| 1. |
- Kjellander, Eva, 1965-
(författare)
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Jag och mitt fanskap : vad musik kan betyda för människor
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation aims to find further understanding of how people with special interest in a certain artist utilise music and the fact that they are fans in their everyday lives. I have opted to study two fans included in each group selected for this study: Kiss, Status Quo and Lasse Stefanz, one male and one female fan belonging to each respective group. I have worked according to grounded theory as a method, and through an analysis of their musical life stories, I have attempted to identify why they became fans and how them being fans has affected them in their lives.Four categories, fandom as: a marker of identity, socialisation, a form of self therapy and a pseudo religion and the core category authenticity usage show the results of the study. The categories show that to a large extent it all comes down to the musical identity of these people, i.e. the identity of being a fan, and their experiences of being fans. They have been socialised into a specific genre, which has meant increased interest in a specific artist. Family, media and friends have all played a part in this socialisation. The informants have developed cultural competence as concerns their idols, although they have also gained the subcultural capital resources required in order to come across as credible fans. Various kinds of experiences offer meaning and nourish the fans. Security and stability in everyday lives are also contributing factors to them being fans and the music offers them something that they are unable to acquire from elsewhere. They have established different strategies in order to be able to be fans, one of these being legitimacy. A vital part of this legitimacy consists in them viewing the bands as authentic, i.e. important.
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| 2. |
- Moberg, Nadia, 1986-
(författare)
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Dis/harmoni : (Re)konstruktionen av högre musikerutbildning i klassisk musik
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This compilation thesis is positioned as a critical discourse study on higher music education in Sweden. The overall aim is to critically examine and explain how higher music performance education with a classical musicstudy orientation is discursively (re)constructed. Higher music education sits at a unique juncture between conservatoire traditions and university ideals, and the study discusses conditions for educational reproduction and transformation. The theoretical framework assumes that discourse bears marks of social structures whilst constituting a site for struggle. This implies that the (re)construction of music performance education includes conflicts of interest and power relations. Included in the thesis are four empirical substudies that draw on various texts which emanate from institutions for higher music education. The empirical material consists of interviews, multimodal web texts, and master’s theses.Results show how (re)construction centres around musical craftsmanship. Conservatoire ideals are reproduced through constructions of a traditional belief and knowledge system together with harmonising subject positions. The study confirms an individualistic education and discloses how an introspective focus excludes critical, ethical, and collectivist perspectives. Contrary to expectations, the study finds that there is limited explicit resistance towards the education being influenced by neoliberal thinking and university practices. Whilst market principles are incorporated in (re)construction as immutable conditions, university practices such as research and writing are constructed as alien to music performance education. Despite a lack of antagonism, discursive struggles and contradictions arise. Concepts and practices previously foreign to education are recontextualised in ways that favour a reproduction of institutional traditions. Inequalities, in relation to classical music, are disregarded through constructions which highlight diversity and openness. Findings indicate how and why formal power, exercised through for example laws and regulations, is delegitimised and institutional traditions prevail, at the same time exposing resistance and potential seeds of change.
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| 3. |
- 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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| 4. |
- Lagergren, Anniqa, 1964-
(författare)
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Barns musikkomponerande i tradition och förändring
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis focuses on education at Swedish community music and arts schools and at primary schools. The aim of the study is to contribute to knowledge formation within the field of music education by examining how children make music in an institutional context and how the development of new approaches in teaching and learning affect how children practise music. This is studied by observing what happens when children aged 9 to 12, compose music when they have access to digital tools in a community music and arts school and in a primary school – with specific focus on how composing tasks take shape under varying contextual and interpersonal conditions. 13 children from a community music and arts school and 21 children from a primary school participated in the study. In order to gather material for this study a survey was undertaken to examine the children’s experiences of music, instruments and digital tools. In order to observe and examine composing activities and the music the children had composed, these sessions were recorded on video. The theoretical framework for the study is based on a sociocultural perspective. The results indicate contextual-related differences between the activities in the community music and arts school and the primary school. The differences are observed in the activities and the music the children compose. By addressing interpersonal-related differences the reason why some groups of children undertake the task of composing and some groups of children do not undertake this task can be examined further.
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