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- Assarsson, Petra, 1970-, et al.
(författare)
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Didaktiska kategorier inom distansutbildning i musik – en modellutveckling
- 2023
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Ingår i: HumaNetten. - : Linnaeus University Press. - 1403-2279. ; :50, s. 164-186
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Tidskriftsartikel (refereegranskat)abstract
- Distance courses are today a common feature in the university's range of courses. There are distance courses in different subject areas such as the subject of music. There have been distance learning courses for a long time, although much of the teaching has temporarily changed due to the reorganization of teaching during covid 19. In distance learning, the didactic elements may be different than in campus teaching. In 1978, Bjørndal and Lieberg (1978) developed a didactic relationship model. The model consists of different didactic categories; student and teacher conditions, goals, frame factors, methods, content and assessment. These categories influence each other relationally in different ways depending on what choices the teacher makes. A central aspect is that the teaching should be seen as a wholeness because the decisions the teacher makes based on one category also affect the other categories. The model was made to be a support for teachers' planning and it had a great influence on Norwegian didactics (Hanken & Johansen, 2021). Today, the didactic relationship model is also used in Swedish teacher education. When the didactic relational model was developed in 1978, the technology that today enables digital distance education did not exist. With this starting point, the purpose of this study was to make a model development of Hanken and Johansen´s model (2021) as a subject didactic development work with a focus on distance learning. The research question is: How can the didactic categories be described based on distance education in music? The study has been conducted as three pair interviews. The selection is goal-oriented (Bryman, 2002) and consists of university teachers who teach the subject of music in distance courses. The subject of music in this study consists of both musical-practical elements and theoretical elements. The analysis will be made on the basis of Hanken and Johansen's (2021) definitions of the categories in the model. The study is ethically reviewed by the Ethics Committee Southeast, Sweden. The study is part of a development work within a university. The results of the study may be of interest to university teachers as well as other teachers who teach distance learning courses in the subject of music. The study could also make didactic choices and consequences visible to music education students.
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| 2. |
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| 3. |
- 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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| 4. |
- Bjerstedt, Sven, et al.
(författare)
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The playing now : A philosophical investigation of present time in music
- 2015
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Ingår i: Nordiskt nätverk för musikpedagogisk forskning (NNMPF), 2015. - Helsingfors : Sibelius Academy.
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Konferensbidrag (refereegranskat)abstract
- Introduction: Music, such as the duration of a musical piec e or length of a concert, can b e measured by metronomes and clocks in objective time ( chronos ). However, playing an instrument, singing, attending a concert, listening to a record or reading a musical score are musical activities also experienced as subjective time ( kairos) . Music has an intrinsic temporal dimension of experienced time , often including an intensification of the present moment, coexisting intertwined with its measurable dimensions. This makes music a fasc inating object for philosophical exploration. Musical practice em bodie s temporal phenomena like pulse, tempo, timing, ad lib, accelerando and fermata. The musical present can be viewed as a moment of sem antic fullness , a meaningful moment . Music can carry narrative, which is a related phenomenon, also containing intrinsic temporality. Furthermore, music can be improvised in the present moment. The tonal texture of music is experienced as a context, a coherency with an intrinsic temporality. This symposium is set to investigate how music can be experienced, philosophically speaking, in the present moment. In order to do this, we introduce a number of prominent Western philosophers who have taken an interest in the phenomenon of time by using the phenomenon o f music as a lens: Saint Augustine, Husserl, Bakhtin and Ricoeur.
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| 5. |
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| 6. |
- Lonnert, Lia, 1966-, et al.
(författare)
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A newly discovered autographed Franz Liszt transcription for the harp
- 2016
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Ingår i: Svensk tidskrift för musikforskning. - 0081-9816 .- 2002-021X .- 1653-9672. ; 98, s. 1-21
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Tidskriftsartikel (refereegranskat)abstract
- It is well known that Franz Liszt was fond of the harp as an instrument, and his use of the harp in the orchestra is innovative. He also befriended and worked with prominent harpists of his time, such as Elias Parish-Alvars, Wilhelm Posse, Jeanne Pohl and Rosalie Spohr. The transcriptions he once made for harp are now lost. However, a recent nding in a collec- tion in a Swedish museum, Murberget, L nsmuseet V sternorrland, - a collection that once belonged to the internationally renowned Swedish harpist Adolf Sjödén shows a previously unknown transcription for harp of Liszt’s piano piece Ave Maria von Arcadelt. The manu- script is autographed by Liszt although the copyist is unknown.The article discusses Liszt’s possible work processes with the piece, his work process with regard to other harp transcriptions, Sjödén’s relationship to Liszt and the Ave Maria von Arcadelt, and how the manuscript came into Sjödén’s possession. It also compares the re- cently found manuscript with Peter Dubez’ harp transcription, and the original piano piece. It is the only preserved transcription for harp that has been autographed by Liszt.
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| 7. |
- Lonnert, Lia, 1966-
(författare)
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Amateur orchestras as a learning environment for music academy students
- 2020
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Ingår i: International Journal of Community Music. - : Intellect Ltd.. - 1752-6299 .- 1752-6302. ; 13:1, s. 49-63
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Tidskriftsartikel (refereegranskat)abstract
- Orchestral playing is a common form of ensemble playing within higher music education. However, students sometimes participate in amateur orchestras outside of their formal education. This study focuses on what students learned by participating and what the educational institutions gained. The study is a case study of a music education institution and four amateur orchestras and consisted of eight interviews with conductors and administrators. The study shows that learning in the amateur orchestra is similar to learning in formal education contexts, such as developing knowledge of repertoire, in which both institutions contribute to the student's overall knowledge. Nevertheless, some aspects are better learnt outside of formal education such as educational roles, the creation of a professional identity as a musician and knowledge of different social contexts.
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| 8. |
- Lonnert, Lia, 1966-
(författare)
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Amatörorkestrar som lärandemiljö för musikhögskolestudenter : En studie om Musikhögskolan i Malmö och fyra amatörorkestrar
- 2019
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Orkesterspel ingår som en vanlig ensembleform inom musikhögskolors utbildningar, och vissa utbildningar är till och med specifikt inriktade på symfoniorkesterspel. Dock visar det sig att studenter ibland spelar i amatörorkestrar samtidigt som de studerar på musikhögskola. Lärare på musikhögskolor rekommenderar ibland studenter att delta i amatörverksamhet eftersom de anser att studenterna inte får tillräckligt med erfarenhet av, eller kunskaper om, orkesterspel inom utbildningen. Detta gör att det skapas en parallell utbildning för musikhögskolestudenterna vid sidan av den formella utbildningen. Denna studie fokuserar på vad musikhögskolestudenter lär sig genom att delta i amatörorkesterverksamhet och vad det tillför det utbildningen.Studien är en fallstudie över en läromiljö: Musikhögskolan i Malmö och fyra amatörsymfoniorkestrar där musikhögskolestudenter ingår. I studien har åtta intervjuer utförts, fyra med amatörorkesterdirigenter och fyra med ledning för musikhögskolan.Studien visar att deltagandet och lärandet i amatörorkestrarna beror på delar som musikhögskolestudenterna saknar i sin utbildning, samt personliga kontakter mellan dirigenter, lärare och studenter. Amatörorkesterverksamheten kan i hög grad betraktas som ett komplement till musikhögskolans verksamhet, även om det finns aspekter som inte kan tillgodoses i lika hög grad inom musikhögskolorna som kunskaper om pedagogiska roller, formandet av en professionell yrkesroll och kunskap om olika sociala kontexter. Relationen mellan musikhögskolan och amatörorkestrarna kännetecknas av informella kontakter och informella samarbeten av tradition, där autonomi är en viktig aspekt. En annan aspekt är öppenheten inför en föränderlig arbetsmarknad och kulturscen där nya former av samarbeten är möjliga och önskvärda.
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| 9. |
- Lonnert, Lia, 1966-
(författare)
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Att uttrycka en annan sorts kunskap : Om konstnärlig kunskap och vetenskaplig kunskap
- 2016
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Ingår i: M&STE: Elektronisk tidskrift för konferensen Musik & Samhälle. - 2002-4622. ; :1, s. 27-36
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Tidskriftsartikel (populärvet., debatt m.m.)abstract
- Lia Lonnert problematiserar i sin artikel begreppet kunskap utifrån en idéhistorisk tradition, från Platon och Aristoteles och framåt, och reflekterar dels över hur musik kan vara kunskap, dels över vad kunskap om musikutövande är. Blicken riktas mot utbildningsområdet inom såväl grundskola som högskola.
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| 10. |
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