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- Falthin, Annika
(författare)
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Musik som nav i skolredovisningar
- 2011
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Music as a hub in school presentationsThe aim of the study is to elucidate how making meaning is constituted when lower secondary pupils play music when giving accounts of other school subjects than music. The empirical material consists of four presenta- tions in the subjects of physics, religion and Swedish, which were filmed during ordinary lessons in a lower secondary school. In addition the data consists of nine filmed stimulated recall interviews with the pupils and their teachers, which were also filmed.Social semiotic multimodality constitutes the study’s theoretical and methodological point of departure. The perspective enables investigation of the pupils’ playing of music and music in its multimodal context, and of how different dimensions of meaning are constructed. The filmed presentations were transcribed into music scores in order to visualise the multimodal events of the presentations. Three different categories of meaning were used, ideational, interpersonal and textual meaning, to analyse how music relates to other modes of communication.The results show how the temporal functions of music serve as frame- work and motor, what the music narrates in relation to the subject content and what interpersonal relations the music communicates. The young peo- ple’s knowledge of music manifests itself in the different accounts as an ability to use and adapt musical knowledge to a context where another sub- ject than music is in focus. The presentations of Swedish are travesties of well-known songs and the pupils stick to the given form. In the other presen- tations the pupils themselves had compiled the music and the result was a form of musical works where the music does not follow any model or certain genre. The informants think that this working method implies that the work is experienced as meaningful both to themselves and to the audience.
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| 2. |
- Gullö, Jan-Olof, 1961-
(författare)
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Musikproduktion med föränderliga verktyg - en pedagogisk utmaning
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The Millennials, today’s pupils and students, is the first generation to grow up with tools for interactive communication and media production. Many students choose to study music production in higher education establishments. Therefore music production is an emerging subject and important research topic. The aim of this thesis is to develop knowledge of music production and to identify key skills necessary for music producers and music production teachers. Three sub-studies were performed to investigate what characterizes music production, both in an educational context and as a professional activity. In the first study, a Desktop Music Production project in a municipal music school was investigated. Observations and interviews were used as data collection methods. The results show that teachers need to be multi skilled to teach musicproduction. In addition to standard teaching skills they need to have extensive knowledge of music technology and relevant contemporary knowledge about trends in youth culture and popular music. In the second study students' views on important learning outcomes in music production were investigated. Questionnaires and group interviews were used to collect data. The results show that music production is a topic that includes various types of content. Issues regarding music, technology, music industry, personal development and employability were of central importance to the students. In the third study eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. Based on these results, a model for education in music production is presented. Music production also differs from traditional music education. In addition to traditional musical and pedagogic skills it requires technical competence from the teachers. Men dominate music production teaching, and the vast majority of professional music producers are also men. Technological developments are affecting young people's musical skills, and therefore it’s a challenge for music teachers to meet pupils and students who already have advanced knowledge of music production and are eager to learn more.
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| 5. |
- Holgersson, Per-Henrik, 1964-
(författare)
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Musikalisk kunskapsutveckling i högre musikutbildning : en kulturpsykologisk studie av musikerstudenters förhållningssätt i enskild instrumentalundervisning
- 2011
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward.
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| 6. |
- Leijonhufvud, Susanna, 1972-
(författare)
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Sångupplevelse - en klingade bekräftelse på min existens i världen : en fenomenologisk undersökning ur första-person-perspektiv
- 2011
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis treats the phenomenon of Singing Experience. Its purpose is to reveal the content that constitutes the phenomenon of singing from the singers’ point of view. Singing should be understood as a unique vocal expression carried by tones in a form that is sonorous, alive and fluid. The singing is in the context of singing with others. In order to perform a study that aims to reveal content within a phenomenon, the study uses a phenomenological approach from a first-person perspective, which is also my own perspective as the singer as well as the researcher. The interest in the field has arisen from the experience of singing with people who do not seem to notice that they sing out of tune. This has led to the thoughts that the phenomenon of singing includes different contents for different people in different situations. The phenomenological methods provide cogitations to stretch the particular situated momentary experience into the sphere of the possible experience. In the thesis the result of this eidetic study is described with its general essence a “musical vocal confirmation of my existence in the world” as well as a description of the constitution of the phenomenon of singing. The description of the phenomenon is a description of the essences of the lived-body, as well as the immanence of emotion and cogito. The description also includes the surrounding world, which harbours the dimension of the real as well as inter-subjective transcendence concerning time and space, humanity, music and the divine. All of the essences have shown to be essential essences of the experience of singing. This, however, is dependent on how the phenomenon of existence is regarded: to exist in a wide or a narrow sense, including or excluding the transcendent aspects of the phenomenon of singing.
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| 7. |
- Nyberg, Johan
(författare)
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Man kan aldrig kunna allt om musik - det känns verkligen stort : en pragmatisk studie om gymnasieungdomars begreppsliggörande av kunskap och lärande i musik
- 2011
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In my profession as a music teacher in upper secondary school, I have often encountered students who express a dichotomy between their association of music in everyday life and music in school. This display of conflict can for instance surface when it becomes obvious to them that working with and learning music may comprise more than performative or aesthetic aspects. The purpose of this research project is to investigate into how students in Swedish Upper secondary school’s music programme conceptualize and communicate musical knowledge and learning, by using pragmatist philo- sophy and narrative inquiry and analysis. The reason for this is my belief of the need for understanding each other when it comes to learning as well as teaching. This is what constitutes the basis of a democratic society, where every voice has the right to be heard and listened to, but in which this right needs to be made possible. It is also my belief that when this is made possib- le, making your voice heard also includes a responsibility on behalf of both speaker and listener. This qualitative study has been conducted in parallel with scientific studies at the National School of Research in Education (NFS) and is based on the participation of 29 students attending 4 different schools with National and Specially designed Upper secondary school music programmes. The method for gathering of data consisted of two steps, the first being a questionnaire with open questions answered by the students on their own, which were then analyzed and used as a basis forming a interview template. In the second stage focus group interviews were conducted. The empirical data has then been analyzed using narrative analysis, and the re- sults are presented in two steps, the first being a narrative representation in the form of a dialogue between two voices: a researcher and a student. In the second step this dialogue was analyzed further in comparison with the prag- matist key concepts of experience, action and meaning, and the notion of resistance as a prerequisite for learning. Overall, the results show that re- gardless of school, form and type of programme, none of the informants state that, during their years as students in school/music education, they have been asked to reflect upon these matters before, what they regard as musical knowledge and how to learn – something they do not express any greater concern about. Furthermore, the results show that the students participating in this research conceptualize musical knowledge as a three-part combina- tion of theory, practice and expression/emotion that cannot be fully separab- le; knowledge that is manifested through action and valued differently de-pending on surroundings – hence contextualized. According to the students, musical learning in school is also dependent upon action, and is made pos- sible through the will to practice and thereby develop innate abilities. In this, curricula and teacher(s’) experience(s) are seen as key factors, while musical learning outside school is regarded as less regulated. My hope is that by gi- ving room for the students´voices to be heard, this research may be of avail to school practitioners, educators and researchers. If learning of music on a deep level is made possible through inclusion of those who are seen as lear- ners, those who are seen as teachers – as well as those who have the power to shape educational prerequisites – need to address this issue, and start ma- king it possible for music students’ voices to be heard in music education. This because – in accordance with what Deweyean pragmatism asserts – it is crucial that the teacher is the one who through his or her professionality ta- kes responsibility for making a dialogue with the students possible, and through this will be able to teach, guide and form the education in accordan- ce and balance with students’ experiences, interests and the demands of mu- sicianship as well as curricula.
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| 8. |
- Paulander, Ann-Sofie, 1958-
(författare)
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Meningen med att gå i musikterapi : En fenomenologisk studie om deltagares upplevelser
- 2011
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations. The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward.
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| 9. |
- Påhlsson, Fredrik
(författare)
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Likvärdig bedömning i musik : lägesbeskrivning av arbete med likvärdig bedömning av musikaliska kunskaper i grundskolans obligatoriska musikkurs
- 2011
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- A major dilemma for music teachers in Sweden is that the educational system since 15 years dictates that local adaptations should be made, since all students shall be assessed equivalently. In this study I have examined what strategies music teachers have in the grading process, and specifically how they do to grade equivalently. Previous research shows that Swedish music teachers have difficulties when it comes to make use of regulatory documents. Working conditions for Swedish music teachers also often differ from other teacher groups (e.g. it is usually only one music teacher at a school) and therefore, and because of the fact that the area is largely unexplored, new knowledge and understanding is needed.The thesis consists of two parts: A web survey (quantitative and qualitative parts) and core questions in the survey (on how to grade equivalently in music). I emanate in my reasoning from a music teacher’s awareness but with an open approach. With socioculture influences and a critical approach I question the prevailing circum- stances. With the qualitative approach, I aim to get close to the material and identify music teachers' strategies for assessment in accordance with the requirements of national equivalence.More than 600 music teachers contributed to the survey, representing around 50% of all final grades that are written each year in Swedish compulsory school music. The outcomes show that during the last decade an ongoing professionalization has taken place among music teachers. The findings also include knowledge about how impor- tant note taking is for equivalence and the problems music teachers have with physi- cal conditions for the teaching (such as group sizes and instrumentation). Also the gut felling, as a cultural tool, is observed in a particular way in the assessment work. Last, the picture of “music teachers as their own curriculum” is suggested to be revised. Since music teachers need to adjust to local conditions, and now have a greater knowledge and experience in the mechanism of grading equivalently, it is suggested that music teachers are forced to be their own curriculum.
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