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- Bohman, Karin, 1983-
(författare)
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What is music education? : discursive construction and legitimisation of theory and practice in a Swedish upper secondary school
- 2024
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The overall purpose of this thesis is to describe and discuss the discursive constructions and legitimisations of Music and Music theory in Swedish upper secondary school context. Thereby, this thesis is part of the construction and debate concerning theory vs practice in Music education. The study is based on classroom observations and interviews with teachers and students. The study is conducted during two consecutive autumn semesters, where the first autumn observations are conducted in the Music subject Ensemble, and the second semester in the Music theory subject Aural skills and music theory as well as Ensemble. The results and analysis show that Music and Music theory are predominantly differently constructed, through the discourses permeating the courses within the subjects. Ensemble, as a Music subject, is constructed through musical practice, and only activities that are not directly related to playing – as an activity – need legitimisation, whereas Music theory as a subject appear as continuously legitimised through its connotations to the Music subject. The Ensemble course is constructed as the nucleus around which other parts of the education pivots, including courses in Music theory. Through the analysis of events, event series, regularities and condition of possibility (Foucault, 1970), present thesis demonstrates that expressions of resistance and challenge for the regulatory discourses within the two subjects endure. However, discourse flexes and bends though continue to permeate the regular events and thus also the condition of possibility. External context and professional culture (Ball et al., 2012), is viewed as entailing discursive rooms and views that construct both theory and practice. External context, such as genres of music outside of ensemble education, and the teachers’ professional cultures as musicians permeates the discursive construction of the ensemble subject as well as teacher identity. In conclusion, Music and Music theory as subjects in upper secondary education, as they appear in the context of this study, can hence be viewed as two points on a balance-board, where the weight of discursive power vii shifts from one side to the other dependent on within which discursive (class)room they are taught.
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| 2. |
- Borgström Källén, Carina, 1961, et al.
(författare)
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Musikundervisning och genus i lärarutbildningen – ett rundabordssamtal kring hur vi kan gå vidare mot likvärdig musikutbildning
- 2018
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Ingår i: Nätverket för Estetiska Ämnen i Lärarutbildning (NEÄL) 2018. Tema Kropp, Plats & Rum . Göteborgs universitet, 28-29 november 2018..
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- 2017 kommer att gå till historien som året då #MeToo på bred front satte ord på sexuella trakasserier som kvinnor på olika sätt utsatts och utsätts för. Inom musikområdet samlade upprop som #visjungerut och #närmusikentystnar flera tusen namn och även inom akademin vittnade kvinnor i tusental under rubriken #akademikerupproret. Att maktrelationer som kan kopplas till kön och heteronormativa strukturer på olika sätt är närvarande både inom områden där musik utövas och vid lärosäten som undervisar i musik har musikpedagogisk forskning sedan länge visat, även om den forskning som bedrivits inte i första hand har fokuserat sexuella trakasserier utan snarare har pekat mot hur stereotypa genusmönster konserveras inom, och begränsar och hindrar ett jämställt, musikaliskt lärande. Flera studier de senaste åren har implicit pekat mot att läraren spelar en avgörande roll för ett jämställt och genusmedvetet musikklassrum, medan studier som explicit studerat lärare eller lärarutbildningen ur ett genusperspektiv inte har identifierats i en svensk kontext. Vi vill därför i detta rundabordsamtal fokusera på lärarens roll och på musiklärarutbildningen. Frågor vi vill lyfta är: 1) Vilka kritiska aspekter går att identifiera när det gäller kunskapsutveckling i genusrelaterade frågor på musiklärarutbildningen? 2) Vilka kunskaper och erfarenheter bör studenterna utveckla för att kunna möta samhällsutveckling, normförskjutningar och styrdokumentens krav på en jämställd undervisning? Teman som anknyter är vad ett normkritiskt och intersektionellt förhållningssätt i musiklärarutbildningen generellt kan betyda och hur dessa aspekter kan fungera som utgångspunkter i undervisningen. Vi ser det som värdefullt att diskutera dessa frågor och teman med kollegor engagerade i musiklärarutbildningen, men också med lärarutbildare och forskare i andra estetiska ämnesinriktningar. Efter en kort introduktion, där Carina Borgström Källén, GU, Linn Hentschel, UmU, och Cecilia Ferm-Almqvist, LTU och SH, delar med sig av sina erfarenheter från det egna lärosätet och från egen forskning kommer Cecilia att leda en diskussion kring bordet.
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| 3. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
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Becoming musical performance artists : challenging organisational norms and traditional municipal arts school structures
- 2022
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Ingår i: Journal for Research in Arts and Sports Education. - Oslo : Cappelen Damm Akademisk. - 2535-2857. ; 6:3, s. 11-26
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Tidskriftsartikel (refereegranskat)abstract
- Music educational researchers in the Nordic countries have pointed out how municipal arts schools are organised based on, and tend to reproduce, anthropocentric values and approaches, and that such unequal norms and structures are to be challenged. Taking a border-crossing musical comedy project as a starting point, the specific aim of the current study is to illuminate how, and on what levels, organisational norms and traditional structures can be challenged, and what possibilities and new challenges that occur in a project taking place beyond the Anthropocene. To be able to grasp the aspects of becoming within the project and how that is related to aspects of organisation, we created a research entanglement based on post-human theory. Hence, situations seen as webs of relations were created, including the actors: humans with intellectual disabilities, musical performance students, educators, artists, researchers, and varied digital communication tools. Observations, video recordings, collaborative writing, qualitative surveys, and interviews produced material for analysis. Actor-network theory was applied aiming to describe how the constantly performed intra-active networks were constituted, as well as how the actors influenced each other. The results identify significant actors and trajectories in Sammankonst, that in turn challenge anthropocentric organisational structures of municipal arts schools.
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| 4. |
- Ferm Almqvist, Cecilia, et al.
(författare)
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Children’s rights to make their voices heard and listened to : communication with politicians in and through art as sustainable development
- 2022
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Ingår i: Proceedings of the 28th annual conference, International sustainable development research society. - 9789189504172
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Konferensbidrag (refereegranskat)abstract
- The UN Convention on the Rights of the Child (article 12) states that children have a right to make their voices heard, and to be listened to. Other policy documents at several levels underline the right to freedom of speech through various forms of expression, as well as young peoples’ right to express themselves through art. To organize educational situations where children get the chance to develop and explore artistic forms of expression at the same time, in ways where their ideas and imaginations are taken care of in processes of dwelling, demands flexible and norm- challenging pedagogues. As an example of how Anthropocene discourses of education can be challenged, and instead involve children in sustainable collective engagement, a project where children communicate with politicians in and through art will state example for our contribution to the conference. The aim of the study presented is to explore and describe how 10 years old children’s voices can be heard and listened to in communication with politicians regarding issues that engage them, from planet wealth to after school activities. The study is based on a project arranged by a municipal art school, performed in schools, where Kulturverket, a group of artists and pedagogues work together with children in different art expressions. To come close to the educational practice, interviews with Kulturverket was performed, and art works as well as presentations of the project in social media was gathered. The material was analysed in a phenomenological, hermeneutical manner. Hanna Arendt’s theories regarding democracy were used to understand mutual becoming in communicative processes, and to deepen the understanding of aesthetical experience, Michel Dufrenne was related to as well. The results show the importance of identifying, treating, and expressing ideas in interplay with art, and how such educational situations demands imagination, collaboration, flexibility, openness, and courage. To make children’s voices heard and listened to by politicians in and through art constitute one thread in a sustainable social network beyond the Anthropocene – towards “social sustainable development and courage, culture, art, and human rights”.
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| 5. |
- Ferm Almqvist, Cecilia, et al.
(författare)
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Collaborative learning as common sense : structure, roles and participation amongst doctoral students and teachers in music education – beyond communities of practice
- 2017
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Ingår i: Visions of Research in Music Education. - New Jersey : The New Jersey Music Educators Association. - 1938-2065. ; 29:1
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Tidskriftsartikel (refereegranskat)abstract
- The article communicates an investigation ofhow collaborative learning is constituted in a PhD-course, namely Collaborative learning in music educational settings. The course was organized and run in a way that wished to investigate, develop and encourage collaborative learning among students and teachers at postgraduate level. Material produced and analysed included logbooks, assignments, peer-response, after-thoughts, and a Facebook discussion-thread. The results are presented as descriptions of the constituent parts of collaborative learning occurring in the “rooms” of the course. The results show the importance of structure as well as awareness when it comes to roles and kinds of participation.
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| 6. |
- 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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| 7. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
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Lived time in “relay-method”based arts education : Sharing the UN Convention on the Rights ofthe Child as an example
- 2022
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Ingår i: European Journal of Philosophy in Arts Education. - : University College of Music Education in Stockholm. - 2002-4665. ; 7:1, s. 97-132
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Tidskriftsartikel (refereegranskat)abstract
- This article explores the concept of lived time as an aspect of aesthetic pedagogy based on a phenomenological way of thinking. Starting off from the philosophies of Bollnow and van Manen, where time is seen as an existential phenomena, intertwined with other existentials, we used experiences from an ongoing project as examples to make understanding of the phenomenon possible. Lived time concerns reconsidering and revision of thinking, a process that includes personal, relational and emotional qualities. The specific aim of the philosophical study is to describe the phenomenon of lived time in aesthetic pedagogy from a pedagogue perspective. We embrace a holistic view of relations between arts and education, where education in arts, education through arts, education as art, and art as education function as different perspectives of aesthetic pedagogical situations. To get acces to pedagogues’ lived experiences of time in aesthetic pedagogy, a group interview was conducted. Six pedagogues engaged in the Alla har rätt-project, with educational as well as artistic backgrounds, were interviewed together via the communication tool Zoom. Intentions, experiences, the changing situation, as well as visions about the future constituted themes for the group conversation. The philosophical analysis, where the experiences of the interviewees were used as examples, resulted in a description of the phenomenon of lived time in arts-based education constituted by four themes: Lived time in meaningful arts education, Lived time as diminishing or disappearing in aesthetic pedagogy, Lived time and artworks in aesthetic pedagogy, and Lived time as didactic frame in aesthetic pedagogy.
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| 8. |
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| 9. |
- Ferm Almqvist, Cecilia, 1966-, et al.
(författare)
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The (female) situated musical body : aspects of caring
- 2019
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Ingår i: Per Musi. - Belo Horizonte : The School of Music of the Federal University of Minas Gerais. - 1517-7599 .- 2317-6377. ; :39, s. 1-16
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Tidskriftsartikel (refereegranskat)abstract
- The starting point for the study presented in this article is constituted by experiences of using Simone de Beauvoir’s philosophy and Iris Marion Young theories aiming to describe and understand the becoming of musical women in Swedish schools. Earlier research conducted outside the area of music shows that Beauvoir’s theories can help to explain – and provide means of change for – situations where there is a risk that traditional gender roles will be conserved. A majority of gender studies in the field of music education are based on the performativity theory of Judith Butler. In comparison, de Beauvoir states that repetitions and habits are stratified in the body as experiences, and that human beings are able to make choices in a situation. The aim of the study is to explore how caring is nurtured among girls in Swedish music educational settings. Material generated through two phenomenological studies conducted within specialist music programs in lower respectively higher secondary education in Sweden, constituted the empirical base for conducting re-analysis. This re-analysis followed a hermeneutical phenomenological analytical model. Examples of how caring seemed to be nurtured among girls in music education appeared at different levels and in different situations. It concerns actions made by the girls aiming to make the social and musical setting function in agreed upon ways, namely in the form of taking initiatives, filling “gaps”, and being flexible. Finally we reflect upon causes and changes in relation to actions that seem to establish and maintain female students as immanent, and non-able to run their own projects.
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| 10. |
- Ferm Almqvist, Cecilia, Professor, 1966-, et al.
(författare)
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Tid, rum, mellanrum : delaktighet i estetisk verksamhet
- 2023. - 1
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Här uppmärksammas fenomenet delaktighet i estetisk verksamhet, något som är aktuellt i lärarutbildningar, såväl allmänna som med inriktning på estetiska ämnen, och i utbildningar som riktar sig mot kulturskola och annan fri verksamhet.Författarna har fungerat som följeforskare i två Arvsfondsfinansierade konstpedagogiska projekt, Alla har rätt och Sammankonst drivna av Kulturverket. Baserat på forskningen tydliggörs vad delaktighet i estetisk verksamhet kan vara, och vilka krav det ställer på organisation, kollegium och förhållningssätt i sammanhang där konstuttryck och pedagogik möts.Specifikt belyser författarna delatighetsaspekterna tid, rum och mellanrum liksom det dialogiska förhållningssätt som drivit Kulturverkets arbete.Cecilia Ferm Almqvist är professor i pedagogik och musikpedagogik vid Södertörns högskola respektive Stockholms musikpedagogiska institut. Linn Hentschel är lektor i pedagogiskt arbete med inriktning mot musik vid Umeå universitet.
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