jokes makes it possible to express yourself in otherwise not socially accepted ways without being criticized. When draped in humor, expressions such as sexism, violence, racism, homofobia etcetera could be articulated and yet not followed by criticism. Even if this could be understood as a somewhat negative way of using humor, it points towards the creative potential that comes with humor in social interaction. This kind of creativity is primarily connected to the positioning work that is being done in interactions. Even creativity connected to musical expression is, following our material, facilitated by expressions of humor. Singing in different ways in order to make other people laugh is connected to breaking (and thus at the same time expressing) musical conventions in different contexts. Singing in a funny playful way can also be used as a didactic method to encourage pupils to sing, or as a positive approach during the rehearsal phases of musical processes in school. In secondary school music classrooms the demands from public policy to teach creativity in music is not seldomly done by letting students write songs. In our material we have studied an example in which the students are seriously engaged in expressing humor within their composing. We will argue that this kind of humor increases creativity. Attempting to be humoristic can in other words be very closely connected to creativity. Humor could also be understood in negative terms, not in what it produces in terms of creativity in order to make a joke, but rather in what or who is the aim of the joke. Something or someone is always pointed out in jokes. Jokes have, in other words, a normative effect. In our material making jokes could be used to legitimize pointing out someone's mistakes for example, even if teasing is not socially accepted within the classroom. Finally, these different aspects of humor combined creates different opportunities for musical creativity within music education. These differences are, we argue, important to consider when using humor as a didactic resource.
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| 3. |
- 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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| 4. |
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Perspektiv på musikpedagogiska praktiker : Undervisa i musik – ett komplext uppdrag
- 2020. - 1
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Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)abstract
- I antologin är kapitel samlade som ut olika perspektiv behandlar undervisning och lärande i musik samt musiklärares professionsutveckling. Karl Asp problematiserar genrebegreppet och exemplifierar hur det är möjligt att planera sin musikundervisning utifrån resonemang om vad genre kan tänkas vara och innebära. Konsekvenser av genrer och de praktiker som kan uppstå i ensembleundervisning när det gäller genreinriktningar med särskilt fokus på genusfrågor behandlar Carina Borgström Källén. Med Spotify som exempel beskriver och problematiserar Susanna Leijonhufvud strömmade musiktjänster och vad det kan innebära för möjligheter och risker för lärande i musik. Hur framåtsyftande återkoppling kan ta sig uttryck i musicerande situationer i skola beskriver och diskuterar Annika Falthin. Sverker Zadig redogör för sin forskningsprocess om informella ledare i körer och konsekvenser av olika använda forskningsmetoder. Aktionsforskning och kollegialt lärande belyser Johan Nyberg och hur det kan stärka musiklärares professionsutveckling. Professionsutveckling är även centralt i Annette Mars text som handlar om hur musiklärares ämneskunnande och hur deras musikdidaktiska förmåga kan medvetandegöras. Avslutningsvis sammanfattar Cecilia Ferm Almqvist antologins olika ämnesområden och teoretiska ansatser utifrån ett relationellt perspektiv.
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| 5. |
- Persson, Mikael, phd, 1975-, et al.
(författare)
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En kulturskola för alla?
- 2024
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Ingår i: Fritidsdidaktiska dilemman. - Stockholm : Natur och kultur. - 9789127466135 ; , s. 219-244
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- För kulturskolan att nå ut till målgrupper i alla områden i samhället är en viktig utmaning utifrån ett demokrati- och jämlikhetsperspektiv. För närvarande har kulturskolan svårare att nå elever från såväl föräldrar med lägre utbildningsbakgrund samt föräldrar i områden med en hög andel utlandsfödda. Det här kapitlet kommer att diskutera på vilka olika sätt som utmaningen att nå ut till målgruppen i ett förortsområde med hög andel utlandsfödda beskrivs av lärare och ledare inom kulturskola och skola. Intervjuerna som ligger till grund för artikeln har genomförts som en del av ett praktiknära forskningssamarbete och frågeställningen har väckts av ett behov artikulerat av lärare och skolledare inom det undersökta området. Teoretiskt bygger analysen på ett diskurspsykologiskt och policyteoretiskt perspektiv genom vilket olika tolkningsrepertoarer eller förklaringsmodeller om hur själva problemet med att bredda rekrytering till kulturskolan definieras. En förklaringsmodell kan exempelvis vara “Bristande förståelse för det svenska samhället”. Denna tolkningsrepertoar eller förklaringsmodell bygger på idén om att andra samhällen som elevernas föräldrar i synnerhet kanske inte har samma tilltro till och kunskap om hur samhälleliga institutioner, såsom kulturskolan, kan utgöra en resurs för enskilda individer som vill lära sig mer om instrumentspel exempelvis. En väg framåt utifrån denna förklaringsmodell betonar behovet av att skapa nätverk med lokala organisationer samt att skapa personliga varaktiga relationer till personer i området. Eftersom olika förklaringsmodeller presenterar olika lösningar på problemet som i sin tur blir olika genomförbara och kan vara konfliktfyllda i viss utsträckning. Att identifiera dessa olika dilemman och spänningar tror vi kan fördjupa samtalet om och förutsättningarna att mer gemensamt pröva olika sätt att jobba för att uppnå en kulturskola för alla.
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| 6. |
- Uddholm, Mats, 1955-
(författare)
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Om professionella aktörers musikpedagogiska definitionsmakt : En kulturhistorisk studie av samband mellan musikpedagogisk teori och definitionsmakt
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to illuminate which role theories of music education can have in the dialectic between discourse and competence in the practice of music pedagogy. The thesis stems from a problem-oriented project that resulted in the formulation of the following research question: how can the connection between music education theory and the power of definition be described and problematized from a cultural-historical perspective using Vygotsky's thesis of Semiotic Thinking? In his research on the dual function of language Vygotsky makes a distinction between the usage of concepts and conceptualization. In this study this distinction has been crucial to determining the relationship between music education theory and the power of definition as practised in music pedagogy. The research project comprised a background study and three sub-studies. The focus of the background-study was the conditions for musical learning and development in persons with severe cognitive dysfunctions. The first sub-study dealt with how social workers in this area of special education conceptualise their view of music in relation to their understanding of music activities in their own practice. The second sub-study aimed to explore which concepts music-therapists use in their meta-reflections on musical situations in this area of special education. The purpose of the third sub-study was to formulate a theoretical perspective on the relationship between music education theory and the power of definition using Vygotsky's hypothesis of semiotic thinking. The main conclusions are: first, that music education theory can be understood as a structural coupling between the power of definition that is embedded in music-pedagogical discourse as a whole, and the power of definition possessed by music pedagogues; second, that the development of the power of definition in the practice of music pedagogy is a creative process that in turn entails a critical questioning of music education theory.
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| 7. |
- Gullö, Jan-Olof, 1961-, et al.
(författare)
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A Progress Assessment Model for Music Students
- 2024
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Ingår i: AEC PJP 2024. - Bryssel.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- AEC Pop and Jazz Platform 2024 (Odense, Denmark) We have observed that many students enrolled in higher music education programs lack the necessary skills to work independently, which often leads to difficulties in completing larger artistic projects. Moreover, they face challenges in assessing their own work and making independent, high-quality artistic choices. The objective of this project is to assist struggling students, enhancing their abilities and confidence. Degree projects in Swedish higher music education include independent artistic music projects that are designed following the same guidelines as any other higher education courses. These courses have clearly defined learning outcomes, which are developed with extensive work to ensure that both students and teachers can easily comprehend them. It is also crucial for examiners to understand the intended learning outcomes and how they will be evaluated. Therefore, the learning outcomes must be carefully selected to ensure they are relevant, clear, examinable, and realistic. This means that the set of learning outcomes must be achievable for the students. Moreover, these outcomes should serve as a basis for the planning, follow-up, and quality assurance of teaching. Our project approach is designed to prioritise the needs of students and provide them with clear and specific learning outcomes that empower them to evaluate their own progress confidently. We have developed a4-step model for students to assess their progress in independent projects. The model highlights the importance of effective communication, practical knowledge application, critical reflection, and performance evaluation as essential skills for student success. While we focus on music production education in our study, these methods can also be applied to other subjects in higher education. In our presentation, we will discuss this model and its implications for students completing their degree projects. We would like to invite you to join us in this conversation.
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| 8. |
- Gullö, Jan-Olof, 1961-
(författare)
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Anteckningar från några dagar i St Petersburg
- 2020. - 1
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Ingår i: Mellan det hyperlokala och globala. - Huddinge : Södertörns högskola. - 9789188663962 - 9789188663979 ; , s. 169-175
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- Gunnar Nygren, Östersjöprofessor i journalistik vid Södertörns högskola, gick i februari 2020 i pension. Gunnar är en person som skapar engagemang kring viktiga frågor, driver på journalistisk förändring, och lyfter människor både i den akademiska världen och i mediebranschen. Ett signum för Gunnars forskning är attden uppmärksammar journalistikens samhällsroller på fleraolika nivåer, från det hyperlokala till det globala. I denna vänbok beskriver kollegor till Gunnar hur de på olika sätt inspirerats av detta engagemang för journalistikens utveckling. Bokens 21 kapitel är författade av kollegor inom olika delar av akademin, samt av verksamma journalister som Gunnar samverkat med genom åren. Kapitlen kretsar kring fyra teman: Mediepolitik och demokrati; Kris, medieskugga och möjligheter; Gunnar som inspiratör; och Framtidens journalister och fortbildning. Kapitelförfattarna belyser centrala frågor för medieutvecklingen, men också hur Gunnar‒ både som lärare och forskare ‒ har bidragit till en kritisk och konstruktiv diskussion om journalistikens roll i samhället.
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| 9. |
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| 10. |
- Leijonhufvud, Susanna, 1972-
(författare)
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Spotify som ”public service”
- 2020. - 1
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Ingår i: Explorativ bildning i strömmande medier. - Huddinge : Södertörns högskola. - 9789189109377 ; , s. 57-78
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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