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- Angelo, Elin, 1975-, et al.
(författare)
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Profesjonsforståelse : en innfallsvinkel til å profesjonalisere det musikkpedagogiske yrkesfeltet
- 2014
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Ingår i: Nordisk musikkpedagogisk forskning. - Oslo : Norges musikkhøg̜skole. - 1504-5021. ; 15
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Tidskriftsartikel (refereegranskat)abstract
- Music-pedagogical philosophy – An approach to professionalize the field of music educationA carefully considered music-pedagogical philosophy is necessary to develop professional knowledge for the individual music teacher, as well as for music-pedagogical communities and for the music teacher profession as a whole. In this article we elaborate on individuals’ music pedagogical philosophies (no: profesjonsforståelser) as a fruitful approach to articulate and discuss leading ideals and norms for quality within the field of music education. We argue that the professions “body of knowledge” is invisible and irreproachable, and that it is crucial to articulate, clarify and discuss the professional knowledge, expertise and mandate that is held within this vocational field. This article is informed by professional literature and research in music education, and focuses the aspects jurisdiction, certification and authorization, as well as power, identity and knowledge. In conclusion we argue that music pedagogical philosophy should be a focused part of music teacher education, in order to professionalize the field and qualify the discussions about quality, both inside and around the field of music education.
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| 3. |
- Bjerstedt, Sven
(författare)
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"A new educational situation" – perspectives on jazz musical learning in the Swedish jazz journal OrkesterJournalen 1980–2010
- 2017
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Ingår i: Nordisk Musikkpedagogisk Forskning: Årbok. - 1504-5021. ; 18, s. 317-345
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Tidskriftsartikel (refereegranskat)abstract
- This article aims to mirror a time of radical change in Swedish jazz education through perspectives formulated in the jazz journal Orkesterjournalen. During the 1980s, jazz musicians are still typically viewed as self-taught; you learn how to play jazz through listening and through playing together in contexts where fellow musicians function as informal “teachers”. The growing formal jazz education is viewed with some scepticism. The music’s emotional values are emphasized rather than the intellectual ones, and warnings are issued regarding homogenization and “broiler mentality”.During the 1990s, self-regulated, curiosity-driven jazz learning is still in focus. However, there are now also new opportunities to profit from a long formal jazz education as well as an increasing amount of experiences that enable comparisons between Swedish and American jazz education. Based on such experiences, a richer discussion can be conducted about, among other things, the consequences of formal jazz education with regard to tradition and individuality. During the first decade of the new millennium, a Swedish jazz educational profile is appearing more clearly, focusing on the role of personal expression in jazz education, as well as on the role of jazz education for personal development.
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| 4. |
- Bjerstedt, Sven, et al.
(författare)
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The musical present: A polyphonic philosophical investigation
- 2016
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Ingår i: Nordisk Musikkpedagogisk Forskning: Årbok. - 1504-5021. ; 17, s. 9-39
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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.
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| 5. |
- Björck, Cecilia, 1970
(författare)
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Kreativitet som glidande diskurs: Berättelser om Biophilia Educational Project
- 2018
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Ingår i: Nordisk musikkpedagogisk forskning : Årbok. - 1504-5021 .- 0333-3760. ; 18, s. 75-95
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Tidskriftsartikel (refereegranskat)abstract
- In 2014, the three-year-long Biophilia Educational Project was initiated by the Icelandic artist Björk Guðmundsdóttir. The project links science, music and technology in a curriculum for 10–12-year-olds which has been implemented regionally in the Nordic countries as an alternative to conventional educational approaches. Adopting Michel Foucault’s notion of discourses as tactical elements, this article examines how the aims and potential benefits of the Biophilia project are discursively constructed by different actors involved in the process. The analysis draws on material from the project’s web site, from the funder’s web site, and from the web site of one of the local municipalities where the project has been implemented. It also draws on policy documents and on published media interviews with Björk. Results, discussed in relation to neoliberal discourses in education, show how meanings, especially regarding the term creativity, shift when different actors describe the project’s aims and objectives, and how contrasting subject positions are thereby produced.
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| 6. |
- Borgström Källén, Carina, 1961, et al.
(författare)
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Performing gender when music is, or is not, at stake – a meta-analysis on students’ adaption to discourse
- 2017
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Ingår i: Nordic Research in Music Education. Yearbook 2017, 97–116. - 1504-5021 .- 2535-4027. ; Vol. 18, s. 97-116
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Tidskriftsartikel (refereegranskat)abstract
- ABSTRACT In this article, a meta-analysis is conducted in order to explore how gender is constructed in relation to music classroom school discourses, in three qualitative studies. Conducting meta-analysis is a way of reflecting on data in new ways, and it is argued that it could be productive in creating new understandings of issues within the field of music education research. Theoretically, all three studies, as well as the reinterpretation, draw on social constructionism and the method is based on qualitative meta-analysis in the social sciences. The result of the analysis indicates that construction of gender is a matter of what is at stake in the music classroom – music or education.
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| 7. |
- Bouij, Christer, 1951-
(författare)
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Att bli musiklärare : en socialisationsprocess
- 1999
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Ingår i: Nordisk musikkpedagogisk forskning. - Oslo : Norges musikkhøgskole. - 1504-5021. ; , s. 77-90
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Tidskriftsartikel (refereegranskat)abstract
- The subject of this article is the socialization process of Swedish music teachers in their profession. A combination of interviews and questionnaires has been used as data sources. These have been carried out mainly before and after their music teacher training. The analysis process is qualitative and rests mainly on the interviews. This led to the role identity theory, which proved useful in casting light on the social ization process. Role identity is the way that an individual performs a particular social position.The group of classmates is of great importance for socialization, through the education code principles for interpretation and action, which are collectively formed by the students. There is no doubt that the role of musician is accorded the higher status by the education code.There are two professional roles, music teacher and musician, which the music teacher students can see themselves to be working with in the future. But they also have to decide upon musical comprehensiveness. This can, for the individual student, imply one or more musical genres or one or more instruments, for example playing the trumpct or the whole brass family. In an ordinary municipal music school a brass teacher has to be responsible for the whole brass family.
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