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- Bjerstedt, Sven, et al.
(författare)
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Musical marginalization processes: Problematizing the marginalization concept through an example from early 20th century American popular culture.
- 2013
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Ingår i: Intersection and interplay: Contributions to the cultural study of music in performance, education, and society. - 9789197958462 ; , s. 141-156
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Bokkapitel (övrigt vetenskapligt/konstnärligt)abstract
- The author sets out to analyse a number of representations of the biblical Hagar figure in African American and white American culture. Spivak (1988) has problematized the marginalization concept with regard to the study of the third world subject, arguing that knowledge always expresses the interests of the knowledge producers, and that Western academic research is always colonial. The aim of the present analysis is to demonstrate that a certain doubleness and instability may be intrinsic to the concept of marginalization and may become visible through processes of transculturation. The Hagar figure of the Old Testament is arguably an archtypical symbol of definitive marginalization. In W. C. Handy's song "Aunt Hagar's Blues", her central symbolic function in African American culture is manifest. This study focuses on a couple of early 20th century popular culture representations of Handy's song: a 1922 sheet music cover and a 1958 Hollywood film plot. These two representations of Aunt Hagar are studied and analysed with concepts such as identity, meaning production and ideological power as a point of departure. The author argues that these popular culture representations have watered down completely several thousand years worth of cultural/mythological meaning production and that this phenomenon gives rise to interesting questions regarding the marginalization concept in relation to a deconstruction of the central/peripheral dichotomy.
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| 2. |
- 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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| 3. |
- Bygdéus, Pia, 1963-
(författare)
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Uttryck genom handling : Medierande verktyg i körledararbete med barn och unga
- 2012
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Licentiatavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The role of the choir leader is a complex one. When working with a choir, choir leaders often use several aspects of their professional role. The aim of this qualitative study is to describe, verbalise and make visible the mediating tools that choir directors working with children and youth choirs use. In a longitude study, four choir leaders were observed closely while working with their choirs. They also took part in semi-structured interviews. The empirical data material consists of observation notes, reflective writing, individualinterviews, focus conversations and videotapes. Analysed from a sociocultural perspective, the result points to eight groups of mediating tools: a) a listening attitude towards the choir, with the music in focus; b) a variation in ways of working with the choir, where a variety of physical tools are used; c) the use of musical routines; d) the choir director acting as a role model in shaping musicalexpression with the group; e) a concentrated cooperation with the choir through short and expressive instructions; f) reflection in practice by planning and self-evaluation; g) storytelling, which results in memory training, stimulation of the imagination and the sharing of common experience, and h) the use of target images expressed as visions, small/big goals or jointly stated, communicated targets. The choir directors who participated in the study use a variety of approaches and ways of working as a strategy for communicating and working with child and youth choirs.
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| 8. |
- Kjellander, Eva, 1965-
(författare)
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Jag och mitt fanskap : vad musik kan betyda för människor
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation aims to find further understanding of how people with special interest in a certain artist utilise music and the fact that they are fans in their everyday lives. I have opted to study two fans included in each group selected for this study: Kiss, Status Quo and Lasse Stefanz, one male and one female fan belonging to each respective group. I have worked according to grounded theory as a method, and through an analysis of their musical life stories, I have attempted to identify why they became fans and how them being fans has affected them in their lives.Four categories, fandom as: a marker of identity, socialisation, a form of self therapy and a pseudo religion and the core category authenticity usage show the results of the study. The categories show that to a large extent it all comes down to the musical identity of these people, i.e. the identity of being a fan, and their experiences of being fans. They have been socialised into a specific genre, which has meant increased interest in a specific artist. Family, media and friends have all played a part in this socialisation. The informants have developed cultural competence as concerns their idols, although they have also gained the subcultural capital resources required in order to come across as credible fans. Various kinds of experiences offer meaning and nourish the fans. Security and stability in everyday lives are also contributing factors to them being fans and the music offers them something that they are unable to acquire from elsewhere. They have established different strategies in order to be able to be fans, one of these being legitimacy. A vital part of this legitimacy consists in them viewing the bands as authentic, i.e. important.
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| 10. |
- Lagergren, Anniqa, 1964-
(författare)
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Barns musikkomponerande i tradition och förändring
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis focuses on education at Swedish community music and arts schools and at primary schools. The aim of the study is to contribute to knowledge formation within the field of music education by examining how children make music in an institutional context and how the development of new approaches in teaching and learning affect how children practise music. This is studied by observing what happens when children aged 9 to 12, compose music when they have access to digital tools in a community music and arts school and in a primary school – with specific focus on how composing tasks take shape under varying contextual and interpersonal conditions. 13 children from a community music and arts school and 21 children from a primary school participated in the study. In order to gather material for this study a survey was undertaken to examine the children’s experiences of music, instruments and digital tools. In order to observe and examine composing activities and the music the children had composed, these sessions were recorded on video. The theoretical framework for the study is based on a sociocultural perspective. The results indicate contextual-related differences between the activities in the community music and arts school and the primary school. The differences are observed in the activities and the music the children compose. By addressing interpersonal-related differences the reason why some groups of children undertake the task of composing and some groups of children do not undertake this task can be examined further.
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| 11. |
- Lonnert, Lia, et al.
(författare)
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Ideologi och musik i Läroplan för grundskolan, förskoleklassen och fritidshemmet 2011
- 2013
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Ingår i: Intersection and interplay Contributions to the cultural study of music in performance, education, and society. - 1404-6032. - 9789197958462 ; , s. 35-55
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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.
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| 12. |
- Moberg, Nadia, 1986-
(författare)
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Dis/harmoni : (Re)konstruktionen av högre musikerutbildning i klassisk musik
- 2022
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This compilation thesis is positioned as a critical discourse study on higher music education in Sweden. The overall aim is to critically examine and explain how higher music performance education with a classical musicstudy orientation is discursively (re)constructed. Higher music education sits at a unique juncture between conservatoire traditions and university ideals, and the study discusses conditions for educational reproduction and transformation. The theoretical framework assumes that discourse bears marks of social structures whilst constituting a site for struggle. This implies that the (re)construction of music performance education includes conflicts of interest and power relations. Included in the thesis are four empirical substudies that draw on various texts which emanate from institutions for higher music education. The empirical material consists of interviews, multimodal web texts, and master’s theses.Results show how (re)construction centres around musical craftsmanship. Conservatoire ideals are reproduced through constructions of a traditional belief and knowledge system together with harmonising subject positions. The study confirms an individualistic education and discloses how an introspective focus excludes critical, ethical, and collectivist perspectives. Contrary to expectations, the study finds that there is limited explicit resistance towards the education being influenced by neoliberal thinking and university practices. Whilst market principles are incorporated in (re)construction as immutable conditions, university practices such as research and writing are constructed as alien to music performance education. Despite a lack of antagonism, discursive struggles and contradictions arise. Concepts and practices previously foreign to education are recontextualised in ways that favour a reproduction of institutional traditions. Inequalities, in relation to classical music, are disregarded through constructions which highlight diversity and openness. Findings indicate how and why formal power, exercised through for example laws and regulations, is delegitimised and institutional traditions prevail, at the same time exposing resistance and potential seeds of change.
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| 13. |
- Saether, Eva, et al.
(författare)
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Insight through participation. Bridging the gap between cultural anthropology, cultural studies and music education.
- 2013
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Ingår i: Intersection and interplay. Contributions to the cultural study of music in performance, education and society.. ; , s. 21-34
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Bokkapitel (refereegranskat)abstract
- In the last decades there has been an increased influence of ethnomusicology in music education research. This is reflected in the activities of international associations such as International Society for Music Education (ISME), International Music Council (IMC) and Cultural Diversity in Music Education (CDIME), as well as in a growing body of research (e.g. Drummond, 2005; Schippers, 2010; Szego, 2002; Sæther, 2003; Thorsén, 2005). In the following text, the author is placed in the gap, dealing with multi-sensual insights, inspired by both radical empiricism, deconstruction and post-colonial theory.
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| 16. |
- Zandén, Olle, 1956-
(författare)
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Samtal om samspel. Kvalitetsuppfattningar i musiklärares dialoger om ensemblespel på gymnasiet
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The purpose of this thesis is to analyse music teachers’ collegiate discourses on ensemble playing with regard to dialogically expressed criteria and conceptions of quality, and to relate these criteria and conceptions to the national governing documents for upper secondary ensemble education. The study has two theoretical perspectives, that is, a didactical perspective and a dialogical perspective. The research setting as well as the research questions are clearly didactical, whilst dialogical theory is used both as a foundation for the research method and as an ontology against which the findings are interpreted. Topic analysis, which is based on a dialogical theory of sense-making according to which meaning is constituted in a double dialogical process between interactants, situation and socio-cultural traditions is the method used. Four groups of music teachers have discussed video excerpts of popular music ensembles from ensemble classes, and these discussions have been analysed with respect to topics displaying conceptions of musical and didactical quality. Topics are created through communicative projects, in which two or more people display a mutual understanding of what they are talking about. Thus, all conceptions of quality elicited from the participant groups of ensemble teachers are the result of intersubjective sense-making. The results show that the ideal of informal music-making is so strong that the groups describe teacher intervention as detrimental to musical progress. Very little is said about the sounding music, whereas physical expressivity, autonomy and joy of playing are prominent topics. The apparent lack of music-specific, “contextual” criteria and the low valuation of the teachers’ work are discussed as possible threats to the existence of music as a subject in the national curriculum.
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