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- Georgii-Hemming, Eva, 1960-, et al.
(author)
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Reflection in Higher Music Education : What, Why, Wherefore?
- 2020
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In: Music Education Research. - : Routledge. - 1461-3808 .- 1469-9893. ; 22:3, s. 245-256
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Journal article (peer-reviewed)abstract
- Reflective practice is seen as a method for professional growth and lasting learning outcomes, but what this means in the context of Higher Music Education (HME) has not received sufficient attention. This paper explores how reflection is ontologised and justified as part of performing musicians' education. The data utilised derive from a comprehensive project investigating how processes of academisation affect HME across Europe. Findings from the Swedish sub-study, comprised of fourteen leaders and teachers at four academies of music, demonstrate how reflection is discursively constructed; as based on language and cognition; as embodied, and as 'purely' musical. These ideas concerning the qualities and characteristics of reflection interact and provide basis for three forms of justification: reflection for artistic knowledge development; reflection for individual success in the profession; and reflection over the role of musicianship in relation to society.
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| 2. |
- Johansson, Karin, 1962-, et al.
(author)
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Processes of academisation in higher music education : the case of Sweden
- 2021
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In: British Journal of Music Education. - : Cambridge University Press. - 0265-0517 .- 1469-2104. ; 38:2, s. 173-186
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Journal article (peer-reviewed)abstract
- Higher music education (HME) in Europe is multifaceted due to the great variety of legal frameworks, conservatory histories and practices. However, following the Bologna declaration in 1999, traditional conservatories are gradually transforming into research-based institutions, which means combining advanced performer training with artistic research. After a background on academisation in the higher education of classical, professional musicians, this article reports on a Swedish case study of meanings assigned to academisation in HME. Findings show that it is defined and justified as a quality development project, which requires adaptation and also gives opportunities for further development. Issues of agency in HME are discussed.
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| 4. |
- Angelo, Elin, 1975-, et al.
(author)
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Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies
- 2019
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In: Journal for Reserach in Arts and Sports Education. - Oslo, Norway : Cappelen Damm Akademisk. - 2535-2857. ; 3:1, s. 78-100
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Journal article (peer-reviewed)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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| 5. |
- Angelo, Elin, 1975-, et al.
(author)
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Profesjonsforståelse : en innfallsvinkel til å profesjonalisere det musikkpedagogiske yrkesfeltet
- 2014
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In: Nordisk musikkpedagogisk forskning. - Oslo : Norges musikkhøg̜skole. - 1504-5021. ; 15
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Journal article (peer-reviewed)abstract
- Music-pedagogical philosophy – An approach to professionalize the field of music educationA carefully considered music-pedagogical philosophy is necessary to develop professional knowledge for the individual music teacher, as well as for music-pedagogical communities and for the music teacher profession as a whole. In this article we elaborate on individuals’ music pedagogical philosophies (no: profesjonsforståelser) as a fruitful approach to articulate and discuss leading ideals and norms for quality within the field of music education. We argue that the professions “body of knowledge” is invisible and irreproachable, and that it is crucial to articulate, clarify and discuss the professional knowledge, expertise and mandate that is held within this vocational field. This article is informed by professional literature and research in music education, and focuses the aspects jurisdiction, certification and authorization, as well as power, identity and knowledge. In conclusion we argue that music pedagogical philosophy should be a focused part of music teacher education, in order to professionalize the field and qualify the discussions about quality, both inside and around the field of music education.
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| 6. |
- de Boise, Sam, 1985-, et al.
(author)
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Power Relations in Music Society : the Elite and the Underprivileged
- 2024
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Conference paper (peer-reviewed)abstract
- Music spaces, from conservatories to recording studios, have proven themselves unequal and exclusionary. To investigate how power relations condition present-day musical life, the research environment in musicology at Örebro university has been awarded funding for the three-year research program Music, Power, and Inequity (MPI).The aim of this paper is two-fold. To contextualize our studies, we will initially give a brief presentation of the research program MPI. With the specific aim of discussing power relations in music society, we will secondly introduce two studies in their initial phase. Both studies investigate inequalities and hierarchies affecting the underprivileged in musical life, focusing on issues with regards to the music elite and freelance musicians' working lives.The studies' methodologies build on a mixed-method approach. They map socio-economic characteristics of (i) freelance musicians, and (ii) people in power within central music organizations, conduct interviews focusing on musicians' life stories from a feminist intersectional perspective, and perform critical discourse analysis and multimodal analyses of home pages and official social media accounts.Together, the projects contribute a crucial critical analysis of the constitution of the elite in musical life, clarifying the consequences of social distinctions as well as discussing what is required in terms of risk, support, and various forms of social, cultural, and economic background to lead a sustainable working life in music.
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| 7. |
- Dobre Billström, Rebecca, 1983-
(author)
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Feminist musical engagements : The struggle against gender inequalities in music-making practices
- 2022
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Doctoral thesis (other academic/artistic)abstract
- The debate around gender equality and feminist concerns in relation to musical life are increasingly part of Swedish public discourse. Attention directed to structural gender inequalities in various music scenes by feminist associations, governmental intervention in these issues, and the recent #metoo-protests against sexual harassment and violence in the music industries, are all part of this. Based on interviews with musicians engaging in affecting change, who start out from a gendered perspective, this thesis explores the feminist political potential of both music-making and organisational work to combat inequalities in relation to music, and focuses on several features of such an engagement: the negotiating character of relating to gendering categories as part of feminist attempts to transform music; the relation between power structures and musical performance by discussing embodied practices and musical material concerned with feminist social commentary and what these do politically; and feminist approaches to practice beyond notions of gender equality as representation. The theoretical concept of affective dissonance is used to shed light on musicians’ self-reflective negotiations with social power structures and how these negotiations produce a specific potential for collective feminist action and solidarity within and across music environments. The musicians interviewed are active in various music scenes, from opera, jazz and blues, visa, new music composition and sound art to dansband, rap and folk music and they all engage in different ways with both notions and practices of gender-related and feminist transformation in music-making. This thesis examines the interrelated aspects of such an engagement, of individual experiences of sexism, gender power dynamics and social-professional relationships, musical performance and material, and collective feminist ambitions and capacity in music practice.
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| 8. |
- Georgii-Hemming, Eva, 1960-
(author)
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“A world of pluralism and diversity”… What? : Perspectives on diversity and uniformity, heterogeneity and homogeneity – and the question of content in general music education
- 2013
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Conference paper (peer-reviewed)abstract
- It has been proclaimed that we live in an era of pluralism and diversity. It’s quite common to speak about the basis of comprehensive approaches and forms of understanding of life's diversity being on the wane. Different values are set free from hierarchical conceptual models. Many stories about the world are said to be existing side by side. In many ways this is a reasonable description of the times we are living in.At the same time we find some quite opposite tendencies in our societies – tendencies to uniformity, sameness and homogeneity – or worse: simplicity and naivity – or even worse: a sweet innocence (sancta simplicitas) – regarding understanding and thinking about life, society and culture. We face a rise in fundamentalist thought – may be as a consequence of disorientation and a feeling of uncertainty in an era of rapid changes and increasing diversity. We can observe a kind of technical and economical rationality putting its clammy hand over more and more areas of life. This affects a lot of thinking in a number of fields, including education, art, science, health, children, sports and nature.In this panel, this tendency of uniformity and homogeneity of ideas – within in a culture of proclaimed diversity and heterogeneity – is addressed and discussed from different angles. Starting with some very broad perspectives on technical rationality, the discussion is ending up focusing ideas of content in general music education as well as in music teacher education. The participants in this panel are renowned researchers and music education philosophers that will present ideas connecting to current discussions in Scandinavian countries as well as in Germany in which they all take part. Viewed from an international perspective these critical reflections are not unique. Thus, when the questions on diversity and plurality in music education are discussed, it has the prospective to be of interest to international music education philosophy.
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| 9. |
- Georgii-Hemming, Eva, 1960-
(author)
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Akademisering av högre musikerutbildning : En navigering mellan autonomi och anpassning
- 2021
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Conference paper (peer-reviewed)abstract
- Akademiseringen spelar en central roll i professionaliseringen av skilda yrkesområden (Dellgran & Höjer 2017). Övergången från praktikbaserad till forskningsbaserad högskoleutbildning har uppmärksammats inom exempelvis vård, utbildning, socialt arbete och journalistik (Laiho 2010; Borg 2007; Soydan 2001; Bromley 2013), medan studier om akademisering av musikerutbildningar hittills har förbisetts (Georgii-Hemming et al. 2016; Nerland & Jensen 2014; Moberg 2018). Utbildningen av professionella, klassiska musiker vid högskolor och konservatorier i Europa har traditionellt vilat på konstnärligt hantverk och skapande samt föreställningen om konstens autonomi; med ett samhällsmandat förhållandevis fritt från relevanstänkande och instrumentell nytta. I spåren av Bolognadeklarationen 1999 följde ett politiskt projekt att etablera en forskningsbaserad musikerutbildning (Gies et al. 2019). Förväntningarna på utveckling av forskning inom ramen för en konstnärlig praktik skapade däremot kontroverser och motsättningar inom utbildning och profession. Parallellt har samhällets musikliv och marknad förändrats (Gaunt 2016). Musikeryrket erbjuder idag få chanser till fasta anställningar och klassiska musikers samhällsmandat är inte längre givet, men den högre utbildningens krav på anställningsbarhet finns kvar. En komplex väv av frågor uppstår: konstnärlig praktik kontra (vetenskaplig) forskning; samhällsrelevans kontra konstens autonomi. Utgångspunkten för detta papper är resultat från det RJ-finansierade projektet Discourses of Academization and the Music Profession (DAPHME, 2016–2020), vars övergripande syfte har varit att undersöka hur processer av akademisering påverkar musikerutbildningar i Europa. Empirin baseras på officiella dokument samt intervjuer med 36 institutionsledare och lärare i Sverige, Norge och Tyskland. För att analysera vilka föreställningar om musikeryrket, kompetens och forskning som förhandlas och omförhandlas, har vi kombinerat diskursanalys (Wodak & Meyer 2016) med professionsteorier. Analyserna har utförts mot bakgrund av olika traditioner, värderingar och institutioner för att på så sätt kunna jämföra motsättningar, likheter och skillnader på institutionell, nationell och internationell nivå. Pappret lyfter fram på tre viktiga resultat som rör utbildningens och forskningens funktion samt musikerns funktion i samhället. Hållningarna legitimeras genom instrumentell rationalisering kopplad till marknadens krav, snarare än till musiker som en profession med expertis, kunskaps- och samhällsmandat. Vad gäller forskning är skillnaderna mellan länderna stora. Konstnärlig forskning framställs som etablerat i Sverige, men det finns spänningar mellan olika idéer om vad som utgör valid kunskap, vilka bäst sammanfattas som ”förhandlad konsensus”. Häri ligger en diskursiv begränsning; det är inte längre politiskt korrekt att öppet kritisera förändringen. Sammanfattningsvis kan de övergripande resultaten beskrivas som en navigering mellan konstnärlig och vetenskaplig autonomi; mellan anpassning till högskolesystem och marknad.
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