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- Holmberg, Kristina
(författare)
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Discourse Analysis — A Critical or Relativistic Perspective in Music Education?
- 2007
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Ingår i: Nordic Network for Research in Music Education (NNMPF). - Lund : Nordiska Nätverket för Musikpedagogisk Forskning. ; , s. 1-4
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Konferensbidrag (refereegranskat)abstract
- The purpose of this paper is to discuss the problems I have encountered under the development of the theoretical perspective of my thesis. First, discourse analysis is founded in social constructionism and post-structuralistic theory. Second, discourse analysis is a concept including different perspectives, where both more critical approaches with focus on discourses as determining and more relativistic approaches with focus on the actor and language appear. With the critical approach there is an epistemological possibility, a claim of knowledge. That would be unacceptable in relativistic discourse analysis where pluralism is a keyword and every stake is equal. Does a relativistic study add anything of value or is a critical approach most fruitful? I find it interesting to discuss consequences for a study from both a critical and a relativistic perspective. Furthermore, it is challenging to try to merge the two approaches.
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| 2. |
- Holmberg, Kristina
(författare)
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Grund, uppbyggnad och verktyg – diskurspsykologi som analysredskap i musikpedagogisk forskning
- 2008
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Ingår i: Nordisk musikkpedagogisk forskning. - Oslo : Norges musikkhøgskole. - 1504-5021. ; 10, s. 113-134
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Tidskriftsartikel (refereegranskat)abstract
- Fundament, construction and tools – discursive psychology at work in music education This article addresses how discursive psychology can be used in the discipline of music education. Engaging examples from the field are chosen to provide an introduction to the analysing tools in discursive psychology. Empirical data consist, amongst others, of interviews with students and teachers in Swedish music- and culture schools, and of video observation of choir rehearsal. These provide enlightening examples of how fact construction is built up or undermined in descriptions and also how accounts are involved in action, all considering the rhetorical construction in everyday social inter- action. Some of the tools illustrated are “category entitlement”, “stake inoculation”, “footing”, “out-there-ness”, “active voicing” and “ontological manipulation”. The article also highlights the importance of the theoretical framework, the fundament that is tightly bound up with the perspective of discursive psychology. Here a brief description is made, considering the social world, knowledge and the person as socially constructed, as well as an idea of language as the focus and topic of investigation. – In particular this text intends to give a brief overview of the discursive psychological approach and serve as an introduction to the field.
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| 3. |
- Holmberg, Kristina
(författare)
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Musik- och kulturskolan i senmoderniteten : reservat eller marknad?
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis focuses on the education at Swedish community school of music and art. The aim of the study is to investigate how teachers at those schools talk about their own activities, and thereby also to explore, describe and analyse how the teaching is manifested. In the study 27 teachers from six different community schools of music and art participated. All together about 10 hours of group conversation were recorded and subsequently transcribed in to text for further analysis. In line with the theoretical approach of the thesis naturally occurring talk was strived for. The study uses two discourse analytical perspectives, both founded in social construction- ism and post-structuralistic theory. Discursive psychology, influenced by ethnomethodology and conversation analysis in the field of social psychology, and discourse theory, inspired by the work of Foucault. The combination of the approaches is considered as more productive than a one-sided use of one or the other. In order to create options for discussing the conditions society offers on the basis of the macro-discourses generated by the data, theories of modernity has been chosen as a relevant approach. The results are divided into four areas; Change (Förändringen), Future (Framtiden), Frustration (Frustrationen) and Freedom (Friheten), all describing distinctions between systems of difference. Each area is extensively analysed. In the discussion the changed conditions in the teachers work at the schools of music and art are discussed in relation to the tendencies of late modernity. The teachers in the present study are experiencing a loss of influence concerning teaching and are explaining this in terms of an in- creasing demand for participation from the students. At the same time, the changed students are seen as responsible for the changes in the lesson contents. The changed condition in society consequently illuminates what has happened at the schools of music and art. Both teachers and students are by cause of the cultural liberation more free as the norms of the traditional have lost most of its power. This gives consequences for the students, who more actively seek influence according to the music of the lessons. On behalf of the teachers one consequence can be seen in their increasing openness to new ideas and in a higher wish to manage a pleasant teaching for their students. In conclusion, as long as traditions were able to guide the contents of the activities and the students adjusted to it, there was no need for greater clarity. However, in late modernity, when ideas that were once obvious are getting questioned, things come to another situation. A scenario for the future without control documents, would, according to this study, lead to an abandoning of the ambition, and the schools of music and art would transfer into an amusement park for the ”ego children”. But with an increasing distinctness on the mission, it is my conviction that the cultural heritage will also be better able to survive in late modernity. There is no doubt that community schools of music and art have capacity to carry on a market adapted activity and at the same time to mediate a tradition.
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