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1.	Assarsson, Petra, 1970-, et al. (författare) Didaktiska kategorier inom distansutbildning i musik – en modellutveckling 2023 Ingår i: HumaNetten. - : Linnaeus University Press. - 1403-2279. ; :50, s. 164-186 Tidskriftsartikel (refereegranskat)abstract Distance courses are today a common feature in the university's range of courses. There are distance courses in different subject areas such as the subject of music. There have been distance learning courses for a long time, although much of the teaching has temporarily changed due to the reorganization of teaching during covid 19. In distance learning, the didactic elements may be different than in campus teaching. In 1978, Bjørndal and Lieberg (1978) developed a didactic relationship model. The model consists of different didactic categories; student and teacher conditions, goals, frame factors, methods, content and assessment. These categories influence each other relationally in different ways depending on what choices the teacher makes. A central aspect is that the teaching should be seen as a wholeness because the decisions the teacher makes based on one category also affect the other categories. The model was made to be a support for teachers' planning and it had a great influence on Norwegian didactics (Hanken & Johansen, 2021). Today, the didactic relationship model is also used in Swedish teacher education. When the didactic relational model was developed in 1978, the technology that today enables digital distance education did not exist. With this starting point, the purpose of this study was to make a model development of Hanken and Johansen´s model (2021) as a subject didactic development work with a focus on distance learning. The research question is: How can the didactic categories be described based on distance education in music? The study has been conducted as three pair interviews. The selection is goal-oriented (Bryman, 2002) and consists of university teachers who teach the subject of music in distance courses. The subject of music in this study consists of both musical-practical elements and theoretical elements. The analysis will be made on the basis of Hanken and Johansen's (2021) definitions of the categories in the model. The study is ethically reviewed by the Ethics Committee Southeast, Sweden. The study is part of a development work within a university. The results of the study may be of interest to university teachers as well as other teachers who teach distance learning courses in the subject of music. The study could also make didactic choices and consequences visible to music education students.
2.	Bjerstedt, Sven, et al. (författare) The musical present : A polyphonic philosophical investigation 2017 Ingår i: Nordisk musikkpedagogisk forskning. - Oslo : Norges musikkhøgskole. - 9788278532195 ; , s. 9-39 Bokkapitel (refereegranskat)abstract How can music education be enriched by the concept of time? This article is based on the assumption that the present moment, the musical ‘now’, is of the utmost importance not only to the musical performer or listener but to the musical learner and teacher as well. It aims at a philosophical discussion and conceptual clarification of a number of issues of time that are considered to be crucial to music education through a presentation and discussion of thoughts and concepts put forward by four selected philosophers: Augustine, Edmund Husserl, Mikhail Bakhtin, and Paul Ricoeur. It is suggested that reflecting upon time may significantly challenge and develop students’ ways of thinking about music connected to different actions within several fields of music education. For instance, Augustine’s analysis of time offers important perspectives on practising, remembering, and performing music. Husserl’s philosophy of time constitutes the stream of consciousness, which leads to an understanding of the comprehension of tonality. Discussions of Bakhtin’s concepts of utterance and chronotope demonstrate that the need for experiencing and understanding music arguably poses a challenge for current music education in schools with regard to its predominant ways of dealing with time. With reference to Ricoeur’s analysis of time and narrative, it is suggested that musicians’ need for multi-directedness in the musical present calls for a rich learning ecology framework. In conclusion, it is argued that reflection on musical practice in general would benefit from taking the shape of polyphonic philosophical investigations.
3.	Bjerstedt, Sven, et al. (författare) The musical present: A polyphonic philosophical investigation 2016 Ingår i: Nordisk Musikkpedagogisk Forskning: Årbok. - 1504-5021. ; 17, s. 9-39 Tidskriftsartikel (refereegranskat)abstract How can music education be enriched by the concept of time? This article is based on the assumption that the present moment, the musical ‘now’, is of the utmost importance not only to the musical performer or listener but to the musical learner and teacher as well. It aims at a philosophical discussion and conceptual clarification of a number of issues of time that are considered to be crucial to music education through a presentation and discussion of thoughts and concepts put forward by four selected philosophers: Augustine, Edmund Husserl, Mikhail Bakhtin, and Paul Ricoeur. It is suggested that reflecting upon time may significantly challenge and develop students’ ways of thinking about music connected to different actions within several fields of music education. For instance, Augustine’s analysis of time offers important perspectives on practising, remembering, and performing music. Husserl’s philosophy of time constitutes the stream of consciousness, which leads to an understanding of the comprehension of tonality. Discussions of Bakhtin’s concepts of utterance and chronotope demonstrate that the need for experiencing and understanding music arguably poses a challenge for current music education in schools with regard to its predominant ways of dealing with time. With reference to Ricoeur’s analysis of time and narrative, it is suggested that musicians’ need for multi-directedness in the musical present calls for a rich learning ecology framework. In conclusion, it is argued that reflection on musical practice in general would benefit from taking the shape of polyphonic philosophical investigations.
4.	Bjerstedt, Sven, et al. (författare) The playing now : A philosophical investigation of present time in music 2015 Ingår i: Nordiskt nätverk för musikpedagogisk forskning (NNMPF), 2015. - Helsingfors : Sibelius Academy. Konferensbidrag (refereegranskat)abstract Introduction: Music, such as the duration of a musical piec e or length of a concert, can b e measured by metronomes and clocks in objective time ( chronos ). However, playing an instrument, singing, attending a concert, listening to a record or reading a musical score are musical activities also experienced as subjective time ( kairos) . Music has an intrinsic temporal dimension of experienced time , often including an intensification of the present moment, coexisting intertwined with its measurable dimensions. This makes music a fasc inating object for philosophical exploration. Musical practice em bodie s temporal phenomena like pulse, tempo, timing, ad lib, accelerando and fermata. The musical present can be viewed as a moment of sem antic fullness , a meaningful moment . Music can carry narrative, which is a related phenomenon, also containing intrinsic temporality. Furthermore, music can be improvised in the present moment. The tonal texture of music is experienced as a context, a coherency with an intrinsic temporality. This symposium is set to investigate how music can be experienced, philosophically speaking, in the present moment. In order to do this, we introduce a number of prominent Western philosophers who have taken an interest in the phenomenon of time by using the phenomenon o f music as a lens: Saint Augustine, Husserl, Bakhtin and Ricoeur.
5.	Knowledge formation in and through music : Festschrift in honor of Cecilia K. Hultberg 2015 2015 Samlingsverk (redaktörskap) (övrigt vetenskapligt/konstnärligt)
6.	Lonnert, Lia, 1966-, et al. (författare) A newly discovered autographed Franz Liszt transcription for the harp 2016 Ingår i: Svensk tidskrift för musikforskning. - 0081-9816 .- 2002-021X .- 1653-9672. ; 98, s. 1-21 Tidskriftsartikel (refereegranskat)abstract It is well known that Franz Liszt was fond of the harp as an instrument, and his use of the harp in the orchestra is innovative. He also befriended and worked with prominent harpists of his time, such as Elias Parish-Alvars, Wilhelm Posse, Jeanne Pohl and Rosalie Spohr. The transcriptions he once made for harp are now lost. However, a recent nding in a collec- tion in a Swedish museum, Murberget, L nsmuseet V sternorrland, - a collection that once belonged to the internationally renowned Swedish harpist Adolf Sjödén shows a previously unknown transcription for harp of Liszt’s piano piece Ave Maria von Arcadelt. The manu- script is autographed by Liszt although the copyist is unknown.The article discusses Liszt’s possible work processes with the piece, his work process with regard to other harp transcriptions, Sjödén’s relationship to Liszt and the Ave Maria von Arcadelt, and how the manuscript came into Sjödén’s possession. It also compares the re- cently found manuscript with Peter Dubez’ harp transcription, and the original piano piece. It is the only preserved transcription for harp that has been autographed by Liszt.
7.	Lonnert, Lia, 1966- (författare) Amateur orchestras as a learning environment for music academy students 2020 Ingår i: International Journal of Community Music. - : Intellect Ltd.. - 1752-6299 .- 1752-6302. ; 13:1, s. 49-63 Tidskriftsartikel (refereegranskat)abstract Orchestral playing is a common form of ensemble playing within higher music education. However, students sometimes participate in amateur orchestras outside of their formal education. This study focuses on what students learned by participating and what the educational institutions gained. The study is a case study of a music education institution and four amateur orchestras and consisted of eight interviews with conductors and administrators. The study shows that learning in the amateur orchestra is similar to learning in formal education contexts, such as developing knowledge of repertoire, in which both institutions contribute to the student's overall knowledge. Nevertheless, some aspects are better learnt outside of formal education such as educational roles, the creation of a professional identity as a musician and knowledge of different social contexts.
8.	Lonnert, Lia, 1966- (författare) Amatörorkestrar som lärandemiljö för musikhögskolestudenter : En studie om Musikhögskolan i Malmö och fyra amatörorkestrar 2019 Bok (övrigt vetenskapligt/konstnärligt)abstract Orkesterspel ingår som en vanlig ensembleform inom musikhögskolors utbildningar, och vissa utbildningar är till och med specifikt inriktade på symfoniorkesterspel. Dock visar det sig att studenter ibland spelar i amatörorkestrar samtidigt som de studerar på musikhögskola. Lärare på musikhögskolor rekommenderar ibland studenter att delta i amatörverksamhet eftersom de anser att studenterna inte får tillräckligt med erfarenhet av, eller kunskaper om, orkesterspel inom utbildningen. Detta gör att det skapas en parallell utbildning för musikhögskolestudenterna vid sidan av den formella utbildningen. Denna studie fokuserar på vad musikhögskolestudenter lär sig genom att delta i amatörorkesterverksamhet och vad det tillför det utbildningen.Studien är en fallstudie över en läromiljö: Musikhögskolan i Malmö och fyra amatörsymfoniorkestrar där musikhögskolestudenter ingår. I studien har åtta intervjuer utförts, fyra med amatörorkesterdirigenter och fyra med ledning för musikhögskolan.Studien visar att deltagandet och lärandet i amatörorkestrarna beror på delar som musikhögskolestudenterna saknar i sin utbildning, samt personliga kontakter mellan dirigenter, lärare och studenter. Amatörorkesterverksamheten kan i hög grad betraktas som ett komplement till musikhögskolans verksamhet, även om det finns aspekter som inte kan tillgodoses i lika hög grad inom musikhögskolorna som kunskaper om pedagogiska roller, formandet av en professionell yrkesroll och kunskap om olika sociala kontexter. Relationen mellan musikhögskolan och amatörorkestrarna kännetecknas av informella kontakter och informella samarbeten av tradition, där autonomi är en viktig aspekt. En annan aspekt är öppenheten inför en föränderlig arbetsmarknad och kulturscen där nya former av samarbeten är möjliga och önskvärda.
9.	Lonnert, Lia, 1966- (författare) Att uttrycka en annan sorts kunskap : Om konstnärlig kunskap och vetenskaplig kunskap 2016 Ingår i: M&STE: Elektronisk tidskrift för konferensen Musik & Samhälle. - 2002-4622. ; :1, s. 27-36 Tidskriftsartikel (populärvet., debatt m.m.)abstract Lia Lonnert problematiserar i sin artikel begreppet kunskap utifrån en idéhistorisk tradition, från Platon och Aristoteles och framåt, och reflekterar dels över hur musik kan vara kunskap, dels över vad kunskap om musikutövande är. Blicken riktas mot utbildningsområdet inom såväl grundskola som högskola.
10.	Lonnert, Lia (författare) Att uttrycka en annan sorts kunskap – om konstnärlig kunskap och vetenskaplig kunskap 2016 Ingår i: M&STE : elektronisk tidskrift för konferensen Musik & samhälle. - 2002-4622. ; 1, s. 27-36 Tidskriftsartikel (refereegranskat)
11.	Lonnert, Lia, 1966- (författare) Benefits, co-operation and development—The relationship between a music academy and four amateur symphony orchestras 2023 Ingår i: Arts and Humanities in Higher Education. - : Sage Publications. - 1474-0222 .- 1741-265X. ; 22:3, s. 258-279 Tidskriftsartikel (refereegranskat)abstract The focus in this study is the relationships between one tertiary music academy and four amateur orchestras. In this study the kinds of cooperation that exist, how students benefit from participating in amateur orchestras, and how cooperation can be further developed is identified. Four administrators from the academy and four conductors were interviewed. The study shows that the bases for cooperation are informal arrangements and personal contacts between individuals. What the interviewees considered as the main benefit for students was that participating in amateur orchestras provided opportunities for orchestral playing that were lacking within their formal education. Policy decisions were based on the interviewees ideas about students’ benefits, which could be social, musical and professional. The interviewees also respected the students’, and teachers’, autonomy in choosing their own musical and professional paths. Both the academy administrators and the amateur orchestra conductors value the cooperative relationships between academy and amateur orchestras.
12.	Lonnert, Lia, 1966- (författare) Bridging the gap : Harp teachers on teaching orchestral playing 2019 Ingår i: International Journal of Music Education. - Thousand Oaks, CA : Sage Publications. - 0255-7614 .- 1744-795X. ; 37:2, s. 210-225 Tidskriftsartikel (refereegranskat)abstract Although orchestral playing is a dominant practice within Western classical music, and one that many students participate in from a young age, some students do not have adequate opportunities to participate. Since harp students often come to orchestral playing later than other instrumentalists, harp teachers are concerned with enabling their students to learn orchestral playing in a relatively short time. For this study, six orchestral harpists who are also teachers were interviewed. The findings show that harp teachers intentionally taught orchestral playing during one-to-one lessons, aiming to prepare their students to continue learning within the orchestral context. They aimed to bridge the gap between lessons and practice, methodically preparing them musically, technically, practically and emotionally for the complex orchestral environment. While students of other instruments might acquire this complex knowledge from extended orchestral experience, student harpists must learn it in a relatively short time. These harp teachers’ descriptions of their teaching practice shed light on how orchestral playing is learned by all instrumentalists.
13.	Lonnert, Lia, 1966- (författare) Creating awareness : music teacher education for future children 2020 Ingår i: ISME International Society for Music Educatation. - : ISME International Society for Music Educatation. - 9781922303004 ; , s. 46-51 Konferensbidrag (refereegranskat)abstract The Swedish school has an aim to overcome social and economical differences between pupils, and that all pupils should have equal opportunities. To make this aim possible, also in the subject of music, teacher education is central. Music teacher education should make students aware of the challenges. In this paper, the challenge discussed is gender and cultural diversity partially based on the curriculum for the mandatory school and partly on contemporary political issues. Gender has been addressed within music education, both as a general issue and within practical musical performance. Cultural diversity proves to be more difficult to address due to access to research, the definitions of the concepts, and students’ awareness of and identification with the concepts.
14.	Lonnert, Lia, 1966- (författare) Democracy and Representation : at the Core of ISME 2018 Ingår i: Proceedings of the 19<sup>th</sup> International Seminar of the Commission on Music Policy. - Malvern : International Society for Music Education. - 9780648121947 ; , s. 172-179 Konferensbidrag (refereegranskat)abstract International organisations, such as the International Society of Music Education, ISME, make it possible to communicate worldwide in the world of music education. ISME also has inclusion, democracy and representation as goals. This paper examines how these goals are represented in the International Journal of Music Education, a journal closely connected to ISME. 20 issues of IJME between 2012 and 2016 were examined according to which countries, and which parts of the world, were represented. The study shows that an overwhelming majority of the articles were written by authors from institutions in countries where English is one of the official languages. The paper suggests different possible economic, cultural and traditional explanations for this result.
15.	Lonnert, Lia, 1966-, et al. (författare) Didactic relationships in distance education 2022 Ingår i: Nordic Network for Research in Music Education 2022 Conference. - : Nordic Network for Research in Music Education. ; , s. 36-36 Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract Distance courses are today a common feature in the university's range of courses. There are distance courses in different subject areas such as the subject of music. There have been distance learning courses for a long time, although much of the teaching has temporarily changed due to the reorganization of teaching during covid 19. In distance learning, the didactic elements may be different than in campus teaching. In 1978, Bjørndal and Lieberg (1978) developed a didactic relationship model. The model consists of different didactic categories; student and teacher conditions, goals, frame factors, methods, content and assessment. These categories influence each other relationally in different ways depending on what choices the teacher makes. A central aspect is that the teaching should be seen as a wholeness because the decisions the teacher makes based on one category also affect the other categories. The model was made to be a support for teachers' planning and it had a great influence on Norwegian didactics (Hanken & Johansen, 2014). Today, the didactic relationship model is also used in Swedish teacher education. When the didactic relational model was developed in 1978, the technology that today enables digital distance education did not exist. According to the changed conditions, the purpose of this study is to investigate whether the definitions of the didactic categories, which are found in Hanken and Johansen (2014), change with distance education and based on Bjørndal and Lieberg's (1979) didactic relationship model analyze the relationships between the categories. The research questions are: How are the didactic categories defined on the basis of distance education? What are the relationships between the didactic categories in distance education? The study has been conducted as three pair interviews. The selection is goal-oriented (Bryman, 2002) and consists of university teachers who teach the subject of music in distance courses. The subject of music in this study consists of both musical-practical elements and theoretical elements. The analysis will be made on the basis of the didactic relationship model (Bjørndal & Lieberg, 1978) and Hanken and Johansen's (2014) definitions of the categories in the model. As support for the definition of frame factors, Sandberg's (1996) interpretation of the frame factor theory can be used. The study is ethically reviewed by the Ethics Committee Southeast, Sweden. The study is part of a development work within a university. The results of the study may be of interest to university teachers as well as other teachers who teach distance learning courses in the subject of music. The study could also make didactic choices and consequences visible to music education students.References:Bryman, A. (2002). Samhällsvetenskapliga metoder. Malmö: Liber.Bjørndal, Bjarne. & Sigmund, Lieberg. (1978). Nye veier i didaktikken. Aschehoug, Oslo Hanken, I.M. & Johansen, G. (2014). Musikkundervisningens didaktikk. (2. utg.) Oslo: Cappelen Damm akademisk. Sandberg, Ralf. (1996). Musikundervisningens yttre villkor och inre liv: några variationer över ett läroplansteoretiskt tema. (Doktorsavhandling, Stockholm: Universitet, Stockholm). Hämtad från http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva- 97924
16.	Lonnert, Lia, 1966- (författare) Gender and ethicity in music teacher education 2020 Ingår i: The topology of music education as a field of researches, policies and practices. - : Nordic Network for Research in Music Education (NNMPF). Konferensbidrag (refereegranskat)abstract Within the subject of music in the Swedish curriculum for mandatory school, Läroplan för grundskolan samt för förskoleklassen och fritidshemmet, there is one goal which focus on the function of music to signify identity and group affiliation. To reach the goal, there should also be a focus on gender and ethnicity, and in the comments published to the curriculum religious affiliation is added. Since these concepts are in focus in the curriculum, they also have to be dealt with in music teacher education. Within music teacher education in Sweden, there have been focus for quite a long time on gender and music. However, focus on ethnicity and music education are now emerging. In this paper, there are some reflections on why, and differences between the concepts when regarding music teacher education. Firstly, there is the access to research about the topics. There have been major studies and dissertations on gender issues connected to music education. There is quite a lot of material on gender and music education, both published research and material based on research published in books. Much of this research is about Swedish, or Nordic, conditions which makes it highly relevant for music education students. So far, there have been few studies on ethnicity and music education. Secondly, the definitions of the concepts are a problem. The concept gender has been problematized more than the concept ethnicity within music education, which make the concept gender easier to work with. Music education perhaps could have use of definitions from other disciplines, however, the concept ethnicity is problematic. Thirdly, there is students’ awareness of and identification with the concepts. Students are very aware of gender issues, they discuss them with ease and have experience of doing so from different perspectives. It can be due to the issues above, that gender has been researched more and that the concept gender has been problematized more in music education. This is of course a problem which can be addressed within education. However, the connection of the concept ethnicity to music education is more problematic than the concept gender and music education. These observations above raise questions for music teacher education. How should music teachers’ education tackle a concept and content which have similarities but is different from another concept which is integrated? These concepts are associated in the curriculum, however, it is not a given how music teacher education should handle the concepts. So far, religious affiliation has not been central, but it is possible that the concept should be added to music teacher education.
17.	Lonnert, Lia, 1966-, et al. (författare) Harpisten Ottilia Runsten och hennes elev Adolf Sjödén, musicerande i 1800-talets Sollefteå prästgård 2021 Ingår i: Musik ute i landet – det regionala musiklivet i fokus. Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract Prästgården i Sollefteå blev under mitten av 1800-talet ett nav som visar hur det offentliga kulturlivet knöts ihop med det privata. Ottilia Runsten (1816-1890), född i Norrköping, gifte sig 1845 med prosten och teologie doktorn Bernhard Runsten 1845 och flyttade till Sollefteå och bosatte sig i Sollefteå prästgård. Ottilia var musikutbildad privat i Stockholm, hon spelade piano för van Boom och harpa för Eduard Pratté, en tid tog hon sånglektioner för Jenny Lind. När Ottilia gifte sig lade hon sin professionella karriär åt sidan men hemmet blev en knutpunkt för tidens kulturella personligheter, det blev även ett centrum för bygdens musicerande. Familjen musicerade mycket tillsammans, och döttrarna fick liksom modern musikutbildning i Stockholm. Familjen Runsten musicerade även tillsammans med den närboende familjen Sjödén, där en av sönerna, Adolf, tog harplektioner för Ottilia. Adolf Sjödén (1843- 1893) studerade vidare för Pratté i Stockholm och gjorde senare internationell karriär, men behöll kontakten med hembygden. Prästgården i Sollefteå knöt ihop det professionella musicerandet och amatörmusicerandet, och blev en plats för utbildning och i vissa fall en språngbräda till högre utbildning.
18.	Lonnert, Lia, 1966- (författare) ”Harpokungen” Adolf Sjödén och hans musiksamling 2018 Ingår i: Musikforskning idag 2018, Uppsala 13–15 juni. - Askersund : Svenska samfundet för musikforskning. ; , s. 10-10 Konferensbidrag (refereegranskat)abstract Den svenske harpisten Adolf Sjödén (1843–1893), bördig från Sollefteå, var känd under sin livstid som en av de stora europeiska kringresande virtuoserna. Denna studie utforskar hur han påverkade, och påverkades av, det walesiska och irländska nationalistiska-musikaliska identitetsskapandet.När Brinley Richards (1817–1885) hittade Händels Konsert för den Walesiska harpan i British Museum var det Sjödén som tillfrågades om att göra det första uppförandet. Sjödén lärde sig att spela den walesiska trippelharpan och framförde verket i Lady Llanovers hem i London 1869. Lady Llanover (1802–1896) hade i sitt hem i Wales, Llanover Hall, skapat en miljö för rekonstruktionen och bevarandet av den walesiska kulturen där många av tidens intellektuella och konstnärer möttes. Mötet med Lady Llanovers krets påverkade Sjödén och hans intresse för den walesiska musiken påverkade hans repertoar i resten av hans liv. Förutom att han lärde sig spela på den walesiska trippelharpan spelade han ofta walesisk folkmusik på sina turnéer i Europa. I den musiksamling som finns på Murberget, Länsmuseet Västernorrland, återfinns många uppteckningar av walesisk musik samt unika handskrifter. Under sin tid på Irland var Sjödén aktiv i det irländska identitetsskapandet genom musik. Han framhöll här Lady Llanovers arbete som en modell för hur det kunde göras. Även på Irland engagerade han sig i framförandet av irländsk musik och han spelade själv den irländska stålsträngade harpan. Även sejouren på Irland speglas i hans efterlämnade notsamling, dock inte i lika hög grad i hans repertoar på konserter i Europa.
19.	Lonnert, Lia, et al. (författare) "I wrote this chapter as a rondo" - om att använda musikalisk kunskap till handledning 2015 Ingår i: Knowledge formation in and through music. - 9789198281200 ; , s. 137-144 Bokkapitel (refereegranskat)
20.	Lonnert, Lia, et al. (författare) Ideologi och musik i Läroplan för grundskolan, förskoleklassen och fritidshemmet 2011 2013 Ingår i: Intersection and interplay Contributions to the cultural study of music in performance, education, and society. - 1404-6032. - 9789197958462 ; , s. 35-55 Bokkapitel (refereegranskat)abstract In this chapter, the author analyses a new Swedish curriculum for schools that was presented in 2011 and came into effect the same year. Basically the focus in the subject of music is on playing music, creating music, and listening to music. But key citations within the subject of music show a return to some ideas from the beginning of the 20th century regarding nationalism, a Nordic ethnocentric worldview and a tie to Christianity in a way that was abandoned in curricula at the end of the 20th century. Also a concept of a collective cultural heritage is presented in the subject of music. But since a collective cultural heritage is very difficult to define without making a canon it is required that the cultural heritage is defined locally between teachers and students. Music is also presented as a tool to the understanding of other cultures. The author presupposes that there is an ideological connection between education and the state’s formation of the citizen, and that the concepts used in the curricula also are formed by ideology, the political and economical reality, as well as by contemporary debates. The focus in the chapter is on ideological issues such as the connection to the concept of the nation-state, the concept of culture, the canon of music, and who the Other is. Quotations from the curriculum are compared not only with other quotations but also with legal documents such as the Education Act and other laws. Comparisons are also made with older curricula. By comparing different quotations and different kinds of documents, it is indicated that there are contradictions within the curriculum from 2011 that counteract its official purpose.
21.	Lonnert, Lia, 1966- (författare) John Parry's Collection of Welsh and Scottish Airs with Variations for the Welsh Triple Harp 2022 Ingår i: Musikforskning idag 2022, 13–15 juni 2022. - : Svenska samfundet för musikforskning. ; , s. 30-30 Konferensbidrag (refereegranskat)abstract John Parrys Collection of Welsh and Scottish Airs with Variations for the Welsh Triple Harp John Parry föddes 1710 i Wales. Han var troligtvis blind från födseln och utbildades till harpist. Från 1734 fram till sin död 1772 var Parry anställd som harpist av den walesiska familjen Williams-Wynn. Sir Watkin Williams-Wynn var parlamentsledamot, vilket innebar att de hade ett hus i London där familjen inklusive den anställde harpisten Parry, tidvis bodde. John Parry gav flertal konserter privat och offentligt.Parrys viktigaste publikationer är tre samlingar med främst arrangerad musik; Antient British Music 1742 (med Evan Williams), A collection of Welsh English and Scotch airs 1761, samt British harmony, being a collection of antient Welsch airs 1781. Han publicerade även Twelwe airs för gitarr 1765. Det finns indikationer att Parry planerade att tillsammans med Williams ge ut en andra samling efter 1742.Det har nyligen återfunnits en avskrift av en samling kallad Collection of Welsh and Scottish Airs with Variations for the Welsh Triple Harp by John Parry of Rhuabon. På framsidananges att den är kopierad efter en opublicerad handskrift som varit i Parrys barnbarns ägo. Dateringen av originalhandskriften är angedd som 1748-9 samt 1755, vilket kan tyda på att det utgått från två olika handskrifter. Inget datum är angett för när handskriften kopierats men troligtvis har detta gjorts under 1869-1870. Föreliggande studie ämnar att genom komparativa studier med andra samtida musikaliska källor som Parrys egna utgivna samlingar samt Edward Jones (1752- 1824) samlingar bedöma dess originalitet och proveniens. En möjlighet är att det är ett underlag för den tillsammans med Williams planerade andra volymen av Antient British Music.
22.	Lonnert, Lia, 1966-, et al. (författare) Lady Llanover and the Swedish Connection 2017 Ingår i: The First International Conference on Women’s Work in Music. Konferensbidrag (refereegranskat)
23.	Lonnert, Lia, 1966-, et al. (författare) Lady Llanover and the Swedish connection : a Welsh musical legacy 2021 Ingår i: The Routledge Handbook of Women's Work in Music. - London : Routledge. - 9780429575044 - 9780367192099 - 9780429201080 ; , s. 407-418 Bokkapitel (refereegranskat)abstract Lady Llanover was one of the greatest supporters of the Welsh cultural revival in the nineteenth century. Born in 1802 to English parents who had settled in Wales, she always regarded herself as thoroughly Welsh and she made it her mission to promote and protect Welsh language, literature, music and costume. She married politician Sir Benjamin Hall and their home at Llanover Court became the focal point for her circle of like-minded intellectuals and artists – for example, folklorist Maria Jane Williams, philanthropist and translator Lady Charlotte Guest, composer Henry Brinley Richards and Carnhuanawc (Rev. Thomas Price). Lady Llanover regarded the Welsh triple harp as ‘the most perfect national instrument in the world’ and employed harpists and harp makers in her household.When Brinley Richards discovered a score of the Handel Harp Concerto for the Welsh harp in the British Museum, he approached Lady Llanover about a performance – the first since the concerto was played in Handel’s lifetime. They invited the internationally renowned Swedish harpist Adolf Sjödén (1843–93) to perform the work in 1869, and he learnt the Welsh triple harp in order to do so. Sjödén’s meeting with Lady Llanover and her circle served as a catalyst for his interest in folk music and culture; not only did he frequently include Welsh music in his European concerts, sometimes played on the triple harp, but he also saw Lady Llanover as a role model in the revival of Welsh music and culture.
24.	Lonnert, Lia, 1966-, et al. (författare) Musical or social development : a project for music education students and children 2019 Ingår i: 27th EAS (European association for music in schools) Conference / 7th European ISME (International Society for Music in Education) Regional Conference in Malmö, Sweden. - Leuven : European Association for Music in Schools. Konferensbidrag (refereegranskat)abstract The objectives of this study are to refine and develop how cooperation between music education students and school children might be conducted and the difficulties and gains in the process. The goals are development of the music teacher education, the music education at the school and also didactical and personal skills and development of the students and children involved.The school chosen for the project is situated in an area with socio-economic disadvantages and many immigrant children. It is also known for having committed teachers working with music and other artforms. The school has twice been external funded for working in cooperation with the local municipal school of art.This study focuses on a music teacher education department at a university which have a project where first year students teach and cooperate with schoolchildren, about 10 years old. The students have met the children four times during four weeks and the project ended with a concert where the children and the students made music together. The project was followed by a researcher, who also was one of the teachers in the project. Another researcher, not personally involved in the study, have conducted interviews to catch the students view of their work with the children and their view on the children’s and their own knowledge and development.Music and other artforms are sometimes viewed on, or used, as problem solvers in educational contexts. Especially socio-economical vulnerable areas have been targeted to different kinds of projects, something music education students must have awareness of and tools to work with. This presentation focuses on the development of the project, and the outcomes of the project regarding the children and students involved as well as for the institutions involved.
25.	Lonnert, Lia, 1966-, et al. (författare) Musikalisk eller social utveckling : ett samarbetsprojekt mellan grundskola och musiklärarutbildning 2019 Ingår i: Nordic Network for Research in Music Education, Abstracts. - Stockholm : Royal College of Music. ; , s. 61-61 Konferensbidrag (refereegranskat)abstract Syftet med denna studie är att förfina och utveckla hur samarbete mellan musiklärarstuderande och skolbarn kan genomföras och svårigheter och vinster med processen. Målen är att utveckla musiklärarutbildningen och musikutbildningen på skolan. I projektet är också centralt med utveckling av didaktisk kunskap och personlig utveckling av studenterna och de barn som berörs.Skolan som valts ut för projektet ligger i ett område med socioekonomiska utmaningar. Skolan är känd för att ha engagerade lärare som arbetar med musik och andra konstformer och har två gånger fått extern finansiering för att samarbeta med den lokala kommunala kulturskolan.Denna studie fokuserar på ett projekt där förstaårsstuderande ämneslärare i musik lär och samarbetar med skolbarn i årskurs fem. Studenterna har träffat barnen fyra gånger under fyra veckor och projektet avslutades med en konsert där barnen och eleverna spelade tillsammans. Projektet följdes av en forskare, som också var en av lärarna i projektet. En annan forskare, som inte undervisar i projektet, har genomfört intervjuer med studenterna att synliggöra deras arbete med barnen och deras syn på barnens och sina egna kunskaper och utveckling.Musik och andra konstformer betraktas ibland, eller används, som problemlösare i pedagogiska sammanhang. Särskilt socioekonomiska sårbara områden har inriktats på olika typer av projekt, något musiklärarstudenter bör ha medvetenhet om och verktyg att arbeta med. Denna presentation fokuserar på projektets utveckling och projektets resultat avseende de involverade barnen och studenterna samt de berörda institutionerna.
26.	Lonnert, Lia, 1966- (författare) Musikpedagogik, demokrati och representation 2018 Ingår i: The 23rd conference of Nordic Network for Research in Music Education, Oslo, Norway, February 12-15 2018. - : Nordic Network for Research in Music Education. Konferensbidrag (refereegranskat)
27.	Lonnert, Lia (författare) On professional female harpists: “the delicate fingers of the ladies”. 2014 Ingår i: IAWM Journal (Journal of the International Alliance for Women in Music). - 1082-1872. ; 20:1, s. 5-9 Tidskriftsartikel (populärvet., debatt m.m.)
28.	Lonnert, Lia, 1966- (författare) Round Table: Time for change in Nordic music teacher education? 2020 Ingår i: The topology of music education as a field of researches, policies and practices. - : Nordic Network for Research in Music Education (NNMPF). Konferensbidrag (refereegranskat)
29.	Lonnert, Lia, 1966- (författare) Samarbete och vision – en fallstudie över en musikhögskolas relation till amatörorkesterverksamhet 2017 Ingår i: NNMPF 2017, The 22<sup>nd</sup> conference of Nordic Network for Research in Music Education. ; , s. 38-38 Konferensbidrag (refereegranskat)abstract Detta paper är en del i en fallstudie som undersöker vad musikhögskolestudenter lär sig genom att delta i amatörorkesterverksamhet och vad det tillför utbildningen. Studien består av åtta intervjuer, fyra med utbildningsledning för en musikhögskola och fyra med dirigenter för amatörorkestrar där musikhögskolestudenter deltar. Här presenteras endast den del som rör relationen mellan musikhögskolan och amatörorkestrarna. I ett internationellt och nationellt perspektiv på en föränderlig arbetsmarknad och ett föränderligt samhälle visar det sig att kontaktytorna mellan alla typer av musicerande på olika nivåer kan utvecklas. Studenter på musikutbildningar måste då ha beredskap för olika typer av roller. Kunskap om olika typer av roller inom ”community music” kan vara en del i denna föränderliga musikerarbetsmarknad. Detta behöver inte betyda att den professionella nivån behöver sänkas. Mycket av det som kan läras i en amatörorkester kan läras inom musikhögskoleinstitutionen eller på andra sätt, men inte alltid till lika hög grad. En del av det som lärs i amatörorkester blir ett komplement, till exempel gällande mängden erfarenhet, specifikt orkesterkunnande och repertoarkännedom. Däremot kan mycket av det som lärs om pedagogiska roller, formandet av en professionell yrkesroll och kunskap om olika sociala kontexter inte läras på samma sätt inom en musikutbildningsinstitution. Här visar det sig att amatörorkestern ger professionell kunskap på ett annat sätt än utbildningsinstitutionen. Studien visar att relationen mellan musikhögskolan och amatörorkestrarna kännetecknas av informella kontakter och informella samarbeten av tradition. En viktig aspekt är autonomi, både lärarnas och studenternas. En annan aspekt är öppenheten inför en föränderlig arbetsmarknad och kulturscen där nya former av samarbeten är möjliga och önskvärda. Beroende på vilket instrument studenten spelar och vilken utbildning studenten gå är möjligheterna att spela orkester inom utbildningen olika. Detta gör att studenternas val av deltagande i amatörverksamhet ofta kännetecknas av brister inom utbildningarna. Generellt är ledningen på musikhögskolan mycket positiv till alla typer av musicerande utanför musikhögskolans verksamhet och stöder den på olika sätt. Flera typer av samarbeten gällande orkesterverksamhet, framförallt genom personliga kontakter och av tradition, pågår. Dessa personliga kontakter är mellan dirigenter, studerande, ledning och lärare. Dirigenterna för amatörorkestrarna skulle gärna se fler kontaktytor mellan institutionerna, och skulle gärna åta sig pedagogiska uppdrag gentemot musikhögskolestudenterna. Eftersom ledningen för musikhögskolan ser musicerande som ett livsval för studenter anser de att alla typer av musicerande inte kan, eller ska, ingå i utbildningen. Det finns en stor frihet för studerande att kunna välja vad de vill inrikta sig på och alla typer av musicerande kan ses som att det tillför både de enskilda studenterna och utbildningarna mycket. Det finns både frihet och ansvar för studenter och lärare. Dock visar det sig att studenter inte alltid har förmåga att bedöma sin kompetens, i viss mån blir det då ett institutionellt ansvar att se till att studenter får den kompetens de behöver för sin utbildning.
30.	Lonnert, Lia, 1966- (författare) Surrounded by Sound : Experienced Orchestral Harpists’ Professional Knowledge and Learning 2015 Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract Orchestral playing is a central practice within Western European classical music. Previous research in the field of orchestral musicians’ learning and knowledge has mainly focused on students’ learning orchestral playing. Working conditions and work-related problems were also emphasized in previous studies. This thesis, however, focuses on professional orchestral musicians’ knowledge and learning. The method to investigate these issues was to let musicians verbally describe their professional experiences and orchestral practice. Interviews with a low degree of structure were conducted with four orchestral harpists from renowned orchestras. In the analysis and interpretation a hermeneutical approach was used. This approach also offered guidelines for considering the researcher’s role and pre-understanding. The findings showed that skilled musicians developed their knowledge throughout their careers. Knowledge of orchestral playing was contextually based, and based on experience. All skills used by the musicians when playing in an orchestra had to be contextually adapted. A main finding was how musicians were able to create, by their knowledge, a space for musical freedom and personal interpretation when playing in the orchestra. There were also knowledge issues that always had to be maintained and others that constantly had to be developed within practice. In conclusion, there are major contradictions that are important elements of the profession of orchestral musicians. The musicians should have a personal musical expression as well as a highly developed ensemble skill. They should focus on the extreme detail and the totality of the performed musical piece at the same time. They have to be able to express themselves musically within a restricted framework. This framework, and the interspace between the frames, can be negotiated by knowledge, skills and the choices of the musician.
31.	Lonnert, Lia, 1966-, et al. (författare) The Music Education of Tomorrow : from a student perspective 2019 Ingår i: Presented at ”The School I’d Like” – Music Education meeting the needs of the children and young people today. - Leuven : European Association for Music in Schools vzw. Konferensbidrag (refereegranskat)abstract The music education students of today are the music teachers of tomorrow. They are also the future authors of curricula, future researchers and future teachers of music education students. The basis for this paper is that the views and ideas of music education students matter. Not only for what they can do in the future but also how they affect music education of today.The Swedish educational system stands before educational challenges, and also challenges for music education. There are demographic changes that affects the Swedish school system and the influence of neo-liberal ideas have impact. Music education is affected by different issues, such as, political decisions, migration, the me-too-movement and digitalisation. These issues, and many more, must be considered in music teacher education of today.Within a course of music sociology, seven third year students in music teacher education have worked with issues of ethnicity, gender, class and structural changes in society. In the course they have worked with reflection, discussions, combinations of art forms, as well as reading and writing texts. The outcome, as presented here today, is the discussion of the subject of music in the future school. In this seminar, the framework of the course will be given and some challenges for Swedish music education of today. Then, the students will present their ideas for music education in the future when regarding structural issues in the school they will teach in, the music they will teach, the tools they will use, the curriculum they will create, and the values and the methods in future music education.As music educators within music teacher education, we must not only prepare our music education students for teaching but also to be creative. What they do during their education affect their teaching
32.	Lonnert, Lia, et al. (författare) Understanding an unlived life, arts and research as means 2015 Ingår i: Beyond methods. Lessons from the arts to qualitative research.. - 1404-6032. - 9789198229745 ; 10, s. 17-23 Bokkapitel (refereegranskat)
33.	Lonnert, Lia, 1966- (författare) Undervisning i musikalisk interpretation, en förlorad dialog? 2022 Ingår i: Svensk tidskrift för musikforskning. - Stockholm : Svenska samfundet för musikforskning. - 0081-9816 .- 2002-021X. ; 104 Recension (övrigt vetenskapligt/konstnärligt)
34.	Lonnert, Lia, 1966-, et al. (författare) ‘When thy slender fingers go forth on the wire’ : the visit of the Swedish harp virtuoso Adolf Sjödén to Ireland in 1879 2024 Ingår i: Harp Studies II. - : Four Courts Press. - 9781846829819 Bokkapitel (refereegranskat)abstract The Swedish harpist Adolf Sjödén (1843-1893) spent several months in Ireland in 1879. Whilst there he became good friends with various leading and influential figures of the day and was involved in the concert life of the country, giving his services in benefit concerts as well as playing solo concerts in public concert halls and private homes. This chapter will focus on Sjödén’s friendship with Sir Samuel Ferguson, his part in the celebrations of Thomas Moore’s birth, and Sjödén’s attempts to revive Irish music and the Irish harp.

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