| 1. |
- Folkestad, Göran, et al.
(författare)
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Here, there and everywhere
- 2007
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Ingår i: A decade of research in music education (Studies in music and music education). - 919760531X ; 9, s. 7-25
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Bokkapitel (refereegranskat)
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| 4. |
- Bygdéus, Pia, 1963-
(författare)
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Medierande verktyg i körledarpraktik : en studie av arbetssätt och handling i körledning med barn och unga
- 2015
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Konstnärligt arbete (övrigt vetenskapligt/konstnärligt)abstract
- In Sweden, approximately 5 % of the population sing in a choir or a singing group which means that about 500 000 people plus a number of choral conductors regularly meet in choir related practices. The aim of the present study is to describe, verbalize and make visible the mediating tools used by choir directors working with children and youth. The study is qualitative in character: four choir directors were observed closely while working with their children and youth choirs. They also took part in semi-structured interviews. The empirical data material consists of observation notes, reflective writing, individual interviews, focus conversations, videotapes and stimulated recall interviews.The results demonstrate that the role of the choir director is complex. When working with a choir, choir directors often use several aspects of their professional role. Analysed from a sociocultural perspective, the result points at eight categories of working approaches: (a) A listening attitude towards the choir, with the music in focus; (b) a variation in ways of working with the choir; (c) the use of musical routines; (d) the choir director acting as a role model in shaping musical expression with the group; (e) a concentrated cooperation with the choir through short and expressive commands and instructions; (f) reflection in practice by planning and self-evaluation; (g) storytelling, which results in memory training, stimulation of the imagination and the sharing of common experience, and (h) the use of target images expressed as visions, goals or jointly stated, communicated targets. These categories are generated through the analysis of the choir directors’ actions and activities in their work with the choirs. This is situated in choir singing as a social and cultural practice. The participants display great individual variation in their choices of strategies for communication and in their decision-making when working with children’s and youth choirs. A large variety of cultural and mediating tools are used. The working approaches and mediating tools become available in a social, situated and cultural practice. In conclusion, choral conducting with children and youth involves a great variety of negotiations and renegotiations of working approaches and mediating tools.
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| 5. |
- Bygdéus, Pia, 1963-
(författare)
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Uttryck genom handling : Medierande verktyg i körledararbete med barn och unga
- 2012
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The role of the choir leader is a complex one. When working with a choir, choir leaders often use several aspects of their professional role. The aim of this qualitative study is to describe, verbalise and make visible the mediating tools that choir directors working with children and youth choirs use. In a longitude study, four choir leaders were observed closely while working with their choirs. They also took part in semi-structured interviews. The empirical data material consists of observation notes, reflective writing, individualinterviews, focus conversations and videotapes. Analysed from a sociocultural perspective, the result points to eight groups of mediating tools: a) a listening attitude towards the choir, with the music in focus; b) a variation in ways of working with the choir, where a variety of physical tools are used; c) the use of musical routines; d) the choir director acting as a role model in shaping musicalexpression with the group; e) a concentrated cooperation with the choir through short and expressive instructions; f) reflection in practice by planning and self-evaluation; g) storytelling, which results in memory training, stimulation of the imagination and the sharing of common experience, and h) the use of target images expressed as visions, small/big goals or jointly stated, communicated targets. The choir directors who participated in the study use a variety of approaches and ways of working as a strategy for communicating and working with child and youth choirs.
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| 6. |
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| 7. |
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| 8. |
- Folkestad, Göran
(författare)
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A meta-analytical approach to qualitative studies in music education: a new model applied to creativity and composition
- 2004
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Ingår i: Bulletin of the Council for Research in Music Education. - 0010-9894. ; :161/162, s. 83-90
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Tidskriftsartikel (refereegranskat)abstract
- Qualitative methods are well established in music education research. This has led to an interesting body of research, each project investigating in depth a specific situation or phenomenon. One way of combining the advantages of qualitative studies with the aim of acquiring general theories Of music education might be to develop methods of re-analyzing primary studies on a secondary, meta level. The aim of this article is twofold: to present a preliminary model of a method of metaanalysis on qualitative studies in music education, and to exemplify how such a method might be adopted, in this case on studies in musical creativity and composition. From a starting point in literature on meta-analysis, a method of qualitative re-analysis of the results of qualitative studies in music education is presented. The result indicates that the basic qualities and essential elements in musical creativity and composition are very similar for all participants from early childhood through adolescence and up to adulthood, inside as well as outside of institutional settings such as schools. In conclusion, the method of analysis and its implications for further research in music education is discussed as one way ahead in establishing music education theories.
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| 18. |
- Folkestad, Göran, et al.
(författare)
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National identity and music
- 2002
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Ingår i: Musical identities.
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 25. |
- Holmberg, Kristina
(författare)
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Musik- och kulturskolan i senmoderniteten : reservat eller marknad?
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis focuses on the education at Swedish community school of music and art. The aim of the study is to investigate how teachers at those schools talk about their own activities, and thereby also to explore, describe and analyse how the teaching is manifested. In the study 27 teachers from six different community schools of music and art participated. All together about 10 hours of group conversation were recorded and subsequently transcribed in to text for further analysis. In line with the theoretical approach of the thesis naturally occurring talk was strived for. The study uses two discourse analytical perspectives, both founded in social construction- ism and post-structuralistic theory. Discursive psychology, influenced by ethnomethodology and conversation analysis in the field of social psychology, and discourse theory, inspired by the work of Foucault. The combination of the approaches is considered as more productive than a one-sided use of one or the other. In order to create options for discussing the conditions society offers on the basis of the macro-discourses generated by the data, theories of modernity has been chosen as a relevant approach. The results are divided into four areas; Change (Förändringen), Future (Framtiden), Frustration (Frustrationen) and Freedom (Friheten), all describing distinctions between systems of difference. Each area is extensively analysed. In the discussion the changed conditions in the teachers work at the schools of music and art are discussed in relation to the tendencies of late modernity. The teachers in the present study are experiencing a loss of influence concerning teaching and are explaining this in terms of an in- creasing demand for participation from the students. At the same time, the changed students are seen as responsible for the changes in the lesson contents. The changed condition in society consequently illuminates what has happened at the schools of music and art. Both teachers and students are by cause of the cultural liberation more free as the norms of the traditional have lost most of its power. This gives consequences for the students, who more actively seek influence according to the music of the lessons. On behalf of the teachers one consequence can be seen in their increasing openness to new ideas and in a higher wish to manage a pleasant teaching for their students. In conclusion, as long as traditions were able to guide the contents of the activities and the students adjusted to it, there was no need for greater clarity. However, in late modernity, when ideas that were once obvious are getting questioned, things come to another situation. A scenario for the future without control documents, would, according to this study, lead to an abandoning of the ambition, and the schools of music and art would transfer into an amusement park for the ”ego children”. But with an increasing distinctness on the mission, it is my conviction that the cultural heritage will also be better able to survive in late modernity. There is no doubt that community schools of music and art have capacity to carry on a market adapted activity and at the same time to mediate a tradition.
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| 26. |
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| 29. |
- Mars, Annette, et al.
(författare)
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Musical learning in a cross-cultural setting: a case study of Gambian and Swedish adolescents in interaction
- 2015
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Ingår i: Music Education Research. - : Informa UK Limited. - 1469-9893 .- 1461-3808. ; 17:3, s. 296-311
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Tidskriftsartikel (refereegranskat)abstract
- This article presents a study investigating how adolescents from Sweden and the Gambia learned music while interacting with each other in a concert project conducted in the Gambia. The main aim is to explore in what ways adolescents acquire music and to analyse it in a context of cultural identity. A sociocultural and ethnomusicological approach was employed, drawing on field studies and interviews with the adolescents. The results demonstrate that the students' musical and cultural backgrounds strongly influence the ways in which they learn and how they teach others. Their cultural backgrounds also affect their choice of tools for learning and teaching. The adolescents appear to be more inclined to change their ways of teaching others than to change the methods of their own musical learning. The results suggest that teachers ought not to always use the same methods in teaching their students as they experienced when learning themselves, and that teachers need an ability to identify the learning styles of their students and to create a learning environment that corresponds to this variety.
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| 30. |
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| 31. |
- Nilsson, Bo, 1950-, et al.
(författare)
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Children's practice of computer-based composition
- 2005
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Ingår i: Music Education Research. - : Routledge. - 1461-3808 .- 1469-9893. ; 7:1, s. 21-37
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Tidskriftsartikel (refereegranskat)abstract
- Today’s children live in a world where music in all its different forms has become a significant factor in their everyday life. This article describes a 2-year empirical study of nine 8-year-old Swedish children creating music with synthesiser and computer software. The aim of the study is to describe and clarify the creative processes of computer-based composition. The tasks given to the children were framed as invitations to create music to different pictures. Computer MIDI-files were systematically collected covering the sequence of the composition processes step by step: observations were made of their work; and interviews were carried out with each of the participants. In the analysis, five variations of the practise of composing were identified, each with a different object in the foreground of the activity: (i) the synthesiser and computer; (ii) personal fantasies and emotions; (iii) the playing of the instrument; (iv) the music itself; and (v) the task. The findings of the present study also give evidence that young children are able to create music with form and structure.
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| 32. |
- Nilsson, Bo, et al.
(författare)
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Children's practice of computer-based composition
- 2005
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Ingår i: Music Education Research. - : Informa UK Limited. - 1461-3808 .- 1469-9893. ; 7:1, s. 21-37
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Tidskriftsartikel (refereegranskat)abstract
- Today’s children live in a world where music in all its different forms has become a significant factor in their everyday life. This article describes a 2-year empirical study of nine 8-year-old Swedish children creating music with synthesiser and computer software. The aim of the study is to describe and clarify the creative processes of computer-based composition. The tasks given to the children were framed as invitations to create music to different pictures. Computer MIDI-files were systematically collected covering the sequence of the composition processes step by step: observations were made of their work; and interviews were carried out with each of the participants. In the analysis, five variations of the practise of composing were identified, each with a different object in the foreground of the activity: (i) the synthesiser and computer; (ii) personal fantasies and emotions; (iii) the playing of the instrument; (iv) the music itself; and (v) the task. The findings of the present study also give evidence that young children are able to create music with form and structure.
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| 33. |
- Nilsson, Bo L, et al.
(författare)
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Children's practice of computer-based composition
- 2007
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Ingår i: A decade of research in music education. - Malmö : Malmö Academy of Music, Lund University. ; , s. 135-154
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 34. |
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| 35. |
- Sundin, Bertil, et al.
(författare)
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Musical creativity in the first six years
- 2007
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Ingår i: A decade of research in music education (Studies in music and music education). - 919760531X ; 9, s. 27-46
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 36. |
- Söderman, Johan, et al.
(författare)
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How Hip-Hop Musicians Learn : Strategies in informal creative music making
- 2004
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Ingår i: Music Education Research. - : Taylor & Francis. - 1461-3808 .- 1469-9893. ; 6:3, s. 313-326
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Tidskriftsartikel (refereegranskat)abstract
- The study of informal musical learning outside institutional settings, such as schools, has proved to contribute important knowledge to aspects of music education. Hip-hop, as an example of informal musical learning, has so far been quite an unexplored field for research. The present study investigates music creation within two hip-hop groups (communes) in Sweden. The focus is on the creative learning process and the meeting between music and lyrics (the texts). The groups were given a beat/background, composed by a 'beatmaker', on the basis of which they were asked to create a hip-hop tune. The process, which took place in a recording studio with a sound engineer, was observed and videotaped. After the recording sessions, both groups watched the videotape and made comments on their working processes (stimulated recall). Pre-interviews were carried out with both groups, and in addition, the 'beatmaker' was interviewed. The results show that in the creative process, which is collective in character, the lyrics are superior to the music. Although the groups use the same ready-made music backgrounds, the lyrics are different and very personal. The text, which includes music and lyrics, is cyclical and is made using a 'collage' method. It is full of intertextuality, i.e. references to other lyrics, movies and commercials.
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| 37. |
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| 38. |
- Söderman, Johan, et al.
(författare)
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Kunskap genom rap : Hiphop som hantverk, pedagogik och aktivism
- 2008
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Ingår i: Pedagogisk forskning i Sverige. - : Göteborgs universitet. - 1401-6788 .- 2001-3345. ; 13:1
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Tidskriftsartikel (refereegranskat)abstract
- I fokus för denna artikel står tre rappare som i sina respektive verksamheter använder hiphop som hantverk, pedagogik och aktivism. Forskningsfrågan formulerades: Hur talar rappare om hiphop, sin verksamhet och om lärande med utgångspunkt i begreppen musikaliskt hantverk, pedagogik och aktivism? Individuella intervjuer har genomförts med de tre rapparna. Intervjuerna var närmast ostrukturerade och kan betraktas som fria samtal även om samtalen fokuserade på lärande och hiphop. I den kvalitativa analysen framträder hur rapparna talar om hiphop som politiskt verktyg, om marginalisering och utanförskap, om hur de gör sig själva till röster för samhällets svagare grupper och om kunskapens kraft. Folkbildningens dubbla funktion synliggörs i rapparnas tal om sina respektive verksamheter. Ett radikalt bildningsideal med emancipatorisk målsättning framträder där rapparna kämpar för att marginaliserade grupper ska kunna höja sina röster och förändra sina respektive livssituationer. Samtidigt framträder konturerna av ett patriarkalt bildningsideal, där människor görs till objekt. De tre rapparna ansluter sig här till en tradition där folkbildning innebär att förkunna ”den goda smaken” vilket blir synonymt med den goda hiphoppen. Dessa folkbildande rappare framstår således både som kulturradikala och kulturkonservativa i sitt tal om den folkbildande verksamheten.
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| 39. |
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| 40. |
- Söderman, Johan, et al.
(författare)
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Traditionsbärare och fostrare : samtal om lärande med två amerikanska rappare
- 2007
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Ingår i: Educare. - : Malmö högskola, Lärarutbildningen. - 1653-1868 .- 2004-5190. ; :2, s. 7-37
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Tidskriftsartikel (refereegranskat)abstract
- Research about non-institutional musical environments, like hiphop, is important when education and learning are being discussed. The literature on aesthetic informal learning is limited. We need to know more about how learning is organised in autonomous and musical contexts. In this article two female rappers from New York City are in focus. The rapper Jean Grae is a Grammy nominated rapper who is well-known around the world. Toni Blackman is a hiphop ambassador, appointed by the U.S. Department of State. Her different social and educational projects on hiphop have been given a lot of attention in the press. The purpose of this article is to study what kinds of learning aspects appear in the rappers’ talk about their work in interviews, group conversations, magazines and selfproduced texts. The results show how the rappers stand out like fosterers, popular adult educators, jazz musicians, tradition-bearers, specialists and artists. Linguistic reformulations are used to analyze the complexity of the rappers' activities. Finally, the article discusses how school can be a fosterer and a tradition-bearer and at the same time positive and open to new forms of popular culture.
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| 41. |
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| 42. |
- Törnquist, Els-Mari, et al.
(författare)
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The staging of learning
- 2007
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Ingår i: A decade of research in music education. - 919760531X ; , s. 175-196
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 43. |
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| 44. |
- Zadig, Sverker, et al.
(författare)
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Choral singing under the microscope : Identifying vocal leaders through comparison of individual recordings of the singers
- 2017
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Ingår i: Finnish Journal of Music Education. - 1239-3908. ; 20:FJME 01 2017, s. 77-98
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Tidskriftsartikel (refereegranskat)abstract
- Singing in groups and choirs is one of the main and generally most widespread musical activities: in schools at all levels among children and adolescents as well as in leisure time activities from "non-singer choirs" to more advanced and professional choirs. Previous studies indicate the need to identify vocal collaboration between choral singers. This article investigates how individuals in a choir differ in taking initiative and in which ways musical informal leadership may appear. As data collection method, individual singers were equipped with close-up, head-mounted microphones. Graphs of separate-track recordings were compared and analyzed. In the analysis, different kinds of informal leadership were identified: (i) in accuracy regarding blending; (ii) in intonation and (iii) in how leaders influence their peers. The results indicate that there are singers acting as informal leaders in the choirs. A way to improve choral singing, at all levels and contexts, might be to acknowledge and make use of this leadership.
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| 45. |
- Zadig, Sverker, et al.
(författare)
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Informella stämledare : Körledares erfarenhet av samarbete mellan sångarna i körstämman
- 2015. - NMH-publikasjoner 2015:8
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Ingår i: Nordisk musikkpedagogisk forskning. Årbok 16 2015 : Nordic Research in Music Education. Yearbook Vol. 16 2015, - Nordic Research in Music Education. Yearbook Vol. 16 2015. - 9788278532089 ; 16, s. 183-207
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Bokkapitel (refereegranskat)abstract
- Informal leaders in the choral voice.Choir leaders’ experience of collaboration between the choristers.Most choirs and choir leaders have the aim to make the individual voices soundas unison as possible in the different choral voices, according to both timing,synchronisation and vocal blend.The aim of the present study was to investigate experienced choir leaders’experience and understanding of potential collaboration between the choristersin the choir, and what consequences that might result in.The study is qualitative in character: semi-structured interviews were carriedout with experienced Swedish choral conductors representing a broad spectrumof the praxis field, regions, ages and different gender. The interviews weretranscribed in verbatim and were analysed.The result shows that all the interviewee experienced informal leaders in theirchoirs and two main categories were identified: (i) with a focus on leadersof the musical line, musicianship/music-maker, and (ii) with a focus on thechoral blend, the blenders.As a conclusion, in order to develop choirs to sound more even, synchronisedand in blend, it might be of value to consider where to place a musical leaderin the choral voice, and also to what degree this phenomena should be madeexplicit and discussed with the members of the choir.
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