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- Bohman, Karin, 1983-
(författare)
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What is music education? : discursive construction and legitimisation of theory and practice in a Swedish upper secondary school
- 2024
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The overall purpose of this thesis is to describe and discuss the discursive constructions and legitimisations of Music and Music theory in Swedish upper secondary school context. Thereby, this thesis is part of the construction and debate concerning theory vs practice in Music education. The study is based on classroom observations and interviews with teachers and students. The study is conducted during two consecutive autumn semesters, where the first autumn observations are conducted in the Music subject Ensemble, and the second semester in the Music theory subject Aural skills and music theory as well as Ensemble. The results and analysis show that Music and Music theory are predominantly differently constructed, through the discourses permeating the courses within the subjects. Ensemble, as a Music subject, is constructed through musical practice, and only activities that are not directly related to playing – as an activity – need legitimisation, whereas Music theory as a subject appear as continuously legitimised through its connotations to the Music subject. The Ensemble course is constructed as the nucleus around which other parts of the education pivots, including courses in Music theory. Through the analysis of events, event series, regularities and condition of possibility (Foucault, 1970), present thesis demonstrates that expressions of resistance and challenge for the regulatory discourses within the two subjects endure. However, discourse flexes and bends though continue to permeate the regular events and thus also the condition of possibility. External context and professional culture (Ball et al., 2012), is viewed as entailing discursive rooms and views that construct both theory and practice. External context, such as genres of music outside of ensemble education, and the teachers’ professional cultures as musicians permeates the discursive construction of the ensemble subject as well as teacher identity. In conclusion, Music and Music theory as subjects in upper secondary education, as they appear in the context of this study, can hence be viewed as two points on a balance-board, where the weight of discursive power vii shifts from one side to the other dependent on within which discursive (class)room they are taught.
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| 2. |
- 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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| 3. |
- 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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