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Professional knowledge in music teacher education
- 2013
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Editorial collection (peer-reviewed)abstract
- Music teacher education poses some of the most challenging questions of any profession. The complexity of various forms of knowledge and practices that we encounter, as teachers, university lecturers, teacher trainers, student teachers, policy-makers or researchers, demands careful thought and reflection.Professional Knowledge in Music Teacher Education focuses on how knowledge is understood, what theories we hold and related assumptions we make about teachers and learners, and how we can understand and make connections between theory and practice imaginatively in music teacher education. Within this volume, internationally renowned contributors address a number of fundamental questions designed to take the reader to the heart of current debates around knowledge, practice, professionalism, and learning and teaching in music.
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- Zadig, Sverker, et al.
(author)
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Informella stämledare : Körledares erfarenhet av samarbete mellan sångarna i körstämman
- 2015. - NMH-publikasjoner 2015:8
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In: Nordisk musikkpedagogisk forskning. Årbok 16 2015 : Nordic Research in Music Education. Yearbook Vol. 16 2015, - Nordic Research in Music Education. Yearbook Vol. 16 2015. - 9788278532089 ; 16, s. 183-207
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Book chapter (peer-reviewed)abstract
- Informal leaders in the choral voice.Choir leaders’ experience of collaboration between the choristers.Most choirs and choir leaders have the aim to make the individual voices soundas unison as possible in the different choral voices, according to both timing,synchronisation and vocal blend.The aim of the present study was to investigate experienced choir leaders’experience and understanding of potential collaboration between the choristersin the choir, and what consequences that might result in.The study is qualitative in character: semi-structured interviews were carriedout with experienced Swedish choral conductors representing a broad spectrumof the praxis field, regions, ages and different gender. The interviews weretranscribed in verbatim and were analysed.The result shows that all the interviewee experienced informal leaders in theirchoirs and two main categories were identified: (i) with a focus on leadersof the musical line, musicianship/music-maker, and (ii) with a focus on thechoral blend, the blenders.As a conclusion, in order to develop choirs to sound more even, synchronisedand in blend, it might be of value to consider where to place a musical leaderin the choral voice, and also to what degree this phenomena should be madeexplicit and discussed with the members of the choir.
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- Österling Brunström, Johanna, 1962-
(author)
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Kropp, görande och varande i musik : en fenomenologisk studie
- 2015
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Doctoral thesis (other academic/artistic)abstract
- This thesis aims to explore bodily anchored dimensions of meaning in relation to four different musical contexts. How does the body take hold of the music? How does the music take hold of the body? These questions intersect each other through providing different entry points, which aims to illuminate this phenomenon from different perspectives. Given the fact that these issues are intertwined, they cannot be separated, nor should they be. Instead, they should be understood in light of each other. The questions intersect each other, yet are not identical. This thesis uses a theoretical foundation inspired by Maurice Merleau-Ponty’s phenomenology of the body, along with Frede V Nielsen’s view of music as a universe of meaning, which provides a spectrum of experience possibilities.Four musical contexts are represented; a professional musician (Astrid, in her 60’s), a concertgoer and also a professional composer (Björn, in his 40’s), a professional DJ (Celia, in her 30’s), and a professional dancer (David, in his 20’s).The participants in this study have been observed in their contexts through participatory observations and video observations. The observations took place at an orchestra rehearsal (Astrid), a concert (Björn), a nightclub gig (Celia) and a dance rehearsal (David). The observations were proceeded by stimulated recall interviews as well as semi-structured interviews (two interviews per person). The collection of empirical data was concluded by a focus group where all four participants took part.The voices of the participants are heard through life stories that are built on the conducted interviews. Themes (essences) that describe the bodily anchored dimensions of meaning among the participants have emerged through phenomenologicalhermeneutical readings and analysis of their life stories and interviews.The study indicates that all four musical contexts share the bodily anchored dimensions of meaning, emanating from musical learning and knowledge. The four contexts also share experiences of aesthetic, emotional and existential relations to musicking. In addition, the room plays a significant role, together with body and communication.The musician and the DJ express the dual aspect of the body, e.g. to have and to be in a body, and also the distinction between a professional and a private body. The concertgoer/composer and the musician both highlight how the body can expose the person through stress, nervousness and habitus. The concertgoer/ composer also illustrates how language emanates from bodily gestures.When the body takes hold of the music, it occurs through an intentional act, through a reaching out in the world – an act of doing. When the music takes hold of the body, it involves becoming shaken, touched and, without notice, being struck by music – an act of being. Between doing and being, there is a gap – the flesh – that can be understood as our existence.
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