| 1. |
- Bojner Horwitz, Eva, et al.
(författare)
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Can Dance and Music Make the Transition to a Sustainable Society More Feasible?
- 2022
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Ingår i: Behavioral Sciences. - : MDPI AG. - 2076-328X. ; 12:1, s. 11-11
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Tidskriftsartikel (refereegranskat)abstract
- AbstractTransition to sustainability is a process that requires change on all levels of society from the physical to the psychological. This review takes an interdisciplinary view of the landscapes of research that contribute to the development of pro-social behaviors that align with sustainability goals, or what we call ‘inner sustainability’. Engaging in musical and dance activities can make people feel trust and connectedness, promote prosocial behavior within a group, and also reduce prejudices between groups. Sustained engagement in these art forms brings change in a matter of seconds (such as hormonal changes and associated stress relief), months (such as improved emotional wellbeing and learning outcomes), and decades (such as structural changes to the brains of musicians and dancers and superior skills in expressing and understanding emotion). In this review, we bridge the often-separate domains of the arts and sciences by presenting evidence that suggests music and dance promote self-awareness, learning, care for others and wellbeing at individual and group levels. In doing so, we argue that artistic practices have a key role to play in leading the transformations necessary for a sustainable society. We require a movement of action that provides dance and music within a constructive framework for stimulating social sustainability.
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| 2. |
- Appelgren, Alva, et al.
(författare)
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Tuning in on motivation : Differences between non-musicians, amateurs, and professional musicians
- 2019
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Ingår i: Psychology of Music. - : SAGE Publications. - 0305-7356 .- 1741-3087. ; 47:6, s. 864-873
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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.
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| 3. |
- Bojner Horwitz, Eva, et al.
(författare)
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Making space for singing in the 21st century classroom : A focus group interview study with primary school music teachers in Sweden
- 2023
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Ingår i: British Journal of Music Education. - : Cambridge University Press. - 0265-0517 .- 1469-2104. ; , s. 1-15
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Tidskriftsartikel (refereegranskat)abstract
- The present study aimed to increase understanding of how singing activities may be initiated in primary school, and what support and assistance teachers require to conduct singing activities as an integrated part of the school day. Five music teachers participated in a focus group interview. The following main themes were identified: 1) pedagogical and methodological flexibility, 2) the role of routines and familiarity, 3) the embodied and multimodal dimensions of singing, 4) the importance of accompaniment and instruments, 5) the experience of insecurity and obstacles and 6) the perceived synergies between singing and other learning activities. This knowledge may be important to integrate within music teacher education in order to secure singing’s place in schools.
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| 4. |
- Calissendorff, Maria, et al.
(författare)
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‘Listening is done by using all the senses’ a study of how dancers create, communicate and perceive a choreographed dance
- 2023
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Ingår i: Research in Dance Education. - : Taylor & Francis Group. - 1464-7893 .- 1470-1111. ; , s. 1-13
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Tidskriftsartikel (refereegranskat)abstract
- This article presents results from a project on dance and music with 16 dancers at different levels of experience who worked with a choreographer for an upcoming performance. The focus was on the participating dancers’ perceptions of how they, through improvisational models, created movement in small groups, communicated these dance sequences to each other and how they perceived these instructions. The research methods were observations and semi-structured interviews where categories emerged during the study process. The results showed that the strategies that the dancers used most considered visualisation, auditory, tactile/kinesthetic senses.
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| 5. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
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Spotify as a case of musical Bildung
- 2021
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Ingår i: Nordic Research in Music Education. - Oslo : Cappelen Damm AS. - 2703-8041. ; 2:1, s. 89-113
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Tidskriftsartikel (refereegranskat)abstract
- This article explores the meaning and function of streaming media as a potential facilitator of musical Bildung. Taking the affordances of streaming media technologies as a starting point, the article thus focuses on the formative and cultivating dimensions a music streaming service such as Spotify might offer. The specific aim of this article is to describe and analyse how musical Bildung may evolve within a Spotify context from a user perspective. To address the aim from the point of view of music education, Spotify users’ activities and experiences of streaming media interactions were accessed, inspired by internet-related ethnography. Stimulated recall interviews, focusing on the participants’ experiences as well as their actual use of Spotify’s streaming service, were conducted, recorded, and transcribed. The generated material was subjected to co-operative hermeneutic content analysis. The results illuminate how Bildung evolves in users’ encounters with the service and with art mediated via Spotify. Relevant topics occurring in the human-art-technology relationship of Bildung from a Heideggerian perspective were Being-possible, the ability-to-be, and Spotify as the Other. In sum, it can be stated that Bildung evolves when Spotify exceeds the thingness of the Other, becoming a work of art in itself, throwing the user into Being.
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| 6. |
- Frostenson Lööv, Cecilia Charlotta, et al.
(författare)
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Verktygsrelaterad flexibilitet som undervisningskompetens : En fallstudie av tre multiinstrumentala musiklärare
- 2021
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Ingår i: Educare. - : Malmo University Library. - 1653-1868 .- 2004-5190. ; :2, s. 182-206
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Tidskriftsartikel (refereegranskat)abstract
- In the current debate concerning the Swedish Schools of Music and Performing Arts (SMPAs) the concept of flexibility is frequently used. Here it mostly describes the necessity to take students’ requests and needs into account in teacher education and the institutions’ ability to adapt to changing demands for artistic activities among children and adolescents. In contrast to this view, this study examines flexibility as a central competency of the teaching profession and particularly in a curriculum-free environment such as the SMPAs. Resting on the assumption that teachers with a large toolkit have a certain advantage in practising flexibility, the study is based on interviews with three multi-instrumentalists, all of them experienced music teachers in SMPAs. The analysis suggests three forms of flexibility that are related to the teachers’ use of instrumental tools, each of them emerging in particular kinds of teaching activities: problem-solving flexibility in instrument-related counseling, method flexibility in ensemble leadership, and role flexibility in group music-making. The findings are discussed in relation to ideals of teacher specialization and versatility, and the notion of tool-based flexibility is distinguished from improvisation as a teaching skill.
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| 7. |
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| 8. |
- Horwitz, Eva Bojner, et al.
(författare)
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Embodied learning via a knowledge concert: An exploratory intervention study
- 2021
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Ingår i: Nordic Journal of Arts, Culture and Health. - Oslo : Scandinavian University Press / Universitetsforlaget AS. - 2535-7913. ; 3:01-02, s. 34-47
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Tidskriftsartikel (refereegranskat)abstract
- Background: Music listening can improve acquisition of new knowledge.Purpose: The purpose of the study was to evaluate the emotional and cognitive effects of a knowledge concerton the attending audience.Methodology: The audience was asked to complete a Visual Analogue Scale (10 cm) before and after listening to the concert, along five variables: Arousal, Degree of happiness, Degree of worry, Daily worries and Benevolence. Follow-up qualitative interviews gathered narratives from the participants.Findings: 228 concert attendees took part in the study by completing the questionnaires (51 percent of the whole audience). Statistically significant changes were observed in the outcome measures for: Arousal (p=0.002), Daily worries (p<0.001) and Degree of happiness (p=0.01). Degree of worry interacted with age (p<0.001). No changes were found for Benevolence (p=0.93). Gender and previous music experiences did not make a difference to feelings evoked by the music. Age, however, was important since younger participants became more worried by the concert than older.Originality: We discuss the potential role of future knowledge concerts that comprise qualities explored, such as mitigating a variety of embodied psychological capacities, including reflection and agency in audiences, facilitating learning about sensitive issues, and potentially also transformation towards prosocial mindsets and behavior.
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| 9. |
- Huovinen, Erkki, et al.
(författare)
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Early attraction in temporally controlled sight reading of music
- 2018
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Ingår i: Journal of Eye Movement Research. - : University of Bern. - 1995-8692. ; :2, s. 1-30
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Tidskriftsartikel (refereegranskat)abstract
- A music reader has to “look ahead” from the notes currently being played—this has usually been called the Eye-Hand Span. Given the restrictions on processing time due to tempo and meter, the Early Attraction Hypothesis suggests that sight readers are likely to locally in- crease the span of looking ahead in the face of complex upcoming symbols (or symbol re- lationships). We argue that such stimulus-driven effects on looking ahead are best studied using a measure of Eye-Time Span (ETS) which redefines looking ahead as the metrical distance between the position of a fixation in the score and another position that corresponds to the point of metrical time at fixation onset. In two experiments of temporally controlled sight reading, musicians read simple stepwise melodies that were interspersed with larger intervallic skips, supposed to create points of higher melodic complexity (and visual sali- ence) at the notes following the skips. The results support both Early Attraction (lengthening of looking ahead) and Distant Attraction (lengthening of incoming saccades) in the face of relative melodic complexity. Notably, such effects also occurred on the notes preceding the nominally complex ones. The results suggest that saccadic control in music reading depends on temporal restrictions as well as on local variations in stimulus complexity.
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| 10. |
- Huovinen, Erkki, et al.
(författare)
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Eye movements in sight singing: A study with experts.
- 2021
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Ingår i: Psychomusicology. - : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 31:3-4, s. 134-148
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Tidskriftsartikel (refereegranskat)abstract
- In comparison with instrumental sight reading of musical notation, sight singing is typically characterized by the presence of lyrics. The purpose of this study was to explore how skilled sight singers divide their visual attention between written music and lyrics and how their eye-movement behavior is influenced by musical stimulus complexity. Fourteen competent musicians performed 10 newly composed songs in a restricted temporal condition (60 bpm). Eye movements and vocal performances were recorded and complemented with posttask complexity ratings and interviews. In the interviews, the singers emphasized the priority of focusing on the melody instead of the lyrics. Accordingly, eye-movement analyses indicated not only more total fixation time on music than lyrics but also longer fixation durations, longer durations of visits (i.e., sequences of fixations), and a larger number of fixations per visit on music than on lyrics. The singers also more typically arrived at a bar by glancing first at the music instead of lyrics. Generalized linear mixed-model analyses showed that the number of notes and accidentals in a bar influenced the fixation time and that pupil dilation was increased by a larger number of accidentals. Measurements of eye–voice span, that is, the temporal distance between fixating and singing a note, were best predicted by phrase structure and the note density of previous melodic material. According to the interviews, the best sight singers’ approaches were characterized by a flexibility of moving between different sight-singing strategies. The study offers a comprehensive overview regarding the bottom-up and top-down aspects affecting sight-singing performance.
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