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- Backman Bister, Anna, 1976-, et al.
(author)
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Uppfattningar om musikundervisningen i grundsärskolan.
- 2022
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In: Lärarnas forskningskonferens 2022. ; , s. 41-42
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Conference paper (peer-reviewed)abstract
- Uppfattningar om musikundervisningen i grundsärskolanAnna Backman Bister, Kungliga musikhögskolan, Diana Berthén, Stockholms universitet och Viveca Lindberg, Stockholms universitetBakgrund, syfte och frågeställningar: I vårt bidrag presenterar vi en intervjustudie med sex musiklärare i grundsärskolan. Syftet är att undersöka hur lärarna beskriver sin undervisning för denna elevgrupp.Vikten av undervisning där elever med intellektuell funktionsnedsättning (IF) får möta estetiska uttrycksmedel och ges möjlighet att erövra ett kulturellt medborgarskap betonas av flera forskare (jfr Ferm Almqvist, 2016; Sæther, 2008). FN:s barnkonvention om barnets rättigheter, samt FN:s konvention om rättigheter för personer med funktionsnedsättning, betonar att personer med IF har rätt att ta plats som fullvärdiga medlemmar av samhället, inte bara för sin egen skull utan också för att berika samhället. Denna rättighet speglas också i skollagen.Det finns ett fåtal internationella studier med fokus på musikundervisning för elever med intellektuella funktionsnedsättningar (IF). Dessa har antingen undersökt undervisning i integrerade klasser, där elever med IF undervisas tillsammans med elever utan IF, eller så är studierna gjorda i relation till musikterapi. Flera av dem är fallstudier baserade på enskilda barn eller ungdomar. Nationellt saknas såväl studier som utvärderingar av musikundervisning i grundsärskolan (Berthén, Backman Bister, Lindberg, accepterad för publikation). Resultatet av vår forskningsöversikt av musikundervisning i grundsärskolan (Berthén, Backman Bister, Lindberg, accepterad för publikation) visar närmast att musiklärarna försöker hantera en situation de oftast saknar kunskaper om och erfarenheter av (Berthén, Backman Bister, Lindberg, accepterad för publikation).Forskningsfrågan för vårt bidrag är vilka uppfattningar musiklärare i Sverige har av musikundervisningen för elever med intellektuell funktionsnedsättning och förutsättningarna för denna undervisning i grundsärskolan? Vi har inspirerats av Carlson (2013), som använder uttrycket musical becoming för att betona möjligheten att få uttrycka sig musikaliskt, särskilt för personer med komplicerad språklig kommunikation, och för att påvisa att det kan ta form på olika sätt – som musikkonsument, eller som (med)skapare av musik.Urval och metod: En inbjudan till ett flertal musiklärare skickades ut via den ena forskarens nätverk. Urvalskriterierna var att lärarna skulle ha lärarbehörighet och att de skulle vara aktivt verksamma som musiklärare i grundsärskolan. När det gäller lärarsituationen i grundsärskolan saknas ofta den dubbla kompetens som krävs, dvs musiklärarutbildning och speciallärarutbildning för elever med intellektuell funktionsnedsättning (IF). Under läsåret 2020/21 uppgick andelen musiklärare med lärarlegitimation och behörighet i musik i grundsärskolan till 6,3 % (https://siris.skolverket.se).Semistrukturerade tematiska intervjuer genomfördes utifrån tre teman. Varje intervju inleddes med frågor som riktades mot lärarens upplevda didaktiska utveckling och faktorer som påverkat denna (jfr life-storytraditionen, Dunpath & Samuel 2009), därefter följde frågor41gällande de förutsättningar respektive skola erbjöd för musikundervisning i grundsärskola. Avslutningsvis ställde vi frågor om lärarnas musikundervisning baserat på kursplanen i musik för grundsärskolan. Medan den första intervjun genomfördes på en av de deltagande lärarnas skola, kom övriga intervjuer att genomföras på Zoom på grund av pandemin. Samtliga lärare informerades om syftet med studien och gav sitt medgivande till att intervjuerna spelades in. Ljudinspelningarna transkriberades och utgör vårt datamaterial. Intervjuerna analyseras fenomenografiskt (se Marton, 1994) för att urskilja återkommande skillnader i mönster av uppfattningar i intervjuerna.Resultatet förväntas bidra med utgångspunkter för en kommande interventionsstudie i grundsärskolans musikundervisning.ReferenserDunpath, R. & Samuel, M. (2009). Life History Research. Epistemology, Methodology and Representation. Sense Publishers.Carlson, L. (2013). Musical becoming: Intellectual disability and the transformative power of music. I: M. Wappett & K. Arndt (eds.) Foundations of Disability Studies (83-103). Palgrave Macmillan.Ferm Almqvist, C. (2016). Cultural Citizenship through aesthetic communication in Swedish schools. European Journal of Philosophy in Arts Education, 1(1), 68-95.Marton, F. (1994). Phenomenography. I T. Husén & T. N. Postlethwaite (Eds.), The International Encyclopedia of Education. 2. ed, Vol 8, 4424–4429. Pergamon.Saether, E. (2008). When minorities are the majority: voices from a teacher/researcher project in a multicultural school in Sweden. Research Studies in Music Education, 30(1), 25–42.
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| 2. |
- West, Tore, 1960-, et al.
(author)
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Interaktion och kunskapsutveckling : en studie av frivillig musikundervisning
- 2001
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Doctoral thesis (other academic/artistic)abstract
- In a joint dissertation project, 11 brass instrument and guitar lessons, with 4 teachers and 21 students aged 9-35 years, were videotaped, transcribed and analyzed. Two were group lessons and 9 were private lessons. The object of the project was to study how music teaching and learning can be understood from an institutional perspective by describing, analyzing and interpreting musical instrument lessons. The lessons were viewed as social encounters in which the action of participants creates and re-creates social orders at different institutional levels, by means of communication routines using speech, music and gesture. Data were derived from micro-ethnographic transcriptions of speech, gesture and music of a total of five hours of videotape, supplemented by text analyses of 14 method-books. The transcripts were analyzed as text from the perspective of critical discourse analysis. At the analytical level the study applied the cognitive concepts of experiencing and learning music, as well as those of educational genres of speech and music use. The analyzed data were interpreted and discussed from the perspectives of interaction-theory and institution-theory. The results show how the music during the lessons was broken down into separate notes, as read from the score. Music was not addressed as phrases, rhythms, or melodies. Expressive qualities of music performance were not addressed. The characteristics of the interaction were found to be asymmetric, with the teacher being the one controlling the definition of the situation. Student attempts to take initiative were ignored by teachers. This asymmetric pattern of interaction had negative consequences for students’ as well as teachers’ opportunities to learn. The organization of the teaching situation as well as teaching methods is discussed from the perspective of institution-theory. A major conclusion is that the way instrument teaching is organized leaves little room for students and teachers to discuss and reflect on the teaching process.
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- Ahlbäck, Sven, 1960-
(author)
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MITIS - Musical Information Technology in Schools : How can interactive music technology be used to support learning of music literacy?
- 2021
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Conference paper (other academic/artistic)abstract
- MITIS – Musical Informational Technology in SchoolThe aim of the MITIS - project is to explore possibilities to create interactive teaching materials where new technology is used to distribute knowledge about musical structure (i.e. notation) as well as content in an interactive and creative way. This is carried out as a collaborative project between a group of music teachers, the company DoReMir, and researchers and staff from the Institution for Folk Music and the Institution for Music, Pedagogics and Society at the Royal College of Music in Stockholm.The core foundation of the project is literacy in music – for example reading and writing notation (Asmus, 2004). Notation is for most musicians an important tool to use both for taking part of, interpreting, documenting and pass music on (Hultberg, 2000). In connection with the digitalization of society and digital tools to do things such as interpreting, documenting and pass music on made available to a broader public, traditional notation has got a more hidden place in music education in schools. In the Swedish curricula for the compulsory School, notation is explicitly mentioned in 1969. In the later Curricula’s, different kind of notation is mentioned, but not as explicitly as in earlier years (Skolöverstyrelsen, 1969; Skolverket, 2019). This also aligns with the development of society as a whole, and with the strategy for digitalization that was established by the Swedish government in 2017 (Regeringen, 2017) and can be seen as a development towards a wider view on different forms of notation. However, in the aesthetic program for the upper secondary school, reading traditional notation on a basic level, is required in the Curricula (Skolverket, 2020). Furthermore, to get access to higher music education in Sweden, the skill of reading traditional notation, is required. We argue therefore, that to increase music literacy, also in regard to reading notation, can be seen as an democratic issue. To make learning notation available and possible in an easy and digitalized way, with devices available to pupils in school, may be an important step to advance possibilities for every child to access higher music education.An important part of the project is to develop and support learning and interpretation of notation in different creative ways. One of the starting points for this project is the technique for digital music interpretation that has been developed by DoReMir Music Research AB. This technique has been used in an app called Notysing, for learning to read and sing traditional notation with a digital device such as a reading tablet or mobile phone. The project has been running since 2018. The first year the focus was to develop the app, test it within a small group of music teachers, and ensure good technical quality as well as pedagogical foundations for the design. In 2019 testing started in compulsory as well as in upper secondary School in Sweden, with focus on gathering qualitative data through a digital survey in the app. During autumn 2020 a qualitive study has been conducted, and in-depth interviews are in progress. Pupils in San Diego has been included in 2020, also as a part of finding new teaching strategies for distance education during the Covid19 pandemic. It has been developed and tested with over 200 pupils and music teachers.Preliminary results suggest that pupils and music teachers are positive to learn notation through an app that uses gamification to enhance and motivate learning, and that issues that arise are mostly technical, and that the equipment of the schools, and technical skills ana knowledge of the music teacher are crucial for success. Furthermore, the results indicate that regards must be taken todifferent systems for managing IT in different schools and municipalities. Last but not least, there are great school-cultural differences in how schools work with notation in San Diego and in Sweden, which once again raises questions about how to work with it in our context, and also, why we work with it the way we currently do.ReferencesAsmus, E. P. (2004). Music Teaching and Music Literacy. Journal of Music Teacher Education, 13(2), 6–8. https://doi.org/10.1177/10570837040130020102Hultberg, C. (2000). The Printed Score As a Mediator of Musical Meaning – Approaches to Musical notation on Western Tonal Tradition. [Doctoral thesis, Malmö Academy of Music].Regeringen. (2017). Nationell digitaliseringsstrategi för skolväsendet. Utbildningsdepartementet: Bilaga till regeringsbeslut I:1, 2017-10-19.Skolöverstyrelsen. (1969). Läroplan för grundskolan 1 Allmän del. UtbildningsförlagetSkolverket (2019). Läroplan för grundskolan, förskoleklassen och fritidshemmet 2011. Reviderad 2019. Skolverket. Skolverket.( 2020). https://www.skolverket.se/undervisning/gymnasieskolan/laroplan-program-och-amnen-i-gymnasieskolan/gymnasieprogrammen/amne?url=1530314731%2Fsyllabuscw%2Fjsp%2Fsubject.htm%3FsubjectCode%3DMUS%26courseCode%3DMUSINS01S%26tos%3Dgy&sv.url=12.5dfee44715d35a5cdfa92a3#anchor_MUSINS01
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| 5. |
- Ahlbäck, Sven, 1960-
(author)
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”We hear what we know” - On the power of concepts : how traditional fiddle music in contemporary society can benefit fromfolk music theory
- 2021
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Conference paper (other academic/artistic)abstract
- ”We hear what we know” - On the power of conceptsand how traditional fiddle music in contemporary society can benefit fromfolk music theorySwedish fiddle music, just as many other fiddle traditions, has a strong connection to dance. Making people want to move their feet is one of the chief tasks ofthe fiddler, and this connection still influences the music today, even thoughthe music might be played on concert stages or be digitally streamed.So what constitutes this knowledge of the fiddler? What is important when playing a certain local styleof Swedish polska so people actually can dance to it? If you live in an isolated community with no contact with the outside world you might not have to reflect on what is the stylistic features of your tradition but today folk music generally lives in a multi-stylistic world where different value systemsthat originates from other music traditions than fiddle music dominates. Today’s fiddlers will have to relate to today’s world of music, whether we want it or not.In Sweden, since the 19th century, there has been a tradition of mystifying the knowledge of the fiddler, making the competence of playing a matter of socio-cultural background, geography and ancestry.The perils of this view is that the qualities of art of fiddling might be obscuredand actually might be lost when music transforms - as music always do.In this talk Sven Ahlbäck, who is a traditional fiddler deeply rooted in traditional Swedish FolkMusic and very involved in development of new ensemble playing and teaching, will talkabout how conceptualising stylistic qualities of Swedish fiddle music such as e.g.asymmetrical beats, swing, bowing and intonation have influenced the developmentof today’s Swedish folk music, even beyond the fiddle.
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