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- Almqvist, Cecilia Ferm, et al.
(författare)
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The Music Teacher in the Nexus of Art Origin
- 2017
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Ingår i: Finnish Journal of Music Education. - : Faculty of Music Education, Jazz and Folk Music at the Sibelius Academy of the University of the Arts Helsinki and the Finnish Society for Research in Arts Education. - 1239-3908. ; 20:1, s. 45-58
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Tidskriftsartikel (refereegranskat)abstract
- Artists are not born – they become. Artists are created by art, art that they have created. This twisted helix is conceptualised as ‘the origin of art’ by Heidegger. If an artist is to originate within musical educational settings, we claim that the musical educator has an inevitable role to play in this art origin. The problem of the investigation at hand are a question of how the educator can relate to this involvement; guiding the student toward the nexus of this origin without standing in the way for the originating of art nor to become a part of the origin of art as a part of the artist’s artistry. The complex phenomenon consisting of relations between art, student(s) and teacher are investigated, and in order to understand how teachers can organize their teaching towards an artistry achievement of their students, we seek to explore a number of phenomenological concepts; Heidegger’s notion of a work of art, the idea of Lifeworlds, musical intersubjectivity, responsibility in asymmetrical relationships and finally, dwelling. The conclusion are that teacher can relate to this situation in three different modes; (i) by enriching the Lifeworld of the student, (ii) by preparing for the unexpected to occur and (iii) direct the intentionality towards the nexus of artness originating instead of the artness itself.
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| 2. |
- Asplund, Jonas, 1971-
(författare)
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Cyborg learners : Becoming-with in the ecology of digital music composition
- 2022
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Ingår i: Finnish Journal of Music Education. - 1239-3908. ; 25:1, s. 10-30
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Tidskriftsartikel (refereegranskat)abstract
- Digital technology for musical purposes creates new means for embodiment and expressions of music. The aim of this article is to explore a non-linear digital music composition application in relation to two composers active in the field of contemporary art music. Drawing on the posthumanist ontological turn the study offers a sociomaterial understanding of learning practices. The empirical material consists partly of an interview with Jesper Nordin, a composer and music/composition application creator who is active in the contemporary art music field. In addition, the author’s own a/r/tographical exploration together with the iPad application called Gestrument, for compositional purposes constitutes a part of the material. The generated material was analysed through a posthumanist narrative, constructed and presented as entangled stories of learning/becoming in relation with the digital actant Gestrument, with human and nonhuman actants in a wider sense. The results introduce a discussion on the implications a posthumanist sociomaterial understanding can have for music education practices. For example, the composition here becomes relata, it is diffracted to multiple becomings in relation to different interpreters, musicians, traditions, compositions and so forth. When employed for the purpose of composition as an activity within music education, digital hardware/software can offer multiple ways of intra-acting with music, other ways than via common musical instruments, and by that differentiate the process of conceptualizing subjective ideas in multiple directions, emphasizing diffraction and relationality. In this understanding of music creation as relational and fluid, the employment of specific digital actants seems to help corroborate modes of conceptualizing music, but also act as a partner of renewal as well as a sounding board for musical ideas.
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| 5. |
- Björck, Cecilia, 1970
(författare)
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Volume, Voice, Volition: Claiming Gendered Space in Popular Music Soundscapes
- 2009
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Ingår i: Finnish Journal of Music Education. - 1239-3908. ; 12:2, s. 8-21
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Tidskriftsartikel (refereegranskat)abstract
- Although popular music is increasingly being used in schools, questions around the significance of gender for learning popular music remain largely unexplored in music education research. The present article draws on data from round-table discussions with staff and participants from initiatives intended to facilitate women’s participation in popular music in Sweden. Using a critical constructionist framework, the article examines how spatiality and sound are constructed in these discussions. Three quotes are analyzed with a Foucauldian-inspired discourse analysis method. The quotes construct volume and voice as entangled with each other and with issues of power, forming crucial gendered problems for making oneself heard in popular music soundscapes. These constructions also display a tension between liberalist/humanist definitions of claiming sounding space as a matter of willpower and other definitions of the act as a matter of structures and norms.
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| 6. |
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| 7. |
- Brändström, Sture, et al.
(författare)
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A total institution within reach? : Music education at Framnäs Folk High School in the 1950s and 60s
- 2011
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Ingår i: Finnish Journal of Music Education. - 1239-3908. ; 14:2, s. 60-71
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Tidskriftsartikel (refereegranskat)abstract
- The purpose of this article is to increase understanding of what music studies at a folk high school could mean to individual students, and to discuss what Framnäs Folk High School meant to music education opportunities in northern Sweden. The 1950s and 1960s are primarily addressed, in other words, the period from the foundation of Framnäs up until the major changes that took place in the 1970s. How were students recruited, and what did the new study opportunities mean to prospective students? What was the study situation like at the school and what was the social environment like? What role did music play in the study environment and what view towards music found expression at Framnäs Folk High School? Terms used in the analysis include “total institution” (Goffman 1961) and “reach” (Kåks & Westholm 1998). The argument in the article uses analysis of archived material from Framnäs Folk High School, published literature and interviews with former students. In the study, it is shown that Framnäs Folk High School’s music education was within mental reach for many who would hardly have seen the Royal School of Music in Stockholm, at the time Sweden’s northernmost institution for advanced music, as an alternative. The social environment at Framnäs included elements of control and discipline, as well as community and consideration. Something that distinguishes the folk high school environment from total institutions in Goffman’s sense of the term is the camaraderie between teachers and students and the fundamental freedom. The view towards music and culture that characterised the music education at Framnäs may be described as admiring appropriation of the bourgeois or classical music heritage.
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| 8. |
- Di Lorenzo Tillborg, Adriana
(författare)
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Tension fields between discourses: Sweden's Art and Music Schools as constituted within and through their leaders' discursive practices
- 2017
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Ingår i: Finnish Journal of Music Education. - 1239-3908. ; 20, s. 59-76
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Tidskriftsartikel (refereegranskat)abstract
- Art and Music Schools (kulturskolor) are present in about 97% of Sweden’s municipalities, reaching over 400.000 children and adolescents both in activities outside of and in collaboration with compulsory schools. A national policy has never been established for Art and Music Schools, possibly owing to the fact that they are not considered part of the Swedish education system, but instead stem from local music activities as a parallel, mainly voluntary school system. For the first time since these schools started being established in Sweden in the 1940s (originally as music schools), it might become a reality for such schools to work in accordance with national policy documents, since the Swedish government has commissioned an investigation to suggest a national strategy. Considering the current process for creating national regulation for Sweden’s Art and Music Schools, it is highly relevant and interesting to undertake a research project on those schools while it is happening. Earlier research on Art and Music Schools in Sweden suggest that they possess a huge ideological freedom because, unlike the compulsory school, they do not have any policy documents at a national level. This article aims at contributing to a better understanding of the tension fields that emerge in the discursive practice of Sweden’s Art and Music School leaders as a consequence of government plans to create national policy documents. These emerging tension fields are explored by focusing on how the school leaders legitimise Art and Music Schools.The data consist of video documentation from two focus group conversations with a total of nine Art and Music School leaders, from eight different schools in central and southern Sweden. The study is qualitative and builds on an abductive approach. My analysis connects to an international context of education policy research and applies the “loosely coupled systems” concept to Sweden’s Art and Music Schools. The results expose an Art and Music School discourse, identified as a major discourse sharply contrasting to a compulsory school discourse and existing within several tension fields: financial versus educational accountability, management discourse (represented by directors) versus leadership for learning discourse (represented by headmasters), educational discourse versus leisure discourse, regulation versus freedom, informal norms versus curriculum implementation, traditional versus contemporary views of policy making, reaching all children versus improving a few children’s special skills, municipally versus privately administrated art and music schools, classical versus non-classical music, Music Schools versus Art and Music Schools.Sweden’s Art and Music Schools are shaped by and within the exposed tension fields in relation to the process for national regulation. I argue that challenges with the national policy process in Sweden’s music and arts schools, such as resistance and fear of losing flexibility, are already manifest. Hence, Art and Music School leaders can be seen as policymakers, since they are already enacting policy, even before the national policy has been made.
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