| 1. |
- Sæther, Eva, et al.
(författare)
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The art(s) of getting lost : Halting places for culturally responsive research methods
- 2021
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Ingår i: The Politics of Diversity in Music Education. - 2214-0069 .- 1573-4528. - 9783030656164 - 9783030656195 - 9783030656171 ; , s. 15-27
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Bokkapitel (refereegranskat)abstract
- This chapter revisits the ideas of radical empiricism and sensuous scholarship, embedded in current music education research. Focusing on the development of methodological implications of cultural responsiveness and arts-based research methods, the chapter argues for epistemic openness. The discussion is located within the author’s own experiences of course development for Swedish music teacher students in Gambia, field studies in multicultural classrooms in Sweden, and research design that includes the fiddle, opening up for music to ask the questions. Borrowing from anthropological research the concepts of radical empiricism and sensuous scholarship, music education researchers might find useful tools to approach project planning, to perform the analysis of the material and to communicate the results in culturally responsive forms that inform both research and praxis. By studying music transmission with culturally sensitive research methods, this chapter suggests possibilities to do more than observing and reporting. There is a possibility to engage with different knowledge systems and politics, in all types of retrieved material – and to generate inclusive knowledge building.
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| 2. |
- Bergman, Åsa, 1972, et al.
(författare)
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Struggling for integration : universalist and separatist discourses within El Sistema Sweden
- 2016
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Ingår i: Music Education Research. - : Informa UK Limited. - 1461-3808 .- 1469-9893. ; 18:4, s. 364-375
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Tidskriftsartikel (refereegranskat)abstract
- This article focuses on the El Sistema programme, which started up in Sweden in 2010 with the objective to deal with segregation problems typical for Swedish urban areas. The purpose of the article is to examine how promoting integration through music and music education is constructed within El Sistema as a way to help children growing up in multi-ethnic suburbs participate in Swedish society. The empirical material used derives from two different ethnographic research studies conducted in Gothenburg and Malmö. The results show that integration is constructed through two antagonistic discourses competing for hegemony. In the first, the idea of integration is based on a rhetoric of similarities between people playing music together, a rhetoric drawing on the modernist idea of humans as universal and alike. In the second, integration is articulated through a rhetoric of differences related to cultural affiliation.
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| 3. |
- Houmann, Anna, et al.
(författare)
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The reinvented music teacher - researcher in the making : Conducting educational development through intercultural collaboration
- 2019. - 1
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Ingår i: Visions for Intercultural Music Teacher Education. - 1573-4528. - 9783030210281 ; 26:1, s. 101-101
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Bokkapitel (refereegranskat)abstract
- Music educators working in cross-cultural contexts are faced with both challenges and possibilities, often finding themselves in need of multidimensional re-invention. This chapter focuses on teacher-researchers, contextualising them within the frame of institutional change and intercultural music teacher education. Taking an active role in educational development and regenerating usual patterns of action in music-education institutions sets various challenges as well as opportunities for the teacher-researchers involved. In this chapter we reflect on experiences through two intercultural collaborations: (1) Global Visions Through Mobilizing Networks: Co-Developing Intercultural Music Teacher Education in Finland, Israel and Nepal (a research sub-project in Nepal), and (2) A collaboration between Malmö Academy of Music and Vietnam National Academy of Music under a project Supporting Vietnamese Culture for Sustainable Development. We reflect on these processes through core concepts of affective actions and micropolitics. Our aim is to contribute to knowledge building in the field of sustainable institutional change aiming for globally appropriate music teacher education.
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| 4. |
- Houmann, Anna, et al.
(författare)
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Tid att gå - tre takter och en paus på gång
- 2017
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Ingår i: Göran Folkestad: The soundtrack of your life : Festschrift till Göran Folkestad - Festschrift till Göran Folkestad. ; , s. 38-40
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Bokkapitel (refereegranskat)
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| 5. |
- Kuuse, Anna-Karin, 1962-
(författare)
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”Liksom ett annat uppdrag” : iscensättning av social rättvisa i musikundervisningens retorik och praktik
- 2018
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to identify, describe, and problematize constructions of social justice in Swedish music education. The thesis has an ethnographic design, and presents four empirical studies. The studies, in the shape of four scientific articles, emblematise musical practices in community schools of music and art, as well as in elementary schools. The conceptual framework of the concept of social justice precipitates a focus on the prime object of study, El Sistema. Music education as organised by El Sistema explicitly communicates social aims, and the programme operates in both Swedish community schools of music and art, and in elementary schools. All together, the empirical data consist of marketing material (films and written documents), observational field-notes and sound recordings from one semester’s fieldwork in a children’s music educational group (ages 7-9), as well as sound-recorded focus group interviews with music teachers from both community schools of music and art and elementary schools. Article I shows how different conceptions of music, children, emotions, and social transformation are constructed to legitimate El Sistema in the Swedish community schools of music and art. Here, the objects of study are films and written texts published on El Sistema’s Swedish website. Article II elaborates how musical agency is performed by participating children in relation to conceptions of music education and social justice constructed in the educational practice. Articles III and IV elaborate teachers’ negotiations and constructions of teacher roles and the educational task in relation to conceptions of social justice. Within a comprehensive social constructionist perspective, participants’ opportunities for action and negotiation, in practice, are perceived as determined by societal, institutional and local preconditions, and by overarching and established conceptions that are typical for certain eras. With this theoretical point of departure, both local and societal conceptions of the musical subject, its objectives, means, and aims, as well as conceptions about accessibility, equality, democracy and social justice, are constantly negotiated. Thus, apparently natural and established ideas can be problematized. Based on all studies’ results, relations between established conceptions, structural preconditions, and social relations are scrutinised from the way they influence performances of the music educational practice. The final discussion encompasses consequences for teachers’ ability to reflect, as well as children’s and young peoples’ meaning making through musical actions. The thesis’ critical perspective aims at evoking new questions, and generating new knowledge concerning the preconditions and the content of institutionally financed music education.
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| 6. |
- Lindgren, Monica, 1958, et al.
(författare)
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El Sistema in Sweden - a radical music education program?
- 2014
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Ingår i: Abstracts senior researchers, NNMPF 2014. ; 2014
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- This paper is based on two ongoing ethnographical studies of El Sistema in Gothenburg and Malmö. The music education programme El Sistema developed in Venezuela in the 1970s and was founded in Sweden in 2010. It developed in Gothenburg as a collaboration between the Community School of Music and Art in the suburban district Hammarkullen in Gothenburg and the Gothenburg Symphony Orchestra (GSO). Today El Sistema is spread all over Sweden. El Sistema started in Malmö 2013/2014 at two schools in multicultural Holma and Kroksbäck districts. Here the activity is not a project, but a part of the regular activities at the municipal music school (Kulturskolan i Malmö). This permanent solution is a result of political priorities and earmarked resources. The objective of El Sistema is to use music as a vehicle for individual and social development and to serve as an intercultural meeting place where children growing up in all kinds of neighbourhoods, from different socio-economic conditions, and with different ethnic backgrounds can develop personally, socially, and musically. However, focusing on social development does not mean that musical quality is seen as unimportant. Instead, high musical quality is seen as being created through strong social cohesion. There is also a belief that hard and goal-oriented work among the children is necessary if they are to reach their full potential as musicians. The empirical material, gathered during 2011–2013, includes official documents, interviews with participants and observations of music lessons and concerts in Gothenburg and Malmö. Three different perspectives are going to be discussed during this presentation: (1) El Sistema as music education research project - why? (2) The ethnographical method (3) results and preliminary results from 3 different partial studies focusing ideology/legitimization, music and democracy and teachers/children/identity.
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| 7. |
- Lonnert, Lia, 1966-
(författare)
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Surrounded by Sound : Experienced Orchestral Harpists’ Professional Knowledge and Learning
- 2015
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Orchestral playing is a central practice within Western European classical music. Previous research in the field of orchestral musicians’ learning and knowledge has mainly focused on students’ learning orchestral playing. Working conditions and work-related problems were also emphasized in previous studies. This thesis, however, focuses on professional orchestral musicians’ knowledge and learning. The method to investigate these issues was to let musicians verbally describe their professional experiences and orchestral practice. Interviews with a low degree of structure were conducted with four orchestral harpists from renowned orchestras. In the analysis and interpretation a hermeneutical approach was used. This approach also offered guidelines for considering the researcher’s role and pre-understanding. The findings showed that skilled musicians developed their knowledge throughout their careers. Knowledge of orchestral playing was contextually based, and based on experience. All skills used by the musicians when playing in an orchestra had to be contextually adapted. A main finding was how musicians were able to create, by their knowledge, a space for musical freedom and personal interpretation when playing in the orchestra. There were also knowledge issues that always had to be maintained and others that constantly had to be developed within practice. In conclusion, there are major contradictions that are important elements of the profession of orchestral musicians. The musicians should have a personal musical expression as well as a highly developed ensemble skill. They should focus on the extreme detail and the totality of the performed musical piece at the same time. They have to be able to express themselves musically within a restricted framework. This framework, and the interspace between the frames, can be negotiated by knowledge, skills and the choices of the musician.
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| 8. |
- Mars, Annette, et al.
(författare)
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Musical learning in a cross-cultural setting: a case study of Gambian and Swedish adolescents in interaction
- 2015
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Ingår i: Music Education Research. - : Informa UK Limited. - 1469-9893 .- 1461-3808. ; 17:3, s. 296-311
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Tidskriftsartikel (refereegranskat)abstract
- This article presents a study investigating how adolescents from Sweden and the Gambia learned music while interacting with each other in a concert project conducted in the Gambia. The main aim is to explore in what ways adolescents acquire music and to analyse it in a context of cultural identity. A sociocultural and ethnomusicological approach was employed, drawing on field studies and interviews with the adolescents. The results demonstrate that the students' musical and cultural backgrounds strongly influence the ways in which they learn and how they teach others. Their cultural backgrounds also affect their choice of tools for learning and teaching. The adolescents appear to be more inclined to change their ways of teaching others than to change the methods of their own musical learning. The results suggest that teachers ought not to always use the same methods in teaching their students as they experienced when learning themselves, and that teachers need an ability to identify the learning styles of their students and to create a learning environment that corresponds to this variety.
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