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- Ademuyiwa, Adesoji O., et al.
(författare)
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Determinants of morbidity and mortality following emergency abdominal surgery in children in low-income and middle-income countries
- 2016
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Ingår i: BMJ Global Health. - : BMJ Publishing Group Ltd. - 2059-7908. ; 1:4
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Tidskriftsartikel (refereegranskat)abstract
- Background: Child health is a key priority on the global health agenda, yet the provision of essential and emergency surgery in children is patchy in resource-poor regions. This study was aimed to determine the mortality risk for emergency abdominal paediatric surgery in low-income countries globally.Methods: Multicentre, international, prospective, cohort study. Self-selected surgical units performing emergency abdominal surgery submitted prespecified data for consecutive children aged <16 years during a 2-week period between July and December 2014. The United Nation's Human Development Index (HDI) was used to stratify countries. The main outcome measure was 30-day postoperative mortality, analysed by multilevel logistic regression.Results: This study included 1409 patients from 253 centres in 43 countries; 282 children were under 2 years of age. Among them, 265 (18.8%) were from low-HDI, 450 (31.9%) from middle-HDI and 694 (49.3%) from high-HDI countries. The most common operations performed were appendectomy, small bowel resection, pyloromyotomy and correction of intussusception. After adjustment for patient and hospital risk factors, child mortality at 30 days was significantly higher in low-HDI (adjusted OR 7.14 (95% CI 2.52 to 20.23), p<0.001) and middle-HDI (4.42 (1.44 to 13.56), p=0.009) countries compared with high-HDI countries, translating to 40 excess deaths per 1000 procedures performed.Conclusions: Adjusted mortality in children following emergency abdominal surgery may be as high as 7 times greater in low-HDI and middle-HDI countries compared with high-HDI countries. Effective provision of emergency essential surgery should be a key priority for global child health agendas.
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- Angelo, Elin, 1975-, et al.
(författare)
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Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies
- 2019
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Ingår i: Journal for Reserach in Arts and Sports Education. - Oslo, Norway : Cappelen Damm Akademisk. - 2535-2857. ; 3:1, s. 78-100
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Tidskriftsartikel (refereegranskat)abstract
- Policy changes and higher education reforms challenge performing musician programmes across Europe. The academisation of arts education means that classical performance programmes are now marked by strong expectations of research paths, publications, and the standardisation of courses, grades and positions. Drawing on interviews with ten teachers and leaders within the field of higher music education, this article discusses notions of mandate, knowledge and research in classical performance music education in Norway. Against the backdrop of academisation, the aim of this article is to illuminate central tensions and negotiations concerning mandate, knowledge and research within higher music education. The problem concerns issues of who should be judged as qualified and who should have the authority to speak on behalf of the performing music expertise community. The study is part of the larger study Discourses of Academisation and the Music Profession in Higher Music Education (DAPHME), conducted by a team of senior researchers in Sweden, Norway and Germany. Through an analytic-theoretical reading of the empirical data, informed by Foucault’s power/knowledge concept, two discourses on mandate are identified (the awakening discourse and the Bildung discourse) as well as three discourses on knowledge (the handicraft discourse, the entrepreneurship discourse and the discourse of critical reflection) and two discourses on research (the collaborative discourse and the ‘perforesearch’ discourse). The latter of the two research discourses pinpoints a subject position as a musician/researcher with knowledge, craft and skills in both music performing and research.
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- Angelo, Elin, 1975-, et al.
(författare)
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Profesjonsforståelse : en innfallsvinkel til å profesjonalisere det musikkpedagogiske yrkesfeltet
- 2014
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Ingår i: Nordisk musikkpedagogisk forskning. - Oslo : Norges musikkhøg̜skole. - 1504-5021. ; 15
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Tidskriftsartikel (refereegranskat)abstract
- Music-pedagogical philosophy – An approach to professionalize the field of music educationA carefully considered music-pedagogical philosophy is necessary to develop professional knowledge for the individual music teacher, as well as for music-pedagogical communities and for the music teacher profession as a whole. In this article we elaborate on individuals’ music pedagogical philosophies (no: profesjonsforståelser) as a fruitful approach to articulate and discuss leading ideals and norms for quality within the field of music education. We argue that the professions “body of knowledge” is invisible and irreproachable, and that it is crucial to articulate, clarify and discuss the professional knowledge, expertise and mandate that is held within this vocational field. This article is informed by professional literature and research in music education, and focuses the aspects jurisdiction, certification and authorization, as well as power, identity and knowledge. In conclusion we argue that music pedagogical philosophy should be a focused part of music teacher education, in order to professionalize the field and qualify the discussions about quality, both inside and around the field of music education.
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| 6. |
- Angelo, Elin
(författare)
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Profesjonsforståelse hos en instrumentalpedagog i en samordnet musikklærerstilling Musikkundervisning som felles skaping av fellesskap
- 2012
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Ingår i: Nordisk kulturpolitisk tidskrift. - : Högskolan i Borås. - 1403-3216 .- 2000-8325. ; 15:1, s. 27-45
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Tidskriftsartikel (refereegranskat)abstract
- In this article I discuss the “philosophy of work” of an instrumental music teacher with multiple tasks in basic music education in Norway. This teacher is positioned in a small community school of music and art which has been honoured for manifesting a `best practice` for such schools. Through thematic narrative analyses of various data material, three pivots are identified in this teachers practice; the cultural life, the school, and the artefacts. After the researcher’s narrative: “The Music Teachers’ Everyday”, these pivots are discussed in a theoretical frame inspired by the thoughts of Hans-Georg Gadamer, Martin Heidegger and Christopher Small. Finally, insights from this discussion are directed towards processes of professionalization in the field of performer-teachers.
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- Georgii-Hemming, Eva, 1960-, et al.
(författare)
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The construction of Academic Academies : Art, research and marketization as competing discourses
- 2017
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Konferensbidrag (refereegranskat)abstract
- Aim of this paperThis paper draws on the on-going comprehensive three-year study Discourses of Academization and the Music Profession in Higher Music Education (DAPHME) conducted by a team of senior researchers in Sweden, Norway and Germany. The overall purpose of the project is to investigate how processes of academization affect performing musician programmes. By focusing discourses in higher music education (HME) the project, more specifically, explores contrasting perspectives on performing musicians’ expertise and societal mandate. Data are gathered through official documents and interviews with institutional leaders and teachers in HME across Europe.Based on the preliminary analysis of about 30 interviews this paper presents findings that concern notions of competence, knowledge and research activities within HME. We will particularly discuss these findings in relation to the analytic framework of critical discourse analysis (Angermüller 2007; Fairclough 1993, 2009, 2010).The Context Performing musician programmes around Europe currently find themselves in a phase of change. While the main concern of HME during the 20th century has been to educate musicians and composers for a profession where conceptions of craftsmanship and artistic skill were given, new conditions for employability and processes of academization are now challenging this expert culture. Since the Bologna declaration 1999, music institutions must stimulate research activities within the context of artistic practice. Musical expertise is thus not enough for today’s music profession. Traditionally, concepts like employability and (artistic) research have not played an important role in music profession. Therefore it is likely that conflicts arise when these enter the discourses on and within music academies. In a wider context, this also concerns the broader issue of the role of higher education in times of marketization and instrumentalization.MethodologyEmpirical data consist of official documents (e.g. syllabi, official presentations, self evaluations, political documents related to the Bologna process) and interviews with leaders and teachers within four institutions in Sweden, Norway and Germany respectively. We are primarily interested in exploring the tensions between different viewpoints within higher education institutions. Therefore we are focusing on those responsible for implementing educational policies on a daily basis, rather than interrogating students’ experiences. The topics addressed in the open-ended interviews, central for this paper, concern notions of competence, knowledge, and artistic research, as well as views on their functions in education and in the music profession.In order to analytically capture and make visible the tensions that indicate negotiations and renegotiations of higher music education, the analytic framework of critical discourse analysis (Fairclough 1993, 2009, 2010), combined with linguistically informed French discourse analysis (Foucault 1974), especially enunciative pragmatics (Angermüller 2007) are used. The reason for this choice is CDA’s view on discourse, not only as language in general but discourses as a form of social interaction and practice (Fairclough 1993; 2009). Changes, and discursive events, in society help to shape both institutions and interactions between actors. This relationship can be understood in terms of a mix of discourses. The method of analysis can therefore demonstrate how multiple, competing discourses are shaped by the politics of education reforms. Over time, different discursive practices within and across institutions are also restructured.Earlier examinations concerning the purposes of higher (music) education, and its role in relation to society and the individual, provided three key discourses (Barkholt 2005; Georgii-Hemming, Burnard & Holgersen 2013; Unemar Öst 2009; Kezar 2004; Hufner 2003, Johansson 2013; Wilson and van Ruiten 2014; Stephens 2013), which served as the foundation for the first phases of our analysis: (i) The classical academic discourse, (ii) The discourse of marketization; (iii) The discourse of artistic freedom.These articulations have a long history in the Western world, but are also present within the European policy arena today. Thus, present-day articulations adhere to, and in different ways reformulate, earlier ideas about higher (music) education. Following Fairclough (e.g. 2010), discursive struggles are fundamental social conditions. Different social actors have access to, and help to create, plural discourses, which does not mean that certain discourses are linked to specific actors. However, depending on the distribution of power particular discourses are easier to obtain than other.With regards to academic institutions, it is fairly common that they acquire a hybrid discourse where elements of the ”Entrepreneurial University” are added to, and fused with, classical European university norms and structures (Melander 2006). This potentially means that art academies are currently in a process of developing hybrid discourses where components from articuations of art, research and market are mixed.ConclusionThis paper deals with empirical discursive objects in a theoretical way and will engage in a critical reflection of the nexus of language, knowledge and practice in contemporary higher music education. Preliminary analyses indicate discourses between at least two social logics: in the world of knowledge to be recognised as part of a specialised art community and in the world of power to be recognised as part of academic organisations with a certain status (c.f. Angermüller 2013).
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