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Sökning: hsv:(SAMHÄLLSVETENSKAP) > Kungl. Musikhögskolan

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  • Ahlbeck, Bengt, 1934- (författare)
  • Musikdirektör Anders Sidner : Musikundervisning och musikliv i skolstaden Härnösand 1840-1870
  • 1998
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • The present study, together with my licentiate's dissertation, Music education and examination at the Royal Academy of Music during "the Pehr Frigel Era", 1796-1842, constitutes my doctoral dissertation. In the chapter Preludes, the relation between the two studies is accounted for.The study deals with Anders Sidner's work and career, and his influence on the teaching of music and music life in Härnösand. In my licentiate's dissertation I examined the music education and examination at the Royal Academy of Music during the first half of the nineteenth century. I pointed out, from a cultural-theoretical perspective, that the work of the Academy probably promoted cultural solidarity in a socially developing manner. Anders Sidner was one of around eighty graduates who were examined during this period. The aim of this study is to map out and critically examine Sidner's work and career in Härnösand, as well as to observe what effects his work has had.The structure of the study is mainly chronological. The understanding of Sidner's work, ideas and actions is based to a great extent on the knowledge of his personal situation and living conditions.Sidner's music studies, which were pursued parallel with his academic studies at Uppsala, are characterised by self-tuition, learning from friends and active participation in choirs and orchestras.After his academic studies at Uppsala and the graduation from the Royal Academy of Music, Sidner worked in Härnösand for twenty-eight years as a music teacher at grammar school and teacher training college. In both types of education, choir singing was an important part of the teaching. Sidner took the initiative in founding a musical society, and was its leader for a number of years. In the 1860s he initiated a collaboration between the musical society and a great number of the town's young male and female musicians. Sidner also engaged young female instrumentalists in the student orchestra. Both these initiatives can be considered unique.In relation to the town population, a remarkably great number of people attended the wide variety of musical events. The fact that the school's spacious music hall was used as a concert hall and that the music teacher as well as a number of other teachers were active in the local music life probably contributed to the active participation of many young people.The examination of Anders Sidner's teaching methods and his ideas on musical-aesthetic issues shows that his work was in line with the widely spread values of his time.My study indicates that Sidner's contribution to the teaching of music and music life in Härnösand promoted an increasing cultural solidarity. It is evident that his work also was to form part of a continuous process of secularisation. The music life in school was integrated with non-ecclesiastical activities to an ever increasing extent.
  • Appelgren, Alva, et al. (författare)
  • Tuning in on motivation : Differences between non-musicians, amateurs, and professional musicians
  • 2019
  • Ingår i: Psychology of Music. - 0305-7356. ; 47:6, s. 864-873
  • Tidskriftsartikel (refereegranskat)abstract
    • The drive to learn and engage in music varies among individuals. Global motivation to do something can be intrinsic, for example, the joy and satisfaction in an activity. But motivation behind our action can also be extrinsic, such as the desire for fame, status or increased financial resources. The type of motivation probably influences to what degree individuals engage in musical activities. In this study, we examined the associations between the level of musical engagement and self-rated global motivation, factoring in age and sex, in a sample of 5,435 individuals. Musical engagement ranged from no music activity to amateurs and professional musicians. We found that intrinsic motivation increases with level of music activity and that motivation differs depending on sex, with females scoring higher on intrinsic motivation than males. Such differences may be considered in adjusting the forms of support offered to young musicians in music education. The phenomenon of motivation is complex, and we have highlighted areas that require further investigation, but this study has elucidated some differences in motivation types found in men and women, and between non-musicians, amateurs and professional musicians.
  • Falthin, Annika (författare)
  • Meningserbjudanden och val en studie om musicerande i musikundervisning på högstadiet
  • 2015
  • Doktorsavhandling (övrigt vetenskapligt)abstract
    • AbstractAffordance and choice: performing music in lower secondary schoolThe purpose of this study is to elucidate affordances and meaning-making processes where students in Compulsory lower secondary education learn to play music together in music class. The data consists of a series of observed music lessons, performances and stimulated recall interviews in two 8th form classes, video recorded in the course of one term.The analysis focuses on students’ and their teacher’s musical interaction and sign making during music class. In order to explore multimodal aspects of sign making in teaching and learning, the study rests on a theoretical framework of social-semiotic multimodality and design theory of learning. Nine students, strategically selected, were observed more frequently than the rest. Excerpts of their singing and playing music on different occasions were transcribed into scores in which musical notation together with other graphic signs and written descriptions represent the events. The scores visualise mul- timodal aspects of musical interaction, which made a 'fine grained' analysis of meaning-making processes possible. Further, an analysis was made of how the students and their teacher expressed themselves about the playing and learning and how this related to their observed actions.The result reveals how the teacher’s physical and verbal communicative sign combinations and choice of repertoire conveyed several layers of mean- ing by means of instructions for playing and by references to different dis- courses and genres. During lessons the principle of recognition was present in all of the teacher's sign making but it might be expressed in different modes including expected actions that surprised, amused and helped students to link different musical parameters together. Through transmodal transla- tions of the teacher’s signs, students, linked short fragments of their parts together, and taking turns with the teacher, made longer musical lines. It was found that students’ activities and utterances indicated that a shared sense of meaning and acceptance took precedence over personal musical wishes and preferences.The study contributes to a close insight and understanding of how young people's meaning-making processes may be manifested in music 'teaching- and-learning' in heterogeneous classes, as well as of the significance of teachers’ sign-making in that process. The results of the study warrant a discussion of how musical learning is made possible and is restricted de- pending on how music teaching in schools is designed.Keywords: music teaching, musical interaction, meaning making, semiotic resources, re-design, transmodality, dialogue 
  • Falthin, Annika (författare)
  • Musik som nav i skolredovisningar
  • 2011
  • Licentiatavhandling (övrigt vetenskapligt)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.
  • Falthin, Peter (författare)
  • Goodbye Reason Hello Rhyme a study of meaning making and the concept development process in music composition
  • 2011
  • Licentiatavhandling (övrigt vetenskapligt)abstract
    • This thesis comprises two articles based on qualitative empirical studies and a theoretical introduction. All three texts deal with the same problem area concerning musical meaning making and the concept development process in the course of composition learning. Each text could be read separately. The composition tasks in the empirical studies are both in electroacoustic music but the research problems and findings concern a broader sense of composition learning and even musical learning in general. The corpus of music education research on composition, rarely takes the body of artistic research and development literature into account, which means that contem- porary techniques and aesthetic discussions commonplace in composition education practice are not considered in music education research. This the- sis contributes to the research field of music education by acknowledging some of the fundamental research on composition, and discussing it from an education perspective. As a consequence, a contribution salient in the arti- cles is to begin to develop research methodology accordingly. The introduc- tion takes on a quest to map out the field in a new way by bringing together research in music education with artistic research on composition, writings on music philosophy, semiotics and cognitive psychology. The boundaries and interplay between semantic significance and syntactic meaning are ex- amined and discussed, as is the relation between aesthetic meaning making and learning. The articles deal with these issues in the context of composi- tion learning at a music program in upper secondary school. The one entitled Synthetic Activity is about fundamental aspects of soundgeneration and hence directed towards semiotics in the form of phonology and significance in connection to musical gesture and spectral content. The learning and meaning making processes of two composition students are studied as they engage in additive synthesis to build sounds, musical phrases and eventually a short musical composition. One of the most striking results is that the pro- ject came to be as much a listening experience as one of creative music mak- ing, and that the concept development process included rehearing and reas- sessing familiar sounds and music. The article Creative Structures or Struc- tured Creativity deals with form and syntactic structure, as the students learn to develop and apply composition algorithms to further their creative think- ing. The results show that there are several different layers to the concept development processes in this project. One layer concerns to be able to struc-7ture musical parameters on an aggregate level; to learn to plan musical de- velopments as space of possibility rather than as a determined linear se- quence of musical events. Another layer comprises problems of learning the programming environment and how to embody the musical algorithms in working computer-code. A third layer concerns letting the algorithmically generated materials influence your creative thinking. Tokens of the concept development process as described by Vygotskij (1987, 1999) in language- based learning were prominent also in the music composition learning of these studies. Implications for further research include formalizing criteria for the developmental phases of the concept development process in musical contexts.
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