| 1. |
- 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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| 11. |
- Ferm, 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 Music Educators Association. - 1938-2065. ; 29
-
Tidskriftsartikel (refereegranskat)abstract
- The article communicates an investigation of how 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 aimed to investigate, develop and encourage collaborative learning among students and teachers in the third circle. Material produced and analysed included log-books, 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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| 12. |
- Hentschel, Linn, 1980-, et al.
(författare)
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Aspects of care in a musical comedy project : human, artistic and pedagogical values
- 2022
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Ingår i: Nordic network for research in music education 2022 conference. - : Nordic Network for Research in Music Education; University of Jyväskylä.
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Konferensbidrag (refereegranskat)abstract
- The presentation shares findings of a phenomenologically based research project where disabled adolescents at an NGO and students at a Musical Comedy Artist program work with artists/pedagogues employed at Kulturverket [The culture service] to create a musical during three years. The Swedish Fundamental Law on Freedom of Expression emphasizes human rights of free sharing of meanings and free artistic creation. Hence, it is of value to investigate activities that broaden possibilities for disabled adolescents to participate in artistic processes, as in a co-operative musical. The municipal project run by Kulturverket strives to create a professional performance, where the three groups of people cooperate in an equally safe and trustful atmosphere. We as researchers follow the project, aiming to describe and try to understand participation through aesthetic communication. In this specific presentation we focus on the phenomenon care. How is care constituted in the project? Towards what do the participants from Kulturverket direct care? How do care become visible in their pedagogical activities? Observations, interviews and a qualitative survey were conducted to come close to the participants lived worlds. Field notes, written answers and transcribed interviews created a material that was analyzed in a phenomenological-hermeneutic manner (van Manen). We use the theories of Max van Manen (xxxx) and Nel Noddings (1984/2013) as a theoretical starting point for the concept of caring. The results show that care concerns human and artistic as well as pedagogical values. In the presentation we will show examples of Kulturverkets philosophical grounds for caring, as well as examples of how they organize and perform their teaching with caring of humans, art, and pedagogy into account.
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| 13. |
- Hentschel, Linn, 1980-
(författare)
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Att bli en sjungande tonårspojke : en livshistoria om att sjunga tillsammans med andra i skolan
- 2022
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Ingår i: Samsang gjennom livsløpet. - : Cappelen Damm Akademisk. - 9788202764623 - 9788202716356 - 9788202766443 - 9788202766436 - 9788202766450 ; , s. 173-197
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Bokkapitel (refereegranskat)abstract
- This chapter aims to present knowledge about teenage boys’ experiences of singing together in school. The study that the chapter is based on uses a phenomenological, gender theoretical and music didactic perspective. Earlier research shows that singing is practiced, and anticipated to be practiced more often by girls than boys in Western societies and schools. An analysis of interviews with the student Andreas and his music teacher Victor is presented, as they explore co-singing in a music profiled class in elementary school. The interviews were performed in 2013 and 2020, and analysed and presented as a «life story». It entails Andreas’ journey from being a teenage boy who refuses to sing in school to becoming a teenage boy who sings, and the role that Victor, as a music teacher, plays in Andreas’ journey. The chapter shows several gendered and pedagogical aspects in Andreas’ situation that influence him to at first mime and later on sing during choir lessons – especially the perception of singing as feminine coded and singing knowledge in choir
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| 14. |
- Hentschel, Linn, 1980-, et al.
(författare)
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Becoming musical performance artists : challenging organizational norms and traditional municipal arts school structures
- 2022
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Konferensbidrag (refereegranskat)abstract
- Kulturverket is a municipal organisation that employs professional artists and educators in arts- and culture-based projects. The organisation has, through several funded projects developed a working model labelled: Kids tell the pro’s what to do. Accordingly, the children are seen and valued as creators, who take part in visualising and generating ideas guided by the grownups in collaboration. Such an approach is closely connected with organisational structures, collegial atmosphere, didactic tools, and relational situations where arts becoming is taking place. Kulturverket is since fall 2020 a part of the municipal arts school in Umeå. Organisational negotiations are currently taking place, regarding how Kulturverket’s border-crossing activities could be adapted to the of structures of the arts school. In this paper we would like to illuminate turn the “dilemma” around and ask: What can the organisation model of Kulturverket contribute with, when it comes to open up for engaged, border-crossing, co-operative and multi-artistic activities? What possibilities and challenges shows themselves when aspects of time, space, gaps, and competence are seen as fluid? The example we want to use to fulfil the aim of the study: to illuminate how, and on what levels organisational norms and traditional structures are challenged, and what possibilities and new challenges 2 that occur when going beyond the Anthropocene based structure of a culture school, is a Kulturverket project called Sammankonst (commingtogetherart). This project includes disabled adults, and folk-high school students who contribute with ideas, life stories, and arts abilities and tellKulturverket’s educators and artists what to do. For three years, they collaboratively create and perform a musical. To be able to grasp the aspects of common and individual becoming within the project how that is related to aspects of organisation, we created a research entaglement based on post-human theory. This implies that nature and culture are seen as intertwined, agential and entangled, which encourages experimental approaches. Hence, situations seen as webs of relations were created, including the actors disabled humans, musical artist students, educators, artists, researchers, and varied digital communication tools. Inspired by internet-related ethnography observations, video recordings, collaborative writing, qualitative surveys and group interviews produced a 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 exemplifies intra-actions that challenge anthropocentric organisational structures of municipal arts schools.
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| 15. |
- Hentschel, Linn, 1980-, et al.
(författare)
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Becoming musical theater artists : participating in a border crossing process towards a musical performance
- 2021
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Konferensbidrag (refereegranskat)abstract
- The presentation shares first impressions of a research project where people visiting an NGO for disabled adolescents work with students at a Musical Artists’ program to create a musical. The Swedish Fundamental Law on Freedom of Expression states the rights regarding free sharing of meanings and free artistic creation. Hence, it is of value to investigate activities that broaden possibilities for disabled adolescents to participate in artistic processes, as in a co-operative musical. The municipal project strives to create a professional performance where the two groups of people meet and work equally in a safe and trustful atmosphere. The aim with the study was to describe and try to understand participation in aesthetic communication. To come close to the lived worlds of the participants observations and a qualitative survey were conducted, which created a material that was analysed in a phenomenological-hermeneutic manner. The results show that the participants experience engagement and relationship in the process of becoming musical spokespersons, even if covid-19 affected the collaboration negatively.
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| 16. |
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| 17. |
- Hentschel, Linn, 1980-, et al.
(författare)
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Equality and sustainable development in Swedish music classrooms
- 2021. - 1
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Ingår i: Gender issues in Scandinavian music education. - New York : Routledge. - 9781003038207 - 9780367481421 ; , s. 95-113
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Bokkapitel (refereegranskat)abstract
- Research conducted outside as well as inside music educational settings show that Simone de Beauvoir’s theories can help to explain and provide means of change for situations where traditional gender structures risk being conserved. In the Swedish educational system, gender equality is classed as a key area for sustainable development. In this chapter, the authors present, discuss, and reflect upon girls’ experiences of music educational settings, using a collaborative narrative reanalysis of formerly produced data. The chapter draws on de Beauvoir’s concepts of immanence (passivity), transcendence (activity), and freedom. The results show that girls’ experiences in the music classroom appear as both immanent and transcendent, but that immanence is the more common choice of action. A conclusion of the analyzed results is that music teachers should engage in creating situations where girls feel encouraged to transcend in the music classroom.
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| 18. |
- Hentschel, Linn, 1980-, et al.
(författare)
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Humor, gender and creativity in music education
- 2020
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Ingår i: The topology of music education as a field of researches, policies and practices.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In this paper we will discuss humor as a gendered resource which opens up spaces for creativity in music education. We will do so by re-analysing empirical material from our two doctoral dissertations focusing on music education in secondary schools in Sweden. Humor is often presented as something positive when it comes to education. Humor has for example been pointed out as a resource to create motivation within school-subjects otherwise not regarded as interesting among students. Humor has also been proven fruitful for teachers in order to create a friendly environment and to balance teachers formal position with a more familiar position. In other words, humor seems, within education, to be constructed as a resource to accomplish different educational goals within the classroom. In this paper though, we will discuss difficulties to keep in mind when humor appears in students interactions within the music-classroom. In the following we will draw the attention to some themes we want to discuss which have become visible in our material. When it comes to gender, humor does not seem to be a neutral resource. In studies conducted within the secondary school music-education, humor seems to be more frequently used to express masculinity. Students positioned as boys are also more expected to be humoristic and make jokes than students positioned as girls. Similarly, in research regarding the humor-business, humor seems to represent a masculine domain. Even if this is a hierarchical order that seems to change, it is a discourse that is still being reproduced and thus still have a possible explanatory power. Humor as a masculine domaine is in the material also apparent as students positioned as boys expressing humor are not being questioned, which is the case among students positioned as girls. Language creates binaries. These binaries are contextual and changes over time but are however inevitably producing positions in the particular context. Humor is in our material frequently constructed as the opposite to seriousity. This does not mean that making jokes could not be “serious business”, but rather that the distance to seriousity in itself could be used in interaction to create space, which we would like to discuss in terms of creativity. Making jokes in the different music classrooms can function as resources to create distance to seriousity. In other words, making jokes makes it possible to express yourself in otherwise not socially accepted ways without being criticized. When draped in humor, expressions such as sexism, violence, racism, homofobia etcetera could be articulated and yet not followed by criticism. Even if this could be understood as a somewhat negative way of using humor, it points towards the creative potential that comes with humor in social interaction. This kind of creativity is primarily connected to the positioning work that is being done in interactions. Even creativity connected to musical expression is, following our material, facilitated by expressions of humor. Singing in different ways in order to make other people laugh is connected to breaking (and thus at the same time expressing) musical conventions in different contexts. Singing in a funny playful way can also be used as a didactic method to encourage pupils to sing, or as a positive approach during the rehearsal phases of musical processes in school. In secondary school music classrooms the demands from public policy to teach creativity in music is not seldomly done by letting students write songs. In our material we have studied an example in which the students are seriously engaged in expressing humor within their composing. We will argue that this kind of humor increases creativity. Attempting to be humoristic can in other words be very closely connected to creativity. Humor could also be understood in negative terms, not in what it produces in terms of creativity in order to make a joke, but rather in what or who is the aim of the joke. Something or someone is always pointed out in jokes. Jokes have, in other words, a normative effect. In our material making jokes could be used to legitimize pointing out someone's mistakes for example, even if teasing is not socially accepted within the classroom. Finally, these different aspects of humor combined creates different opportunities for musical creativity within music education. These differences are, we argue, important to consider when using humor as a didactic resource.
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| 19. |
- Hentschel, Linn, 1980-
(författare)
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Kritisk musikpedagogik
- 2023
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Ingår i: Svensk Tidskrift för Musikforskning. - : Svenska samfundet för musikforskning. - 1653-9672. ; 105
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Recension (refereegranskat)
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| 20. |
- Hentschel, Linn, 1980-, et al.
(författare)
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Singing and making in society – ambiguities and musician competence?
- 2023
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Ingår i: NNRME 2023.
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Konferensbidrag (refereegranskat)abstract
- Based on a phenomenological way of thinking, this paper aims to describe singing and making in society based on experiences among conservatory students, music theatre students and their teachers. Earlier research has stated the need for conservatory education to more thoroughly prepare becoming musicians for a dynamic and changing society. Ongoing research in European conservatories has found that the preparations for, and student´s thoughts on, future working life vary greatly between departments. For example, percussion students seem to be prepared for and willing to work as musicians in soloistic, chamber music, and orchestral situations, with contemporary improvisation, as well as in NGOs and creative music schools. While voice students, on the other hand, primarily are more directed toward specific soloistic roles in operas and operettas, combined with taking on HME teaching on the side. A reason given for this is an idea of singing, where "more varied" singing activities is seen as affecting the voice instrument negatively. The same view of voice competence traditionally pervades musical theatre education, where different voice characters are developed within the master-apprentice tradition, with specific musical theatre roles in mind. A project that challenges this tradition is Sammankonst (Together Art) driven by a municipal arts organisation in Sweden where students at a musical theatre program at folk high school level collaborate with intellectually disabled adults. Throughout three years the participants collaborated in the creation and performance of their own musical theatre. To come close to the lived worlds of voice students, interviews were made with six conservatory students, 15 musical theatre students, and two of their teachers. The interviews were transcribed verbatim and analysed in a phenomenological manner. 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 musician quality competence.
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| 21. |
- Hentschel, Linn, 1980-
(författare)
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Singing situations : a phenomenological study of singing in lower secondary music education (7th and 9th form)
- 2021
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Konferensbidrag (refereegranskat)abstract
- This thesis explores how the phenomena of ”singing situations” are made visible through pupils and music teachers' experiences of music education in a Swedish school, through an existential philosofical gender perspective. A basic point of departure in the thesis is that singing development is possible to evolve for all humans, similar to the latest curriculum for the music subject in elementary school in Sweden. The thesis can be positioned within four research areas: gender research in Swedish school, vocal- and voice research, gender related music education research and gender related music education research on singing. The latter research area constitutes the area in which the present dissertation is closest positioned to. Several researchers whose research is positioned in the area of gender related music education research expresses the need for more research similar to their own contributions. Within the study, five field visits have been conducted over two years involving seventyone pupils and five music teachers. The study includes observations and interviews, as well as sound recording and notes, and has focused solely on singing situations - situations in which singing appears in the participants' experiences in different ways. It was of research interest to meet pupils with experience of voice changes during puberty, as the majority of previous research presents the voice change as an experience that primarily or only boys experience. A very limited minority of research investigates how girls experience the voice change during puberty. The empirical data has been analyzed through seven phenomenological steps. The overall results show that all pupils sing and that many enjoy singing in school, with exception for one girl. The teachers' basic starting point in their teaching is to treat singing ability as possible to develop for all pupils. According to the teachers' basic view of singing ability as transcendence, the result shows that different normative and structural aspects surround the pupils and teachers. The result also show how these aspects impacts pupils choices in the singing situations, and that some pupils are given greater opportunities to transcend in their vocal learning than others. The results are discussed through themes that arise within the results, mainly: subjective and intersubjective experience through singing, habitual singing, norms of restraint and imitation, girls' and boys' singing situations, views on the singing body as factuality or freedom in relation to gender, as well as the creation of alternative spacess in singing situations.
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| 22. |
- Hentschel, Linn, 1980-
(författare)
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Stemmeskifte, luciatradition och sånglekar : att sjunga i skolan sett ur ett könsperspektiv
- 2021
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- Från ögonblicket då vi föds är kapaciteten att kunna ta ett andetag och släppa ut ett skrik en livsviktig aspekt för vår existens. Vår röst är en självklar del i vårt liv, den utgör en del av oss själva. Den är förkroppsligad, samtidigt som den är social. De flesta människor har antagligen en bestämd uppfattning om vilka gränser och vilken karaktär som den egna rösten har. Men hur mycket av det vi definierar som vår sångröst har att göra med könade förväntningar och normer om hur den borde låta, sett ur ett samhälleligt perspektiv? Och hur visar sig detta i skolan, där sång är ett av många moment som betygsätts i musikundervisningen? Denna presentation kommer att beröra förväntningar och normer om sång som barn kan möta i skolans musikundervisning – specifikt utifrån ett könsperspektiv.
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| 23. |
- Hentschel, Linn, 1980-
(författare)
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Sångsituationer : en fenomenologisk studie av sång i musikämnet under grundskolans senare år
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis explores how the phenomena of ”singing situations” are made visible through pupils and music teachers' experiences of music education in a Swedish school, through an existential philosofical gender perspective. A basic point of departure in the thesis is that singing development is possible to evolve for all humans, similar to the latest curriculum for the music subject in elementary school in Sweden. The thesis can be positioned within four research areas: gender research in Swedish school, vocal- and voice research, gender related music education research and gender related music education research on singing. The latter research area constitutes the area in which the present dissertation is closest positioned to. Several researchers whose research is positioned in the area of gender related music education research expresses the need for more research similar to their own contributions. Within the study, five field visits have been conducted over two years involving seventyone students and five music teachers. The study includes observations and interviews, as well as sound recording and notes, and has focused solely on singing situations - situations in which singing appears in the participants' experiences in different ways. It was of research interest to meet pupils with experience of voice changes during puberty, as the majority of previous research presents the voice change as an experience that primarily or only boys experience. A very limited minority of research investigates how girls experience the voice change during puberty. The empirical data has been analyzed through seven phenomenological steps. The overall results show that all students sing and that many enjoy singing in school, with exception for one girl. The teachers' basic starting point in their teaching is to treat singing ability as possible to develop for all students. According to the teachers' basic view of singing ability as transcendence, the result shows that different gendered normative and structural aspects surround the pupils and teachers. The results also show how these aspects impacts pupils choices in the singing situations, and that some students are given greater opportunities to transcend in their vocal learning than others. The results are discussed through themes that arise within the results, mainly: subjective and intersubjective experience through singing, habitual singing, norms of restraint and imitation, girls' and boys' singing situations, views on the singing body as factuality or freedom in relation to gender, as well as the creation of alternative rooms in singing situations.
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| 24. |
- Hentschel, Linn, 1980-
(författare)
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The singing situation : a study on pupils and music teachers experiences of singing in grade 7-9, in a Swedish school
- 2016
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Konferensbidrag (refereegranskat)abstract
- Singing is defined with a strong feminine gender-code, or as something more for girls, in research and evaluations of both Western education as Western societies. Research often describe environments where girls sing and boys play other instruments. Singing is an obligatory part of the music subject in the Swedish compulsary school and must be performed by all pupils to get a passing mark in both grades 6 and 9. In this presentation I will share results from my ongoing PhD project which investigates pupils and music teachers experiences of singing in one swedish school, through a gender perspective. Preliminary results indicate that pupils experiences of singing are connected to different gendered situations. This is visible in the structuring of singing in music activities, inrelation to pupils freedom of choice within them. When pupils can choose to sing or not, the majority of girls choose to sing and the majority boys choose not to, similiar to most research on singing and gender. When pupils singing is mandatory, the pupils are sorted into four vocal groups divided as to their assumed gender (girl/boy). This results in a ”gendered soundscape”, where girls sing high and ”nice”, and boys sing dark and loud, and implicates that pupils gendered as girls or boys are expected to perform singing dissimilar according to their assumed gender. Fixed conceptions on gender working as a sorting tool for singing in the swedish school in 2015, shows similarities to how singing formerly was organised in swedish schools (around 1850s), where conceptions on musicality as fixed and not as something changeable was used as a sorting tool for singing in school.
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| 25. |
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