| 1. |
- Bergman, Åsa, 1972, et al.
(författare)
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Social change through Babumba and Beethoven – musical educational ideals in El Sistema
- 2014
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Ingår i: Svensk tidskrift för musikforskning. - 0081-9816. ; 92:2:2014, s. 43-58
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Tidskriftsartikel (refereegranskat)abstract
- The El Sistema music education programme, which is based on a Venezuelan model developed in the 1970s, was introduced in Gothenburg, Sweden in 2010. One cornerstone of this choir and orchestra school is the use of music as a tool for individual and social development in order to provide a more democratic society through increased integration and decreased segregation. By using a discourse-analytical perspective as a starting point, this article aims to investigate how El Sistema legitimises music, and discuss discourses on music in relation to the idea of music as a tool for social and individual development. The results of our ethnographical study show that rhetoric related to music is largely based on aesthetic discourses developed during the 19th century in a manner similar to the late 19th-century Swedish folkbildningprojekt (adult education project). The discussion also addresses the blurring of aesthetic values and norms in the late modern era.
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| 2. |
- Bergman, Åsa, 1972, et al.
(författare)
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Studying El Sistema as a Swedish community music project from a critical perspective
- 2014
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Ingår i: International Journal of Community Music. - : Intellect. - 1550-7327 .- 1752-6299 .- 1752-6302. ; 7:3, s. 365-377
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Tidskriftsartikel (refereegranskat)abstract
- Sweden has a long tradition of implementing cultural activities in community-based organizations, even though the concept of community music is rarely used. One project in line with this tradition is El Sistema, a global movement that reached Sweden a few years ago. This article aims to discuss to what extent and in what ways El Sistema in Sweden can be regarded as an example of community music practice and further to argue for a critical approach when analysing this particular music education venture. By using discursive tools we try to move beyond preconceptions based on educational and cultural beliefs. In addition, a critical perspective also makes it possible to pay attention to what is at stake in a specific music education context.
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| 3. |
- Bergman, Åsa, 1972, et al.
(författare)
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The music education project El Sistema as context for learning and identity creation
- 2013
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Ingår i: Community Music & Music Pedagogy, Symposium i München, February 21-23th 2013.
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Konferensbidrag (övrigt vetenskapligt/konstnärligt)abstract
- In this presentation we want to discuss some preliminary results from our on-going ethnographical research project focusing the learning context related to the music education endeavor El Sistema in Gothenburg, Sweden. In September 2010, El Sistema started as a co-operation between the school for arts and culture in Hammarkullen, Gothenburg and Gothenburg Symphony Orchestra (GSO). El Sistema offers participation in a symphony orchestra and/or choir to children from the age of 4 years, three to five times a week. El Sistema is based on a Venezuelan model where the aim is to use the music as a resource for social and human development without giving up on the musical quality. Rather, there is a strong believe in the idea that high musical quality is created through strong social solidarity. The program is also based on the idea that the children, in order to reach their full musical potential, must work hard and target-oriented (Tunstall, 2012). Another important aspect for the pedagogical context of El Sistema is the presence of role-models, both in form of professional musicians and more experienced peers. For that reason, the children get the opportunity to meet musicians from GSO on a regular basis. Both in order to get a chance to experience “music on a high level” but also to get access to the musical room of the Concert Hall, and get a chance “to meet the human behind the musician” (Sarner, unpub. script). In September 2011, after contact and acceptance from superiors of El Sistema, we did begin our scientific investigation of this music pedagogical setting. The overall purpose is to investigate El Sistema Gothenburg (ESG), as a community-based learning context, with focus on contextual considerations such as history, values, environment, pedagogical settings, collaborations, policy and educational challenges. What kind of identity constructions and learning possibilities are afforded in the context of ESG (from autumn 2012 involving nine of ten districts)? In the light of ESG’s ambition to obstruct segregation and decrease social gaps, our aim is to study identityconstruction, hindrances and possibilities for developing musical skills and social, cultural and musical power relations within in this learning context. The theoretical framework is founded on a social constructionist and a poststructuralist perspective (Burr, 1995). The results will also be discussed in the light of cultural, social and pedagogical theories concerning children, and youths’ identity creation and learning processes in the late-modern society (Beck, 1992; Ziehe, 1989; 2004). Methods we have used, and are planning to use are: participating observations and focus group discussions with pupils, parents, teachers, musicians from GSO, administrators of ESG and others with relevant information regarding the venue. The ethnographical perspective will also result in a study of how the participants acts and interacts in different situations and what pattern those acts create. References Beck. U. (1992). Risk Society: Towards a new Modernity. London: Sage Publications Ltd. Burr, V. (1995). An introduction to social constructionism. London: Routledge Sarner, C. (opublic manus). El Sistema i Hammarkullen. Presentation for The Collegium for Arts and learning, University of Gothenburg 2011-01-26 Tunstall, T. (2012). Changing lives. Gustavo Dudamel, El Sistema and The Transformative Power of Music. New York: W.W. Norton & Company. Ziehe, T. (1989). Kulturanalyser: Ungdom, utbildning, modernitet. Stockholm/Stehag: Symposion Bokförlag & Tryckeri AB. Ziehe, T. (2004). Øer af intensitet i et hav af rutine: nye tekster om ungdom, skole og kultur. København: Politisk Revy.
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| 4. |
- Ericsson, Claes, 1947, et al.
(författare)
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Inledning
- 2011
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Ingår i: Perspektiv på populärmusik och skola. - Lund : Studentlitteratur. - 9789144068770 ; , s. 13-22
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 5. |
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| 6. |
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| 7. |
- Ericsson, Claes, 1947, et al.
(författare)
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Musikklassrummet i blickfånget. Vardagskultur, identitet, styrning och kunskapsbildning
- 2010
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- The point of departure of this study is an interest in discussing how the aes-thetics of the market and the music culture of the pupils are expressed in music teaching in Swedish schools, and how these factors are transformed or whether any ideological dilemma arises when we strive to put the music culture of the pupils into practice in the everyday music teaching. In four previous projects with different foci, we have studied aesthetic activities in the school environment. Those studies were a source of inspiration for and a backdrop to this study. The theoretical framework consists of poststructuralist and social con-structionist theory as well as theories of late modernity, while our method-ological point of departure is a combination of continental and Anglo-Saxon approaches to discourse analysis, modified to suit our purposes. The empirical material consists of video recordings of classroom activi-ties in secondary school settings in Sweden, and the data has been thor-oughly analysed using analytical tools developed in accordance with our methodological approaches. Some important analytical concepts used here are identity, dominance, governance and knowledge formation. Our findings indicate that: - There are three different strategies for incorporating market aesthetics and the music culture of the pupils into everyday music teaching: learning about, reflecting on and putting into practice. - The only ideological dilemma occurred when the pupils´music culture was put into practice in everyday music teaching .The problem was that one of the teachers had what might be considered as an over-determined identity. He found it difficult to establish a balance between the need of the pupils for freedom of expression and the teachers’ opinions regarding what was appropriate in the school environment. - Music making activities in small groups was unsuccessful because the pu-pils were not yet good enough at the skills needed for composing music and playing together unsupervised. - Schools are "task-oriented" in a way that is counterproductive to creativity in music making. - Six different strategies of governance in the classrooms could be identi-fied: through charisma and competence, through delegating responsibility, through making mantras of instructions and examination strategies, through creating solidarity or polarization, through disciplining the body and organisation of time and space and through ignoring problematic situa-tions. - Popular music was presented as a canon similar to the canon of art music that is predominant in the teaching of music history at school.
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| 8. |
- Ericsson, Claes, 1947, et al.
(författare)
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Rethinking arts education in late modernity - discourses on educational practices in Sweden
- 2012
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Ingår i: DCCAbstracts. Discourse, Communication, Conversation. Loughborough University 22-23 March 2012.
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Konferensbidrag (refereegranskat)abstract
- This paper explores discourses of arts and knowledge within two different educational practices in Sweden. By analysing interviews, group talks and video recordings from both Swedish school and Swedish teacher training settings, we have revealed dominant knowledge discourses and discuss how they serve to legitimize an educational field in late modernity. The point of departure of our studies is discourse analysis, including micro- as well as macro level. It embraces perspectives such as discursive psychology, discourse theory and Foucault inspired analysis. In one of the practices studied, the empirical material consists of focus group conversations, in the other, classroom interaction. In a meta-perspective, both studies enclosed, two kinds of approaches are shown: Word-level analysis, identified as rhetorical actions in group-conversations, and practice-oriented analysis, identified as rhetorical actions in classroom praxis. Both approaches aim to identify hegemony and antagonistic discourses, and also to problematize the subject agency and what possible subject positions they open up for. The relation discourse-subject also contributes to the analysis of the over-determined subject and ideological dilemmas. According to the results, the area of arts education in Swedish schools seems to be a battlefield of different discoursers. This is shown by different ideological dilemmas related to activities in the music classroom and in the questions of democracy and pupil influence that rises in the studies. A relativization of the concept of quality as well as an articulation of lack of subject knowledge as a marker of teacher quality were features of two prominent discourses among teacher educators in arts education.
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| 9. |
- Ericsson, Claes, 1947, et al.
(författare)
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The conditions for establishment of an ideological dilemma: antagonistic discourses and over-determined identity in school music teaching
- 2011
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Ingår i: Discourse: Studies in the Cultural Politics of Education. - London : Informa UK Limited. - 0159-6306 .- 1469-3739. ; 32:5, s. 713-728
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Tidskriftsartikel (refereegranskat)abstract
- This article presents an analysis of video documentation of music teaching in Swedish schools. The article is based on a larger research project, funded by The Swedish Research Council, the purpose of which has been to study how market aesthetics and students’ everyday culture are applied to the teaching of music. The introduction presents a background for the study's focus on music teaching in relation to issues of student influence. Next, the theoretical and methodological starting points are presented. With discourse psychological microanalysis as a point of departure, the ideological dilemma that has emerged in the analysis of the videos is then identified and discussed. In addition, the different types of subject positions contained in the studied discursive practice are problematized. The article concludes with a discussion of a number of factors that contribute to the establishment of ideological dilemmas in school practitioners of music education.
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| 10. |
- Ericsson, Claes, 1947-, et al.
(författare)
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The Music Classroom in Focus : Everyday Culture, Identity, Governance and Knowledge Formation
- 2010
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Ingår i: Nordic Research in Music Education. - Oslo : Norges musikkhøgskole. - 0333-3760. ; 12, s. 101-116
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Tidskriftsartikel (refereegranskat)abstract
- This article is based on a larger research project with the purpose to study how market aesthetics and student’s music culture are expressed in the Swedish music classroom. The empirical material consists of video observations of classroom activities in secondary school settings in Sweden. The theoretical framework consists of poststructuralist and social constructionist theory combined with theories of late modernity, while our methodological point of departure is discourse analysis. Some important analytical concepts are identity, dominance, governance and knowledge formation. Three different strategies for incorporating market aesthetics and students’ music culture into music education were identified: learning about, reflecting on and applying. An ideological dilemma occurred when the fostering mission of school was confronted with the will to meet the students’ demands for freedom of expression. The results of the project also suggest that standardised and regulated forms of activity were counterproductive to creativity in music making. Six different strategies of gentle governance in the music classroom were identified. Popular music was presented by the teachers in a way analogous to the canon of art music that is predominant in the teaching of music history at school.
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