| 1. |
- Antonsson, Johanna
(författare)
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Musiklärares arbete med bedömning och betygsättning : yttre och personliga omständigheter som påverkar praktiker samt möjliga subjektspositioner
- 2022
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Ingår i: Nordic Research in Music Education. - : Cappelen Damm AS - Cappelen Damm Akademisk. - 2703-8041. ; 3, s. 51-74
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Tidskriftsartikel (refereegranskat)abstract
- Music teachers in Swedish compulsory schools spend much of their time with work concerning assessment and grading. In this study, five music teachers have been interviewed with the purpose of finding out how they construct their assessment and grading practices by inquiring into by what circumstances their practices are affected. The study’s theoretical foundation lies within social constructionism, teachers’ visions and subject positioning are used as operationalised theoretical concepts, and concepts from assessment theory make up the subject specific theory. The results show the participants’ practices being affected by several external circumstances. Nevertheless, there are multiple available subject positions for music teachers within their assessment practice.
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| 2. |
- Berthén, Diana, 1956-, et al.
(författare)
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Musikundervisning för grundsärskolan? – en forskningsöversikt
- 2022
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Ingår i: Nordic Research in Music Education. - : Cappelen Damm AS - Cappelen Damm Akademisk. - 2703-8041. ; 3, s. 21-50
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Forskningsöversikt (refereegranskat)abstract
- Det övergripande syftet med denna artikel är att bidra med en översikt som kartlägger internationell forskning om musikundervisning för barn och ungdomar (F–9) med intellektuell funktionsnedsättning (IF). I Sverige får elever som bedöms inte kunna nå grundskolans lärandemål vanligen sin utbildning i den skilda skolformen grundsärskolan. En konfigurativ översikt har genomförts och 26 utvalda artiklar har analyserats med fokus på musikundervisningens mål. Resultatet redovisas i tre teman: Attityder och förhållningssätt, Undervisning och lärande samt Kritiska studier för empowerment och diskuteras mot kulturhistorisk teori och begrepp såsom musical becoming. Artikeln bekräftar tidigare översikters resultat: behovet av klassrumsstudier i grundsärskolan.
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| 3. |
- de Boise, Sam, 1985-
(författare)
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Gender Issues in Scandinavian Music Education : From Stereotypes to Multiple Possibilities
- 2023
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Ingår i: Nordic Research in Music Education. - : Cappelen Damm Akademisk. - 2703-8041. ; 4, s. 35-41
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Recension (refereegranskat)abstract
- The article is a review of Gender Issues in Scandinavian Education: From Stereotypes to Multiple Possibilities (Silje Valde Onsrud, Hilde Synnøve Blix and Ingeborg Lunde Vestad, editors) by Sam de Boise (School of Music, Theatre and Art, Örebro University, Sweden).
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| 4. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
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Cultivating ambiguities within higher music education : preparation for singers’ professional societal participation in opera conservatory and music theatre programs
- 2024
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Ingår i: Nordic Research in Music Education. - Oslo : Cappelen Damm Akademisk. - 2703-8041. ; 5, s. 23-42
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Tidskriftsartikel (refereegranskat)abstract
- Earlier research has stated the need for conservatory education to prepare aspiring musicians more thoroughly for a dynamic and changing society. A project that challenges the conservatory tradition is Sammankonst (TogetherArt) where students at a musical theatre program at folk high school level collaborate with intellectually disabled adults. Based on a phenomenological way of thinking, this article aims to describe and analyze the education of aspiring musicians for professional participation in society based on an analysis of experiences among conservatory students, music theater students and their teachers. Interviews were made with six conservatory students, 15 musical theatre students, and two teachers. The results show ambiguities when it comes to what voice students should be prepared for and how the choice of preparations influence the view of singing and musicians’ quality competence.
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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. |
- Ferm Almqvist, Cecilia, Professor, 1966-
(författare)
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Towards the attainment of mindful bodily relations in music education
- 2021
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Ingår i: Nordic Research in Music Education. - Oslo : Cappelen Damm Akademisk. - 2703-8041. ; 2:1, s. 114-133
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Tidskriftsartikel (refereegranskat)abstract
- Recent studies of female guitar students in upper secondary school ensemble education suggest that girls behave, and are encouraged to behave, in more immanent ways than boys. They seem to receive less encouragement to stretch their bodies and become full musical human beings. Instead they become the second musical sex. During the course of my work with the problem of how to create space for girls playing the electric guitar in educational settings, I have continually found myself wondering how to create educational spaces and relations in ways that let all pupils, independent of sex, realize ideas, transcend as musical bodies, and become what they already are. If teachers and pupils are interrelated bodies, teachers must be aware of how they use their bodies when it comes to creating space for all pupils to develop and stretch out their bodies. The actions of the music teacher, as a musical body, must be balanced in relation to the other musical bodies in the room, as well as to physical preconditions, goals, visions, and expectations of the students. In this article, I want to delve into the subject of bodily interaction, teachers’ responsibilities, and questions of intentional educational bodily relations. The aim is to share my close reading of Young’s philosophical thinking regarding gender structures and especially female comportment, motility, and spatiality, and develop a set of prerequisites for intentional bodily (music) educational relations. With a starting point in research-based inspiration and motivation for conducting the current philosophical investigation, I share my close reading of Young’s theories regarding female situated bodies. Continually I relate to excerpts from two interviews with female guitar students, exemplifying musical body-relational experiences. Finally I share and reflect upon a developed thinking about mindful bodily (music) educational relations.
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| 7. |
- Holmgren, Carl
(författare)
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The conditions for learning musical interpretation in one-to-one piano tuition in higher music education
- 2020
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Ingår i: Nordic Research in Music Education. - : Cappelen Damm Akademisk. - 2703-8041. ; 1:1, s. 103-131
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Tidskriftsartikel (refereegranskat)abstract
- Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher's rather than the student's explorative interpretation. The aim of the present study is to investigate students' and teachers' understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher's understandings of what musical interpretation is, (2) the student's experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student's explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students' development.
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| 8. |
- Jeppsson, Cecilia, 1967-
(författare)
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Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts
- 2020
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Ingår i: Nordic Research in Music Education. - Oslo : Cappelen Damm Akademisk. - 2703-8041. ; 1:1, s. 58-80
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Tidskriftsartikel (refereegranskat)abstract
- This study sheds light on music teachers’ perspectives on their chances to disrupt cultural and social reproduction in music education in the Swedish Community Schools of Music and Arts (kulturskolor, sing. kulturskola). Focus group conversations were carried out involving 18 teachers at five such schools. As a point of departure, the analysis of the conversations applied the theoretical perspective of Bourdieu with an emphasis on the concepts explicit versus implicit pedagogy and Bernstein’s corresponding concepts visible and invisible pedagogy. The analysis discusses explicit versus implicit assumptions interwoven in the teachers’ accounts of their efforts. The teachers describe it as difficult to challenge social structures. Based on marketing efforts vis-á-vis families from immigrant backgrounds, the teachers point to differing understandings of the significance of participation in the programmes. The teachers’ descriptions point to opportunities that stem from efforts to facilitate children taking part in music education in cooperation with compulsory schools, teaching practice habits and more general behaviours, and initiatives to reach parents and children from immigrant backgrounds with information. The descriptions show explicit as well as implicit components, often in terms of implicit assumptions embedded in an explicit framing. Reflection upon implicit assumptions is suggested as a means to develop more radical strategies to disrupt cultural and social reproduction in the Swedish kulturskolor.
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| 9. |
- Kuuse, Anna-Karin, 1962
(författare)
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"Konstnären", "fostraren", "tjänstemannen" och "rebellen": Musiklärares dramaturgiska framträdanden kring musikundervisning, social rättvisa och demokrati.
- 2020
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Ingår i: Nordic Research in Music Education. - 2703-8041. ; 1:1, s. 29-57
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Tidskriftsartikel (refereegranskat)abstract
- This article intends to explore how some Swedish music teachers present their teaching in relation to democracy and social justice. Present-day social issues such as socio-economic vulnerability and ever more segregated schools have accentuated the need for critical reflection on social and democratic aspects in all teaching. This also has consequences for music educational practices. During two focus group interviews with Swedish music teachers from both the community school of music and arts and elementary school, the organisation of the teaching practice, as well as the teachers’ respective opportunities and challenges in relation to their specific contextual social and democratic issues are discussed. With the aid of dramaturgical theory and interview analysis it is shown how the teachers’ joint discussions make space for four social roles in relation to those themes: the artist, the fosterer, the civil servant and the rebel. In spite of some similarities in the staging opportunities of the two different music educational contexts, some differences appear in terms of the dramaturgical significance of the respective roles, as well as the force of the connections between them. In both contexts, still a common ambivalence is displayed in the perception of democracy and social justice in relation to the very practical task of teaching music. Following the article’s results in relation to social justice, the music teachers’ opportunities for internal professional control and joint negotiation of their teaching task are discussed. The article thus advocates further reflection on the institutional structures and basic philosophical assumptions that appear to govern perceptions of music teaching, democracy and social justice in music educational practices at large.
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| 10. |
- Larsson, Christina, 1956-, et al.
(författare)
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Improvisation i musikundervisningen : Tre lärares didaktiska förhållningssätt
- 2020
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Ingår i: Nordisk musikkpedagogisk forskning. - Oslo, Norway : Norges musikkhøgskole. - 1504-5021. ; 1:1, s. 81-102
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Tidskriftsartikel (refereegranskat)abstract
- This article draws on interviews with three music teachers. It is part of a larger study that explores improvisation in general music education in the Swedish school year 4. The article focuses teachers’ pedagogical approaches to improvisation and how this effect the teaching. This study reveal that music teachers incorporate improvisation in their teaching. They do, however, lack a professional language in order to reflect on content, methods, aim and purpose of improvisation in education. Through thematic analysis, we demonstrate that pedagogical points of departure and attitudes are implicitly present in the teachers’ practices and have implications for their educational orientation. Three diverse but overlapping educational orientations are discerned: a process-oriented, a subject-oriented and a Bildung-oriented. The educational orientations are reflected in these teachers’ approaches to improvisation and are related to pedagogical choices of activities, how activities are conducted and to what aim.
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