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- Ferm, Cecilia, et al.
(författare)
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Mapping the teaching of musikdidaktik : addressing the possibilities and challenges of meetings between the instrumental and school music traditions in music teacher education
- 2010
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Ingår i: Crossing Borders. - : Lund University: Malmö Academy of Music.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- INTRODUCTION The current situation within music teacher education in Finland, Norway and Sweden is to some extent characterized by a lack of interrelational communication between the musikdidaktik traditions of instrumental teaching and classroom teaching. In fact these traditions live more or less separate lives. In Finland, the two traditions are taught separately, entitled differently and to a large extent they use different terminology. They also have different historical roots: instrumental pedagogy has strong Russian and Central European influences whereas the school music tradition has its main roots in German-Scandinavian music education along with educational science. At a general level, the characteristics of instrumental didaktik in Sweden can be described as focusing on the instrument, it’s repertoire, challenges and techniques whereas the classroom didaktik is primarily focused at group activities and the importance of shared musical experience. The circumstance that the teachers of instrumental didaktik are often employed not only at the academy but also work as municipal culture school teachers or musicians differ from that of the classroom didaktik teachers who more frequently holds positions at the academy. This difference makes it hard to organize meetings between the two traditions. In Norway, a fully instrumental music teacher education separated from a parallel education for becoming school music teachers was offered by one of the conservatories up to the middle of the 1990ies. Today, music teacher education is organized so that the two paths run in parallel during one educational course, but still their cultural characteristics still entail differences: While the instrumental tradition seems oriented towards instruction and inherent value positions along with keeping and nurturing the advantages of the teacher role in master-apprenticeship relations, the classroom tradition is more generally oriented, including a variation of teaching forms as well as searching for a balance between musical and non-musical values and between child centered and subject centered teaching. In a broader picture the differences between the two educational traditions appear as embedded in two different cultures. The instrumental tradition origins in the several hundred year old master-apprenticeship tradition which can be said to constitute the educational practice of music and musicians themselves. The school music tradition appears as melanged by two ingrediences: Educational theory and music education approaches like the ones connected with Jaques-Dalcroze, Orff and Kodaly. In addition to that the situation in question seems to be similar in all the three countries in question, so, too, does the challenges at the labor market. New challenges for the music teaching profession emerge at an increasing speed. For example, to an increasing degree both instrumental and classroom teachers are required to teach various genres and styles of music, they face a big variety of learners and have to cope with different learning situations and environments as well as having to relate to the challenges of their pupils' informal musical learning outside school. THE STUDYThe overarching aim of the present study is to map and describe the various musikdidaktik traditions in Finland, Sweden and Norway and to reach knowledge upon which suggestions can be made to attain closer contacts and cooperation between different didaktik traditions. By studying and articulating the differences and similarities between countries and traditions we are looking for the ways in which the teaching traditions can learn from and empower each other. We believe that this can be done through acknowledging the specific features and goals of the two traditions and through having them to mirror each other. In sum we believe that this will contribute significantly to inform the field of music teacher education with respect to existing as well as new challenges at the labour market.The first phase of the research process which is in progress examines how music teachers' professional competence is defined and described along with how the process of becoming a ”good” teacher is treated in the Finnish, Norwegian and Swedish instrumental (pedagogy) and classroom didaktik traditions as embodied in relevant literature. In the second phase of the study, we will observe and interview teachers in each country as regards the strenghts, weaknesses and possibilities of the two traditions, including their potential for empowering each other. The research material of the first phase of the study consists of the syllabuses of music teacher education at one institution for higher music education in each of the countries. Along with this we will study the textbook material which is used at the various courses of classroom and instrumental didaktik.Hermeneutic text analysis will be applied to grasp the traditions as they appear in/through the texts studied. This includes analyzing the texts from each country and then compare the results in order to create a full picture of the phenomenon. Interpretation will depart from posing questions like the following to the collected material: (1) How is the process of the student music teachers’ teacher development described or discussed? (2) How is this related to the teacher-student relationship? (3) What principles for content selection are utilized and what content is selected? (4) What is considered as good teaching in the texts? (5) What qualifications and competences is given priority and how are these qualifications and competences described and treated? Finally we will look for reasoning indicating how the educating organization’s responsibility for the process of becoming a good teacher is considered as well as when, where and how the learning process of becoming a good teacher should take place. In the paper presentation, the preliminary results concerning the differences and similarities between countries and traditions will be discussed followed by a discussion about what the traditions can learn from each other. The presentation will also invite a discussion about the study at large including its importance, challenges, and implications.
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| 2. |
- Ferm, Cecilia, et al.
(författare)
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Music teacher educators’ visions of music teacher preparation in Finland, Norway and Sweden
- 2016
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Ingår i: International Journal of Music Education. - : SAGE Publications. - 0255-7614 .- 1744-795X. ; 34:1, s. 49-63
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Tidskriftsartikel (refereegranskat)abstract
- In this study we investigate the assumptions, ideals and beliefs of 12 professors who teach the courses in instrumental teaching and classroom music teaching, called instrumental Musikdidaktik and classroom Musikdidaktik. Drawing on Hammerness’ concept of teachers’ vision we concentrate on the professors’ visions of good teaching, an ideal graduate, and their subject as a whole as well as how those visions can be extended to denote some of the teaching traditions at play. This was examined by individual interviews that constituted one part of a varied set of data collection strategies. The professors’ visions were not necessarily consistent with those of their colleagues. Still they were strongly related to, steered, and limited by established teaching traditions. We suggest that vision might constitute a functional concept among music teacher educators and that clear program visions should be formulated in music teacher education institutions through collective collegial work.
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| 3. |
- Ferm Thorgersen, Cecilia, et al.
(författare)
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Being - is it possible in a space offered by music education? : a philosophical investigation of how music education can embrace the space of being presented at the 'origin of the work of art'
- 2012
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Ingår i: XVI Nordic Musicological Congress, Stockholm 2012. - Stockholm : Department of Musicology and Performance Studies Stockholm University. - 9789197696142
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Konferensbidrag (refereegranskat)abstract
- Martin Heidegger claims that a work of art contains an intrinsic power to open the space of Being. If a work of art can be a musical work of art, then music possesses the power to strike us and hence throw us into Being. We will examine Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. This theoretical study is animated by a living example of a young boy who is about to conquer music.Further, art, as Heidegger describes it, will be focused upon and discussed in relation to how it can exist within music education. How is it possible to relate to music as a work of art with the same distinctions as Heidegger presents for us, by looking upon art as a thing as well as a tool but also as an as an opener to the space that constitutes the gap between earth and world? We argue that the educator has an unquestionable role in this creational space of origin seen as an educational practice.To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those two main issues to the Swedish national syllabus for the subject music. Heidegger’s thinking is then related to the new Swedish governing documents, an investigation aiming to explore how the syllabus embraces and performs Heidegger’s thinking in music educational practice. The presentation ends with a discussion about how music education can offer students a place in Being, and music educators’ roles as parts of the creational origin process of a work of art.
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| 4. |
- Ferm Thorgersen, Cecilia, 1966-, et al.
(författare)
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PROFESSORS' VISIONS OF MUSIC TEACHER EDUCATION
- 2012
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Ingår i: Nordic Network for Music Education NNMPF. - Rejkavik : Rejkavik University. ; , s. 35-36
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Konferensbidrag (refereegranskat)abstract
- Recent developments at the labor market for music teachers require a broader understanding of the music teacher profession than before and cause music teachers to establish themselves as versatile music workers at various levels and areas of music education. This requires music teacher education to not only offer a variety of relevant courses albeit also to secure that the student music teachers profit from the potential synergies of relating and reflecting the learning outcomes of those courses in each other. As a basis for succeeding in such an endeavor, studies into the characteristics and manifestations of the various educational traditions at play are very much needed. In addressing this need empirically we found the notion and concept of vision a possible point of departure. Drawing on Hammerness (2006) we conceive music teacher's visions to entail "images of an ideal practice" (ibid.: 1), bringing together their hopes, cares and dreams with their understandings. As such, a vision represent a reach for them that also is within the realm of possibility. In turn vision connect to their understandings, dispositions; and practices as well as notions of accessible tools. While the role and function of visions among teachers and student teachers have been scrutinized by several scholars, visions' role in the teacher education of particular subjects and the role of the teacher educators' visions have not yet been systematically studied. We hold that these visions may turn out to be equally important for the quality of teaching and learning in music teacher education that (music) teachers' visions may prove to be in the areas and schools for which the student music teachers are qualified. Furthermore, the professors' visions can be expected to influence the visions of student music teachers and teacher freshmen and thus constitute a kind of visions of second degree. Hence, in this presentation we will address the following question: What characterize the visions of Musikdidaktik professors and how do those visions relate to their notions of understandings, dispositions, practices, and tools within the Musikdidaktik subject as a learning community? The study is positioned within the field of research on higher music education and how that education can be further developed. The theoretical framework draws on teacher thinking research (e.g. Jyrhämä 2002; Kansanen 1999), questions of teaching and teacher development in teacher education (Darling-Hammond 2006; Darling-Hamond & Bransford ed. 2005) and the understanding of teaching and learning in musikdidaktik (e.g., Ferm & Johansen 2008, Juntunen 2007). The study is a shared project of three researchers from Sweden, Norway and Finland each examining one music teacher education program of their country educating both classroom and instrumental music teachers. Data consist of four semi-structured interviews of musikdidaktik professors from each country representing musikdidaktik for classroom, voice, piano and strings. The results will be presented and discussed in connection with Professors visions of good practice, Professors visions of an ideal graduate, and Professors visions of the musikdidaktik subject as a whole. The ways in which similarities and differences between countries and musikdidaktik traditions emerge from the visions will be discussed in relation to music teacher education, as well as music teaching practice.
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| 5. |
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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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