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| 2. |
- Lindgren, Monica, 1958, et al.
(författare)
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Assessment and legitimation of entrance auditions to Swedish music teacher education
- 2019
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Ingår i: RIME 2019. Research in Music Education Conference, 23-26 April, Bath Spa University.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In Sweden, admission to higher education is gained primarily through either grade awarded in upper secondary school or SAT-tests. However, admittance to higher music education is restricted to those who pass specific tests of what is regarded as required musical knowledge and aptitude from the perspective of jurors at different universities. This can be seen as a challenge to democratic ideals of equal opportunities, especially since the Swedish government demands a broadened access to higher education. There are as yet only a few studies on the recruitment of prospective music teachers, and hence no firm ground for discussing neither their predictive value, reliability and validity of these tests, or the education and future profession of the applicants. In a three-year research project funded by the Swedish Research Council we are now studying entrance auditions to music teacher education in order to produce knowledge about assessment criteria, legitimacy claims, approaches to knowledge and quality as well as the tests’ relevance and reliability. Applicants’ performances during the tests have been video recorded, and these recordings have later been used as stimulus material to elicit assessments and reflections from the jurors, either in focus group discussions or through interviews. In the analysis, a multimodal social semiotic approach and the concept discourse is used in order to identify how the representations of quality and knowledge are articulated and legitimized. Although the design of the tests varies between institutions, music theory, ear training, ensemble playing and instrumental and vocal proficiency are customary content. Some tentative findings will be presented and discussed with regard to the study’s central questions of assessment and legitimization. The study generates new knowledge about admission to higher education, with special regard to procedure, transparency and relevance.
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| 4. |
- Lindgren, Monica, 1958, et al.
(författare)
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Care as technology for exclusion : Power operating in jurors’ talk about admission tests to Swedish music teacher education
- 2021
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Ingår i: Nordic Research in Music Education. - : Cappelen Damm Akademisk. - 2703-8041. ; 2:2, s. 58-73
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Tidskriftsartikel (refereegranskat)abstract
- In this article, we explore and problematise admission tests to specialist music teacher education in Sweden from a governing perspective, where higher music education is considered a discursive practice. It illustrates how power operates in legitimating the tests. The study uses stimulated recall in jury members’ talk about assessing applicants for music teacher education programmes, and uses Foucault’s concept of governmentality to reveal entrance tests as something regarded as generally good for all. This operating discourse is built on governmental rationality and processes that make it possible to reach conclusions about the applicants’ personalities and prospects for learning and developing in the future. Through care as technology of power, failing applicants are excluded from becoming music teachers and at the same time they are rescued from struggling in the future. The results are discussed in relation to issues of democratic music education, ethics and requirements for widened access to higher music education.
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| 5. |
- Lindgren, Monica, 1958, et al.
(författare)
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Design and assessment of entrance auditions to music teacher education. : The 23rd conference of Nordic Network for Research in Music Education. NNMPF. Oslo, Hurdal: Nowegian Academy of Music, 12-15 February, 2018.
- 2018
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Ingår i: https://nnmpf.org/nb/konferanser.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The overall aim of the study is to produce knowledge about the principles of assessment design and criteria for student selection to music teacher education. Although the qualification require-ments and principles of selection based on entrance auditions are often decisive for admission to music teacher education programmes, the field has been scantily researched. In particular, there is a lack of studies of the design and usefulness and value of the tests, as well as of Swedish studies and studies of other genres than classical music. The prognostic value of the tests, as well as its value to music and other education programmes are called in question. When assess-ment in music education is used, there are problems with subjective interpretations and implicit criteria. With the increasing focus in education on issues of assessment, equality and broadened recruitment, it is important to study how entrance auditions are legitimated and assessed. The aim of the study is to investigate entrance auditions to music teacher education with regard to the assessment criteria applied, legitimacy claim, and approach to knowledge. A multimodal social semiotic approach is adopted to study how individuals use linguistic, mate-rial and bodily sign systems in order to represent and perform their understanding of, attitude to and interpretation of various phenomena in the world, and how these representations constantly transform. On a micro level the concept discourse is to study how applicants, through using sign systems such as notes, music instruments, singing and gestures, represent their ability and musical knowledge, and to identify the representations of quality and knowledge that the jury members construct in their assessments of the applicants’ performances. The concept discourse is also used to find out which versions of available constructions are used, and how these are used when the jury members justify their standpoints and selections. On a macro level the con-cept discourse is used to elucidate how assessment, legitimization and selection in the local prac-tice are related to dominant approaches to musical conventions, shaped by musical education institutions. Data will consist of video documented entrance auditions, and focus group conversations, in-cluding stimulated recall interviews with jury members. Together, these methods offer opportu-nities to talk about how qualitative aspects of musical performance can be assessed and legiti-mated. Data will be collected from four music teacher education institutions and consist of a total of eight days of video documented instrumental entrance auditions in various genres, and one recorded focus group conversation with each jury. After the entrance auditions, the teachers on the jury panel and one of the researchers will discuss the applicants’ performances on the basis of selected sequences from the video documented auditions as stimulus material. A pilot study with focus on entrance auditions in the genre folk music, classical music and rhythmical improvised music was carried out last year, with the aim to test the chosen theory and method. Both the theory and the method were considered to be enrichening and fruitful. The preliminary result of these analysis shows that the representations for and understandings of quality and knowledge constructed in the conversations can be seen as assessments of the appli-cants’ singing and playing skills; musical and bodily expression ability; singing and playing in accordance with the style of the period; and ensemble interaction. All of these aspects were as-sessed in relation to the traditions and idioms of the genres. According to the teachers’ stand points on assessments and how these are justified, micro-level discourses were displayed, high-lighting the importance of genre fidelity, genre cutting edge, and genre experience. In contrast to these discourses, other discourses on genre violation, genre breadth and genre unfamiliarity, for instance, are indicated to be acceptable, at least in some of the jury groups. These tensions in attitudes reflect a polemic between various assessments of musical quality and knowledge.
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| 6. |
- Lindgren, Monica, 1958, et al.
(författare)
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Ideas of new directions for music teacher education. A discussion based on current Nordic Research in relation to challenges of the present and the future.
- 2022
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Ingår i: Nordic Network for Research in Music Education conference 2022.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of this symposium is to stimulate discussion of new directions for generalist and specialist music teacher education in Finland, Norway and Sweden. The symposium incorporates research from the three Nordic countries and the discussion will be based on results from the research projects. This research has been going on for several years and has recently been completed or is in the final phase. Common to all projects are the critique of status quo in music teacher education and the call for changes and new directions in relation to the needs and challenges in our contemporary societies. By this, we join all those scholars who for decades have addressed democracy and social justice in relation to music education. However, because democracy is an open and socially constructed concept (Woodford, 2005), we make no claim to a specific common paradigm in this presentation. Rather, we will present three research initiatives by contextualizing the results within the respective Nordic countries as democratic societies. And from there, we will take the opportunity to raise and discuss some questions about how to set forth a music teacher education agenda for the future: How should music teacher education evolve to increase equity, inclusion and access in music education? Curriculum discourses indicate teacher education as a field of tension, marked by negotiations and struggles between competing policies, philosophies and views of music, culture and education. Can such tensions have potential for change? How can teacher education prepare student music teachers for a complex and diverse school life? How can we approach digital tools in educational spaces that can promote critical reflection about challenges of the present and the future? How can we rethink the selection principles for the music teacher programs?
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| 7. |
- Lindgren, Monica, 1958, et al.
(författare)
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Representations and legitimations of quality and knowledge in entrance auditions to Swedish music teacher education
- 2019
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Ingår i: NNMPF 2019: Futures of Music in Higher Education, February 26-28 2019.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- For entrance to Swedish higher education, special qualification requirements and selection principles are allowed if there are special reasons with regard to the content and orientation of the education or the field of education that the education is preparing for. In music education, special requirements and selection in the form of entrance auditions have since long been used. The Swedish government’s demands on higher education to act for increased equality in society and a broadened access to higher education, along with the increasing focus in education on issues of assessment and the fact that both design and assessment of entrance auditions can vary between providers of higher music education, raises questions about the relevance, validity and reliability of these auditions as selection instruments. Although the auditions’ qualification requirements and principles of selection generally build on long traditions, and generally are decisive for admission to music teacher education programmes, the field has been scantily researched. There are as yet only a few studies on the recruitment of prospective music teachers, and hence there is no firm ground for discussing the predictive value, reliability and validity of these tests, neither for the music teacher education as such nor for the applicants’ future profession. The aim of our three-year research project funded by the Swedish Research Council is to study entrance auditions to music teacher education in order to produce knowledge about assessment criteria, legitimacy claims, approaches to knowledge and quality as well as the tests’ relevance and reliability. The project started in January 2018. The data were produced in spring and autumn 2018 and consists of video recorded entrance auditions and audiorecorded focus group or single conversations with jurors from four Swedish music teacher education institutions. More than one hundred entrance auditions on i) instrumental musicianship; ii) ensemble and leadership skills and iii) ability to sing and accompany themselves were video documented. Furthermore, 29 group discussions or single conversations with jury members were conducted, in which selected sequences from the video documented auditions were used as stimulated recall. Apart from the jurors’ assessments of the applicants’ performances, the design of the entrance auditions and how qualitative aspects of musical performance could be assessed and legitimated was discussed in these interviews. Further, 6 jury groups have been interviewed about the design and assessment of music theory tests and ear training skills. Altogether, nearly 60 jury members have been interviewed. The data material has been transcribed during autumn 2018. The analyses have started late in the autumn 2018 and are still going on. In the analysis, a multimodal social semiotic approach and the concept discourse is used in order to study how the jurors interpret applicants’ musical performances and representations of ability and musical knowledge through their use of sign systems such as notes, music instruments, singing and gestures. We also analyse how the jury members construct representations of quality and knowledge in their assessments of applicants’ performances, and how these representations are articulated and legitimised. Concerning the interviews about music theory tests and ear training skills, the analyses deal with the jury members’ representations of quality and knowledge in the design of the tests, and how these representations are articulated and legitimised. Although the design of the tests varies between institutions, music theory, ear training, ensemble playing, and instrumental and vocal proficiency are customary content. In spite of the fact that almost all the institutions have developed explicit assessment criteria, the jury members frequently also assess other aspects in the applicants’ performances. In our presentation, some tentative findings will be presented and discussed with regard to the study’s central questions of assessment and legitimization.
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| 8. |
- Notér Hooshidar, Annika
(författare)
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Dansundervisning som förkroppsligad multimodal praktik : en studie om kommunikation och interaktion i dansundervisning
- 2014
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Dansundervisning som förkroppsligad multimodal praktikEn studie om kommunikation och interaktion i dansundervisning. ABSTRACTDance teaching as embodied multimodal practiceA study about communication and interaction in dance teaching. The overall aim of this study is to increase the knowledge about how communication and interaction between students and teachers is manifested in dance teaching and learning, with a special focus on the students’ agency and how that can be assumed to affect their conditions for learning.In a dance class, teachers and students engage in the dance practice by using different semiotic modes of communication; body movements and gestures, touch, hearing, gaze, sound and speech. The teaching and learning situation can be described as a complex multimodal configuration of signs in different time and space based modes. The object of study is to examine students’ and teachers’ interaction and communication in detail, with a focus on how different semiotic resources are being used and how that affects the design of the dance class.The data consist of video recordings of dance classes in dance college education and more specifically the daily dance practice, the dance class. Video recordings were made in jazz dance, contemporary dance and ballet classes. These genres are, in various degrees, bearers of a tradition of dance teaching where students repeat the movement material that the teacher demonstrates. I base my choice on the fact that this is a common way of teaching dance both in dance college education and elsewhere. By using a multimodal analysis, different modes of communication and their interplay were brought into focus. Employing the perspective of a social semiotic multimodal theory the analyzed data were interpreted and discussed. The result has shown the importance of the body in communication and interaction between students and teachers in dance teaching and learning. Communication and interaction involve and combine different embodied semiotic resources. Signs are being made, interpreted and remade/redesigned with, through and in the body. The way the teachers use their voices in combination with body movements and gestures in instructions and feedback, makes these resources appear hierarchically more important than the verbal language. The result shows that the students make rhetoric choices in their learning processes. It is shown by the way they choose to attend to what the teacher communicates. The students’ choices in responding are mostly by showing how they understand. Further the results show that the teacher is responsible for the overall design of the dance class. The study material consists mostly of movements that the teacher has created in relation to a genre’s esthetics, the teacher chooses what aspects to focus on and how time is disposed. The students’ agency seems limited in terms of how they can affect and influence the design of the dance class. This means that the knowledge that is produced to a great extent is dependent on the teacher’s choices, her esthetic values and her own knowledge. From a didactic point of view this needs to be addressed in dance education in terms of how dance classes are designed, it concerns questions of esthetics, values and power.Keywords: dance teaching and learning, communication, interaction, multimodality, semiotic resource, design
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| 9. |
- Sandberg Jurström, Ragnhild, 1954-, et al.
(författare)
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A Mozart concert or three simple chords? : Limits for approval in admission tests for Swedish specialist music teacher education
- 2021. - 1
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Ingår i: Higher Education as Context for Music Pedagogy Research. - Oslo : Cappelen Damm Akademisk. - 2703-7843. - 9788202696979 - 9788202706326 ; , s. 19-40
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Bokkapitel (refereegranskat)abstract
- Against the background of problems with unarticulated concepts of quality and assessment criteria when assessing music, this article concerns how the limit for approval is constructed and legitimised by jurors when assessing entrance auditions to Swedish specialist music teacher education. The data comprise video documented auditions, focus group conversations, and stimulated-recall based interviews, involving jury members at four music education departments. Social semiotic theory is used to study how jurors assess applicants’ knowledge representations in main instrument tests, what is considered decisive for an approval, and how this set limit is legitimised. Four approaches have been constructed:the demanding education and profession;the supposed capacity of the applicant; the flexible admission situation, and the care of the applicant.What is considered to be the minimum requirement for approval in these constructions differs markedly, which shows a striking difference between the views of jurors within and between institutions on how the applicants´ musical performances on a main instrument should be assessed. These findings are discussed in relation to two possible scenarios of revised admission tests.
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| 10. |
- Sandberg Jurström, Ragnhild, 1954-
(författare)
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A multimodal model for meaning-making : Designs for learning in choir
- 2011
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Ingår i: Designs for Learning. - Stockholm : Stockholm university. - 1654-7608. ; 4:1, s. 8-21
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Tidskriftsartikel (refereegranskat)abstract
- This article presents musical communication from a multimodal, social semiotic and design-oriented perspective. Based on the notion that communication and learning constitute a social process of transformative sign-making, the article explores how choir conductors during video-recorded rehearsals and concerts use different modes of communication, such as gestures, gazes, body movements, singing, printed score and piano playing, as representations of the music they are working with, and how these modes are transformed into singing voices through translation, reshaping and imitation. The way conductors design their approaches to the music affords various choices and conditions for choir singers to learn and perform the music. The article draws attention to the complexity and multiplicity of an audiovisual music culture, characterised by different repertoires of action in performing and illustrating the music and by choir-specific, genre-specific and locally specific musical language constructions, in which learning is equated with interpretation and performance.
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