SwePub - search: WFRF:(Thorgersen Cecilia Ferm)

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1.	Asplund, Jonas, 1971- (author) Becoming Cyborg Composer : The Ecology of Digital Music Composition Didaktik 2022 Licentiate thesis (other academic/artistic)abstract The aim of this licentiate thesis is to explore the sociomaterial relationality of music composition education with digital hardware/software and its outcomes. Two studies were conducted interleaved as original articles in the thesis. Article 1 explores learning in creational processes involving digital actants and two composers of contemporary art music. The posthumanist concept of the cyborg is enacted as a signifier for learning and becoming in relation with material actants. An interview with a composer and music application creator is analysed through a constructed posthumanist narrative entangled with the researcher’s narrative of a music creation process involving the app. Also, the app’s meaning-making capacities are entangled in the narrative. Results show that alignments between human and nonhuman actants constitute a part of learning in music composing practices. Artefacts move from being evident and present to becoming transparent and in a background relation during a learning process.In article 2 a composing assignment conducted in four year 9 classes in a Swedish compulsory school is explored. Employing the posthumanist concept compositionism as a research approach, educational activities are composed into assemblages of actants performing the outcomes of the activities. Results bring the human/nonhuman actants as hybrid originators of outcomes to the fore. Learning with digital actants also showed to be hardware/software specific when past experiences of music composing were limited, with the risk of reducing pupils to intermediaries of information between functions in the digital software.In the summarising parts of this compilation thesis, a background of the research field of didaktik and subject didaktik is delineated. Also, the distinction between didactics and didaktik is discussed and the reason for employing the Swedish/German spelling is explicated. Furthermore, a background of composing and music creation as subject matter in the Swedish school system is drawn. Theoretical and methodological approaches are further developed in the summarising parts. Posthumanism as theoretical onset has a profound impact on understandings of relationality within educational activities and on how materiality is affecting learning. Methodological approaches are actuated in relation to the research material to find new meanings of sociomaterial relationality in music education.As one outcome of reading the results from the studies through posthumanism, the tentative term postdidaktik is proposed and discussed. Following the ontological turn of posthumanism that re-entangles human with nature and matter, postdidaktik becomes an implication for understanding learning in sociomaterial relationality. This also affects an understanding of didaktik as lesson planning, enactment, and analysis. The practical employment of postdidaktik is thus further delineated and proposed for further research.
2.	Ferm Thorgersen, Cecilia, 1966-, et al. (author) Music as aesthetic communication within schools 2012 In: International Society for Music Education. - Thessaloniki : ISME. Conference paper (peer-reviewed)abstract Music is a complex phenomenon, and the learning of music even more so. Learning of music takes on an amazing variety of forms in different cultures and practices, whilst in the western school tradition of music teaching, it is mostly about developing skills in music and knowledge about music strictly within the borders of the music classrooms. This is particularly true for older students. Aesthetic experience and communication, which in this presentation is considered the core of music, is often neglected or assumed to come as side effects of the teaching of skills and knowledge. Studies show that some pupils feel an alienation of the school subject music – that there is a gap between school music and the music that is of existential value to them outside school, and also a gap between music and other forms of communication, knowing and learning: Outside of the school context music is being used for personal fulfilment, social interaction, identity creation and p ersonal and social reflection where the borders of music towards other forms of expression and communication is of no inherit importance. In this presentation we will discuss how a holistic view on music teaching and learning, departing from aesthetic experience and communication, can contribute to a pedagogy where the student are offered meaningful musical learning within the school setting. The points of departure for our discussion are views of democracy, aesthetic communication and communication developed from the traditions of John Dewey, Michelle Dufrenne and Hanna Arendt. As an empirical inspiration for the analysis is a comparison between the two latest curricula for the Swedish compulsory school, where the usage of the concept “aesthetic” is being scrutinized. Aesthetic communication is often understood as multimodal communication where multiliteracy is needed to be able to be an active citizen and participant in your own life. However, in addition to the multimodal and multilitacy aspects, the term aesthetic communication implies aspects of existential opportunities and possibilities. In a formalised educational setting that means facilitating for learning that involves presence, representation and imagination, reflection and emotions, and where knowledge and skills are being treated in particular context with bearing for the individual in their soci al contexts. In the current Swedish curriculum such teaching practices could be
3.	Thorgersen, Cecilia Ferm, et al. (author) Musical activism towards equality among youths in Scandinavia 2015 In: Finnish Journal of Music Education. - 1239-3908. ; 18:2, s. 88-101 Journal article (peer-reviewed)
4.	Thorgersen, Ketil, et al. (author) Impetus, imagination and shared experience in aesthetic communication 2008 Conference paper (other academic/artistic)abstract Our presentation will take an ongoing philosophical work of aesthetic communication as a starting point (Ferm & Thorgersen, 2007). The last couple of years we have been combining the philosophies of life-world-phenomenology and pragmatist aesthetics to develop a theory on the dynamic processes of aesthetic communication in learning environments. The main philosophers in this work have been, Dewey, Shusterman, and Merleau-Ponty. In both pragmatism and phenomenology there is room for analysing social dynamics as well as subject's meaning-making, but where the phenomenologist often prefer to take the subject's bodily position as a point of departure, the pragmatist often take social change in relation to individual growth as a starting point. We have had a special focus on awareness as a tool for illuminating the complex phenomenon. The dimensions that have been revealed are: Awareness of oneself, awareness of others, awareness of means of expression and awareness of role and responsibility in communication. We have also tried to develop the relation between philosophy and practice (Thorgersen, 2007, Ferm, 2007, Ferm, 2008). The developing thoughts that we want to present and discuss in our presentation concerns the shared nature of experience in the processes of aesthetic communication. Experience seen as shared, opens up for ways of regarding aesthetic communication in education where expression of oneself, roles in communication, means of expression and others are significant factors. We want to examine how dimensions of impetus and imagination work in the developing processes from recollected experience to future experience, in other words situations where aesthetic experiences are shared and developed. We will go further into the earlier mentioned philosophers' writings about these specific aspects of aesthetic communication and develop the philosophy connected to aesthetic communication in educational settings.
5.	Christophersen, Catharina, et al. (author) “I think the arts are as prominent as any subject” : A study of arts education in two Scandinavian schools 2015 In: InFormation. - : OsloMet - Oslo Metropolitan University. - 1893-2479. ; 4:1, s. 3-18 Journal article (peer-reviewed)abstract The arts seem to be under pressure in many educational systems, which is demonstrated by a general lack of recognition of aesthetic experience and learning, a lack of emphasis on the arts in education, and often also a lack of fully competent teachers. Despite the challenging situation facing the arts in schools in general, there are exceptions. Some schools do choose to focus on the arts. This article presents a ethnographic double case study that explored arts education practices in two such Scandinavian schools. The purpose was to systematically examine how education in the arts subjects was carried out in the schools, and how the actors perceived, articulated and legitimated the educational practices in the arts subjects. The results show that the educational leadership in the schools were of great importance. Further, the arts are integrated as a natural part of everyday school life, and both schools have taken a holistic approach to education, in which the arts are perceived to involve and contribute to learning in the broadest sense, as well as to the pupils’ social and personal growth. Also, the results show that arts education practices were carried out in a creative, but challenging tension between frames and freedom
6.	Ferm Almqvist, Cecilia, et al. (author) Att möjliggöra estetiska erfarenheter i lärarutbildning 2022 In: I rörelse. - Huddinge : Södertörns högskola. - 9789189504073 - 9789189504080 ; , s. 35-58 Book chapter (peer-reviewed)abstract Texten tar utgångspunkt i och diskuterar estetisk kommunikationsom ett didaktiskt förhållningssätt till estetiska erfarenheter inomutbildning generellt, och lärarutbildning specifikt. Genom atterbjuda estetisk kommunikation som ett didaktiskt tankeverktygför att förstå och planera för, genomföra och värdera utbildningavser vi att öppna för en diskussion om vilken plats estetiskaerfarenheter har och kan ha i lärarutbildningar. Estetisk kommunikation kan således förstås som ett erbjudande till lärare inomlärarutbildningar om ett förhållningssätt till estetik och lärandesom kan fungera som ett tankeverktyg för att analysera och utfor-ma utbildningar där estetiska erfarenheter står i centrum. Textenpresenterar och definierar begreppet med grund i filosofiska tanke-traditioner, relaterar det till specifika lärandesituationer, didak-tiska handlingar och kompetenser, pedagogiska relationer, samttill utbildningsstrukturer och politiska värderingar.
7.	Ferm Almqvist, Cecilia, Professor, 1966-, et al. (author) Att möjliggöra estetiska erfarenheter i lärarutbildning 2022 In: I rörelse. - Huddinge : Södertörns högskola. - 9789189504073 - 9789189504080 ; , s. 35-58 Book chapter (peer-reviewed)
8.	Ferm Almqvist, Cecilia, et al. (author) Estetisk kommunikation - tolv år senare 2019 In: NEÄL 2019. Conference paper (other academic/artistic)abstract 2007 presenterade vi paperet Aesthetic Communication - Students’ Awareness på konferensen International Society of Philosophy in Music Education (Ferm-Thorgersen & Thorgersen 2007). I paperet föreslog vi att begreppet “estetisk kommunikation” kunde vara användbart för lärare och lärarutbildare för att tänka kring utveckling av estetisk verksamhet som kommunikation. Med utgångspunkt i en kombination av fenomenologi och pragmatism argumenterade vi för att en konstruktivistiskt syn på lärande innebär att kunskap blir till i möten mellan människor och i möten med världen. Konstuttryck blir således både mediator i dessa möten och samtidigt något människor möter. Det estetiska blir till i mötena och det blir således en uppgift för skolan att lägga tillrätta för elevers medvetna deltagande i sådana estetiska praktiker. I detta första paper lyfte vi fyra centrala medvetandedimensioner som vi ansåg att det var viktigt att fokusera i skolans konstnärliga och estetiska verksamheter: 1)Medvetande sig själv, 2) Medvetenhet om andra, 3) Medvetenhet om uttrycksmöjligheter, 4) Medveten om roller och ansvar i kommunikationen.I ett uppföljande paper året efter skrev vi om fantasins, delning av erfarenheter och drivkrafters roll i estetisk kommunikation som en utveckling av hur och varför skolan skulle kunna arbeta med de fyra medvetenhetsformerna.Efter detta skildes våra vägar och vi har sedan på varsitt håll utvecklat varsin gren gällande teorin om estetisk kommunikation, den ena primärt med Arendt, Dufrenne & Heidegger, den andra med hjälp av Dewey, Spinoza, Næss och Deleuze. I denna dialogiska presentationen söker vi att visa på och analysera hur dessa två grenar av estetisk kommunikation ömsesidigt kan berika varandra och tillsammans kan bidra med i förståelsen av vilken roll estetisk erfarenhet och upplevelse kan spela i utbildning och lärande.
9.	Ferm, Cecilia, et al. (author) Aesthetic communication in music education : student's awareness 2007 In: International Society for the Philosophy of Music Education Symposium. Conference paper (peer-reviewed)
10.	Ferm Thorgersen, Cecilia, 1966-, et al. (author) A phenomenological Study of how dance knowledge is seen through syllabuses in upper secondary schools in Sweden. 2012 In: Nordic Journal of Dance. - 1891-6708. Journal article (peer-reviewed)abstract This article is about how dance knowledge is seen though syllabuses in the Swedish upper secondary school. The researchers are using Spiegelberg´s method of analysis and the study is focusing upon syllabuses from two different curricula, Lpf94 and Gy11. The study is based on phenomenological philosophy. A phenomenological way of thinking allows that human beings are inter-subjective linked with and within the world. A basic rule and the starting point for research within the philosophy of life-world-phenomenology is to turn towards the things themselves and to be adherent to the things. The analysis of is resulting in two images over how dance knowledge is appearing in the syllabuses. The study shows that dance knowledge is constituted differently between the curricula.
11.	Ferm Thorgersen, Cecilia (author) Assessment of musical knowledge from a life-world-phenomenological perspective : Challenges of conceptualising and communicaiton 2011 In: Hellenic Journal of Music, Education and Culture. - Thessaloniki : Greek Association of Primary Music Education Teachers. - 1792-2518. ; 2:1, s. 37-45 Journal article (peer-reviewed)abstract In the current time, when all syllabuses in all subjects and school forms are rewritten in Sweden, assessment is a concept for discussions in several settings at several levels. Formal and informal, formative and summative assessment of musical knowledge has been carried out in all settings where musical performance has taken place. In several contexts the idea of how different qualities of musical knowledge are performed, is constituted and re-created through sharing of experiences. Concepts and descriptions of the qualities, that are possible to transcend between time and space, and possible to use as a base for discussion and reflection upon musical knowledge are missing though. A prerequisite for such a conceptualising is a common understanding of what musical knowledge is. The philosophical study will take life-world-phenomenology as a point of departure for defining musical learning and knowledge, a base for a further discussion about how musical knowledge can be assessed, and how assessment can become a part of learning of music.
12.	Ferm Thorgersen, Cecilia, 1966- (author) Assessment of musical knowledge from a life-world-phenomenological perspective : challenges of conceptualising and communication 2011 In: Hellenic Journal of Music, Education and Culture. - 1792-2518. ; 2:1, s. 37-45 Journal article (peer-reviewed)abstract The article functions as a contribution to the current discussion about assessment that takes place in several educational settings, at several levels. In those contexts the idea of how different qualities of musical knowledge are expressed, is constituted and re-created through the sharing of experience. Still concepts and descriptions of the qualities, which should be possible to use as a base for discussion and reflection upon musical knowledge, are most often missing. The contribution in the discussion is based on a view of knowledge and learning takes a life-world- phenomenological way of thinking as a point of departure, based on Merleau-Ponty, Heidegger and Dufrenne. The philosophy offers a base for a further discussion of the possibilities of, and challenges to how musical knowledge can be assessed, and how assessment can become a part of musical learning. This article will take into account the multi-dimensional phenomenon of music, and how it influences the concepts of musical knowledge and learning. It will address the conceptualisation of such knowledge, the weight of style and earlier experiences, the aspect of response in connection to language, and how musical knowledge can be expressed and assessed in the spirit of inter-subjectivity.
13.	Ferm Thorgersen, Cecilia, 1966- (author) Att organisera för musiklärares professionella utveckling : om identitetsformation och olika praxisgemenskaper 2012 In: Högre Utbildning. - Stockholm : Swednet. - 2000-7558. ; 2:1, s. 5-18 Journal article (peer-reviewed)abstract In 2007 the Swedish government decided to put resources in a project that offered active teachers to develop disciplinary and pedagogical competence through doctoral studies. Among ten others the Royal College of Music in Stockholm succeeded with their application and got the chance to educate 10 music teachers from the compulsory school towards a “half” PhD exam, that is called a Licentiate exam in Sweden. The teachers come from all of Sweden and are registered at one of five participating higher music education institutions. At the same time they work for 20 % in their ordinary schools. The common education is organized as courses and in virtual meeting rooms of different kinds. The motive for that is that the teachers are participating in several communities of practice at the same time, aiming to develop as researching practicing teachers in a broad way. In a developing research project the growing of the teachers – eg identity development and professional learning - is followed, guided by the following questions: What becomes the task for higher education when the teachers are taking part in a PhD education at the same time as they work, and are expected to go back to their ordinary work in schools? How can a research school be organized in as a developing learning system where individual experiences have possibility to be shared by others? What are the possibilities for good learning and identity development, and which are the challenges? How can learning trajectories between the research school, the research communities and the everyday practice seen as communities of practice, be encouraged? What authentic questions are engaging the teachers and how do they develop in the social interplay? The methods used are teachers’ continually encouraged written reflections and documented group discussions.
14.	Ferm Thorgersen, Cecilia, et al. (author) Being - is it possible in a space offered by music education? : a philosophical investigation of how music education can embrace the space of being presented at the 'origin of the work of art' 2012 In: XVI Nordic Musicological Congress, Stockholm 2012. - Stockholm : Department of Musicology and Performance Studies Stockholm University. - 9789197696142 Conference paper (peer-reviewed)abstract Martin Heidegger claims that a work of art contains an intrinsic power to open the space of Being. If a work of art can be a musical work of art, then music possesses the power to strike us and hence throw us into Being. We will examine Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. This theoretical study is animated by a living example of a young boy who is about to conquer music.Further, art, as Heidegger describes it, will be focused upon and discussed in relation to how it can exist within music education. How is it possible to relate to music as a work of art with the same distinctions as Heidegger presents for us, by looking upon art as a thing as well as a tool but also as an as an opener to the space that constitutes the gap between earth and world? We argue that the educator has an unquestionable role in this creational space of origin seen as an educational practice.To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those two main issues to the Swedish national syllabus for the subject music. Heidegger’s thinking is then related to the new Swedish governing documents, an investigation aiming to explore how the syllabus embraces and performs Heidegger’s thinking in music educational practice. The presentation ends with a discussion about how music education can offer students a place in Being, and music educators’ roles as parts of the creational origin process of a work of art.
15.	Ferm Thorgersen, Cecilia, 1966-, et al. (author) Being – is it possible in a space offered by Music Education? : A philosophical investigation of how Music Education can embrace the space of Being presented as the Origin of the Work of Art 2012 In: Ontology, music, education. - Reykjavik : Reykjavik University. Conference paper (peer-reviewed)abstract This abstract presents a contribution to a symposium concerning the book Ontology, music, education edited by Øivind Varkøy and Frederik Pio. More specifically, our contribution to the symposium focuses on Martin Heidegger claims that a Work of Art contains an intrinsic power to open the space of Being. If a Work of Art can be a musical Work of Art, then music posses the power to strike us and hence throw us into Being. The presentation will communicate an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking could generate for music educational practice. More specifically the contribution to the theme of the symposium will be an examination of Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. This theoretical study is animated by a living example of a young boy who is about to conquer music. Further, Art, as Heidegger describes it, is being focused and discussed in relation to how it can exist within music education. How is it possible to relate to Music as a Work of Art with the same distinctions as Heidegger presents for us, by looking upon Art as a Thing as well as a Tool but also as an as an opener to the space that constitutes the gap between Earth and World? To structure the philosophical investigation the presentation follows two main lines; one investigating Art as an opener to Being and the other focusing the equivalence between how the Artist makes the Work of Art in the same time as the Work of Art makes the Artist. According to Heidegger, this equivalence is the very Origin of Art. We argue, that the educator has an unquestionable role in this creational space of Origin seen as an educational practice. To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those two main line issues to the Swedish national syllabus for the subject Music. The disposition of the presentation in the symposium starts with a narrative that describes how a musical Work of Art has changed history for a young boy. A section follows where Heidegger’s concepts The Origin of the Work of Art, and The space of Being between World and Earth are presented and explored. Heidegger’s thinking is then related to the new Swedish governing documents, an investigation aiming to explore how the syllabus embrace and perform Heidegger’s thinking in music educational practise. The presentation will be ended by a discussion about how music education can offer students a place in Being, and music educators’ roles as being parts of the creational Origin process of a Work of Art.
16.	Ferm Thorgersen, Cecilia, 1966- (author) Classroom rules : An investigation of how children and youngsters in the US, Finland and Sweden perceive classroom rules and their connections to [musical] [life] learning 2011 In: Sustainable development in music education. - Örebro : Örebro Universitet. Conference paper (other academic/artistic)abstract @font-face { font-family: "Times"; }@font-face { font-family: "Cambria Math"; }@font-face { font-family: "Cambria"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria; }.MsoChpDefault { font-size: 10pt; font-family: Cambria; }div.WordSection1 { page: WordSection1; }Teachers are constantly engaged with making decisions for the good of the classroom. We continually determine actions that govern the present and future life of the students within the confines of our room. We may even consider the present and future life of the school community, society and perhaps even the world. We do so in many cases by beginning the school year by setting class rules and procedures:Be respectful of yourself and others.Be polite, courteous, and respectful at all times.Be quiet in lines, hallways, and restrooms.Follow DirectionsObey all school rules.Rules are simply common sense. However, Briztman (1991) reminds us that as a discourse, "common sense depends upon what is already known—the obvious—and hence resists explanations about the complications we live" (p. 7).All (music) classrooms contain social, economical, class related, cultural, ethical and other diversities. There may be the semblance of co-constructed directives, but policies of self-surveillance, false choice, particular ways of knowing and being, and rewards and punishments stabilize the narrative of the status quo. If instead the differences between pupils/students are encouraged, kept and respected, classrooms can become forum for a kind of listening – a discourse of uncommon sense - that can transcend the room of a home or a local groupRecognizing diversities can lead to new perceptions of learning, where discussions (and music making) are seen as a catalyst for new thinking. Through interaction new processes can be started that lead to un-known results. From this point of view the classroom can be seen as a precondition for (musical) “bildung” that contains political dimensions, and is connected to citizenship and being in the world. There is an interesting tension between this way of thinking about the common exists in plurality, based on Hannah Arendt, and traditional ways of thinking about class-room rules and nurturing.This presentation interrogates the "common sense" of rules and rule making from three national perspectives. With the input of students of all ages, we will present how different participants experience, internalize and view rules, and the attending consequences of such common sense engagements.
17.	Ferm Thorgersen, Cecilia, 1966- (author) Facilitating for future colleagues – sharing of experiences in the field of music teacher practicum : A task for the mastering guru or the mentoring critical friend? 2010 In: Proceedings for the 10th Research Alliance of Institutes for Music Education (RAIME) international symposium. - Köpenhamn : Aarhus Universitet. - 9788774302025 ; , s. 256-287 Conference paper (other academic/artistic)
18.	Ferm Thorgersen, Cecilia, et al. (author) How to challenge seminar traditions in an academic community 2010 In: Music, education and innovation. - Luleå : Luleå tekniska universitet. - 9789174391275 ; , s. 145-164 Book chapter (other academic/artistic)abstract From 2004 to 2007, developmental research was performed at the Department of Music and Media in Piteå, a part of Luleå University of Technology (LTU), Sweden. The aim was to improve higher-level seminars with a focus on text-related responses. Due to Sture Brändström’s open-mindedness towards new ideas, this work took the form of an action research project in which PhD-students, senior lecturers and professors were involved. The project received internal financial support from LTU, and was thoroughly documented (Wennergren 2007b). In a Festschrift dedicated in honour of Sture, it has been a matter of course to write about ‘response seminars’, or ‘the Piteå model’, which has become the alternative name of the seminar model in question.In the following, we will portray the response model and highlight issues, which emerged within the heterogenic research community in Piteå. We will also describe and reflect upon some developmental strains of the model together with their consequences. Above all, we will discuss different kinds of generic skills that were utilised and developed within the frames of the academic seminar. Finally, we will discuss relevant challenges, which need to be confronted when a research community wants to avoid becoming trapped in routine-like traditions. We think our findings could serve as both inspiration and a basis for discussion.
19.	Ferm Thorgersen, Cecilia, 1966- (author) Inclusion and involvement : Special needs in music education from a life-worldphenomenological perspective 2010 In: Music, education and innovation. - Luleå : Luleå University of Technology. - 9789174391275 ; , s. 33-52 Book chapter (other academic/artistic)
20.	Ferm Thorgersen, Cecilia (author) Lived music - multi-dimensional musical experience : Implications for music education 2013 In: Philosophy Study. - 2159-5313 .- 2159-5321. ; 3:12, s. 1124-1134 Journal article (peer-reviewed)abstract Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimensional musical experience from a life-world-phenomenological perspective and indicate its benefits to music education. The analysis is informed by Dufrenne’s philosophical writings regarding the phenomenology of aesthetic experience and also draws on Merleau-Ponty, Heidegger, interpreted by Benson and Ford, together with Schutz. These philosophers provide tools for understanding musical experience from a bodily, existential, and sociological perspective, and their complementary ideas about being and learning can be applied to musical experience in the first case and secondly its influences for music educational praxis. Firstly, the concept of lived music is defined through a discussion of dimensions of musical experience; the phenomenology of aesthetic experience; the use of several senses; the heard and the hear-able; apperception; and musical dwelling. Then, the sharing of experience in musical dwelling and its relevance to the concept of imagination is highlighted. I will also emphasize the importance of the view of human beings as holistic bodily subjects. Finally, the article includes a discussion regarding the implications of a life-world-phenomenological view of musical experience to music education.
21.	Ferm Thorgersen, Cecilia (author) Lived music - multi-dimensional musical experience : Implications for music education 2013 In: Philosophy Study. - : David Publishing Company. - 2159-5313 .- 2159-5321. ; 3:12, s. 1124-1134 Journal article (peer-reviewed)
22.	Ferm Thorgersen, Cecilia, 1966- (author) Multi-dimensional musical experience in two primary school classes in Sweden : A collaborative action study 2010 In: Research commission. - Changchun : North East Normal University. ; , s. 33-37 Conference paper (peer-reviewed)
23.	Ferm Thorgersen, Cecilia, 1966-, et al. (author) Music as Art – Art as Being – Being as Music : A philosophical investigation of how Music Education can embrace the Work of Art based on Heidegger’s thinking 2012 In: Onthology, music, educaiton. - : Ashgate. Book chapter (peer-reviewed)abstract Martin Heidegger claims that a Work of Art contains an intrinsic power to open the space of Being. If a Work of Art can be a musical Work of Art, then music posses the power to strike us and hence throw us into Being. The chapter will communicate an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking could generate for music educational practice. More specifically the contribution to the theme of the book will be an examination of Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. This theoretical study is animated by a living example of a young boy who is about to conquer music. Further, Art, as Heidegger describes it, is being focused and discussed in relation to how it can exist within music education. How is it possible to relate to Music as a Work of Art with the same distinctions as Heidegger presents for us, by looking upon Art as a Thing as well as a Tool but also as an as an opener to the space that constitutes the gap between Earth and World? To structure the philosophical investigation the chapter follows two main lines; one investigating Art as an opener to Being and the other focusing the equivalence between how the Artist makes the Work of Art in the same time as the Work of Art makes the Artist. According to Heidegger, this equivalence is the very Origin of Art. We argue, that the educator has an unquestionable role in this creational space of Origin, seen as an educational practice. To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those two main line issues to the Swedish national syllabus for the subject Music. The disposition of the chapter starts with a narrative that describes how a musical Work of Art has changed history for a young boy. A section follows where Heidegger’s concepts The Origin of the Work of Art, and The space of Being between World and Earth are presented and explored. Heidegger’s thinking is then related to the new Swedish governing documents, an investigation aiming to explore how the syllabus embrace and perform Heidegger’s thinking in music educational practise. The chapter will be ended by a discussion about how music education can offer students a place in Being, and music educators’ roles as being parts of the creational Origin process of a Work of Art.
24.	Ferm-Thorgersen, Cecilia (author) Music education and Technology : The need and challenges of cross-boundary research – Evolving bildung through streaming media as a case 2016 Conference paper (peer-reviewed)
25.	Ferm-Thorgersen, Cecilia (author) Music in Future Schooling : Towards Conservation or Reconstruction of Curriculum Structures and Rationale? :A Swedish Holistic Perspective 2016 Conference paper (other academic/artistic)
26.	Ferm Thorgersen, Cecilia (author) Music is a language of us all - challenges and possibilities about organizing of music education based on Hannah Arendt’s thinking about democracy 2012 In: Music Education Philosophy as a Call for Dissent: An Informal Symposium. - Athen. ; , s. 4-5 Conference paper (peer-reviewed)abstract Several youngsters need and use art based expressions to communicate their feelings, experiences and ideas. In the presentation I will show an example of a girls’ message communicated through musical lyrics, which should never been said with just spoken or written words as available forms of expressions. To be able to handle different forms of expressions is a human right. But even if this is something that we all can agree upon, several questions have to be formulated. Who are all of us? What is democracy? What does it mean to ”own” and handle a form of expression? What constitute the process of embodying a form of language? What frames does the Swedish curriculum and syllabus of music give to the process? What challenges and priorities do music educators achieve from Hannah Arendt’s writings in this respect?As a starting point I will share some relevant expressions from the curricula for Swedish primary, and lower secondary schools, which enlighten democratic values, equality and uniqueness in relation to varied forms of expression. For example the directions from the government say that all pupils shall have the possibility to develop as listeners, composers and musicians. All pupils shall also show basic knowledge in relation to the standards or achievement criteria of all areas, mentioned in the syllabuses.In the paper I will use Hannah Arendt’s thinking about democracy to explore possibilities and challenges for music education within and outside the music classroom in Swedish schools. A crucial starting point in Arendt’s thinking was the balance between Vita Activa (the action life), consisting of work, production and action, and Vita Contemplativa (the philosophical thinking life) consisting of different ways of thinking. Arendt sought to see and make connections between the two possible. She meant that Vita Activa takes place in the world wherein we are born, through speech and action, where actors and audience depend on each other. In the social context we become clear to our selves and to others through interaction. In those interactive activities we need different forms of languages to try, modify, and create ideas and insights. But to reach common sense, we also need to step back, Arendt says, and think, imagine, value and reflect.We have to review critically, see through others’ perspective to be able to create our own meaning, Arendt underlines. Consequently, diversity constitutes a prerequisite for the individual, social interaction constitutes unique human beings. At the same time the public sphere, for example school areas, are created by unique individuals, who in collaboration can create new chains of actions, and by that widen the sphere to become something new. Depending on which human beings that are interacting within a common place, the common space creates a specific base for specific individuals and personalities to develop. Diversities such as class, gender, geography, economy and musical belonging are present and could be taken into account and viewed as possibilities for conversations, contradictions, exchanges, imagination and new learning, with unknown results. It becomes important to be heard, and listened to.Questions that have to be elaborated upon when using Arendt’s view of democracy are for example; Who is expected to make their voices heard, who is seen as a possible participant, and who has access to the specific areas? At the informal seminar of Philosophy in Music Education Society I will discuss how and to what extent Arendt’s thoughts about democracy can be used to put light on how Swedish schools, based on expressions in the current curricula, can offer Music as a language for all, with specific focus on gender and ethnicity.
27.	Ferm Thorgersen, Cecilia, 1966- (author) Musididaktik i förskolan : Att lägga tillrätta för musikalisk kommunikation 2012 In: Musikvetenskap i förskolan. - Stockholm : Natur och Kultur. Book chapter (peer-reviewed)abstract @font-face { font-family: "Courier New"; }@font-face { font-family: "Wingdings"; }@font-face { font-family: "ＭＳ明朝"; }@font-face { font-family: "ＭＳ明朝"; }@font-face { font-family: "Cambria"; }p.MsoNormal, li.MsoNormal, div.MsoNormal { margin: 0cm 0cm 0.0001pt; font-size: 12pt; font-family: Cambria; }p.MsoListParagraph, li.MsoListParagraph, div.MsoListParagraph { margin: 0cm 0cm 0.0001pt 36pt; font-size: 12pt; font-family: Cambria; }p.MsoListParagraphCxSpFirst, li.MsoListParagraphCxSpFirst, div.MsoListParagraphCxSpFirst { margin: 0cm 0cm 0.0001pt 36pt; font-size: 12pt; font-family: Cambria; }p.MsoListParagraphCxSpMiddle, li.MsoListParagraphCxSpMiddle, div.MsoListParagraphCxSpMiddle { margin: 0cm 0cm 0.0001pt 36pt; font-size: 12pt; font-family: Cambria; }p.MsoListParagraphCxSpLast, li.MsoListParagraphCxSpLast, div.MsoListParagraphCxSpLast { margin: 0cm 0cm 0.0001pt 36pt; font-size: 12pt; font-family: Cambria; }.MsoChpDefault { font-size: 10pt; font-family: Cambria; }div.WordSection1 { page: WordSection1; }ol { margin-bottom: 0cm; }ul { margin-bottom: 0cm; }Musikdidaktik i förskolan handlar om hur pedagoger i/genom planering, genomförande, värdering och dokumentation av verksamhet kan lägga tillrätta för barns musikaliska lärande. För att kunna säga något om en fungerande musikdidaktik behöver begreppen musik och lärande, liksom relationer dem emellan definieras. En specifik syn på barn och deras relation till världen får alltså konsekvenser för en pedagogs handlingar. Dessutom behöver mål för barns musikaliska lärande klargöras, vilket aktualiserar budskapet i den reviderade läroplanen för förskolan. Kapitlet tar utgångspunkt i en fenomenologisk syn på lärande och musik, vilket innebär att musik ses som ett mångdimensionellt fenomen som människan lär sig hantera genom interaktion i den musikaliska världen, vilken består av fenomen och andra människor. När barn kommer till förskolan har de med sig musikalisk erfarenhet som inverkar på hur de lär och interagerar inom verksamhetens ramar. Det gäller för pedagogen att låta barnen använda och dela sina erfarenheter, likväl som att dela med sig av sina egna. Genom en sådan form av musikalisk interaktion vidgar och fördjupar barnen sina musikaliska erfarenheter och kunskaper, vilket gör världen hanterbar, förväntas leda till en känsla av ”jag-kan”. Musik ses i det här kapitlet som konstituerat av strukturella, akustiska, emotionella, existentiella, kroppsliga och spänningsmässiga dimensioner vilka barnen införlivar/förkroppsligar i mötet med musik. Dessa musikaliska erfarenheter kan kategoriseras som vardagliga, icke-obligatoriska (lekfulla), konstnärliga och personliga. Utmaningen för pedagogen blir att form och innehåll i musikaliska aktiviteter tar hänsyn till och lägger tillrätta för samtliga typer av erfarenheter där musikens samtliga dimensioner får möjlighet att träda fram. Det blir i detta sammanhang av vikt att aktiviteterna engagerar hela människan och bygger på upplevelse, bearbetning såväl som gestaltning med grund i kommunikation. De riktlinjer för musikaliskt lärande som tas upp i läroplanen kan med utgångspunkt i en syn på barn som lekande och hela(kroppsliga) subjekt sammanfattas som följer: Musikaliskt lärande på demokratisk grundInkluderande musikaliskt lärandeNyfiket musikaliskt lärandeExistentiellt musikaliskt lärandeMusikaliskt lärande som identitetsformation – ”jag-kan-musik”Musikalisk lärande som kommunikation (uttryck, samspel, reflektion och samtal)Musikaliskt lärande som skapande Kapitlet kommer att fördjupa ovanstående resonemang och utifrån det gå in mer konkret på hur en fungerande musikdidaktisk verksamhet kan se ut. Planering, genomförande, värdering och dokumentation av musikalisk verksamhet, även i samspel med andra uttrycksformer, kommer att tas upp. Hur aktiviteter som inkluderar lyssning, rörelse, musicerande, komponerande och reflektion kan formas och användas i en fenomenologisk holistisk anda där barn införlivar musik som ett multidimensionellt fenomen kommer att belysas och diskuteras. Till sist kommer frågor om kompetens och kompetensutveckling bland förskolans pedagoger ev att lyftas och relateras till styrdokument.
28.	Ferm-Thorgersen, Cecilia (author) Nordic research focusing composition education in relation to primary and secondary schools : What do we know and what do we have to investigate further? 2016 Conference paper (peer-reviewed)abstract As the focus on composition, as a part of compulsory and upper secondary music education, has become more clearly outspoken and valued in steering documents lately in the Nordic countries, the need of research has increased. The aim of the symposium is to give a picture of what is going on within the Nordic network when it comes to composition education research in schools, and connect that to existing curricula, as well as to music teacher education. After a short introduction of the situation mentioned above, six examples of ongoing or recent research will be shortly (11 min) presented, and connected to the theme of the symposium. In the end Jon-Helge Sætre will draw lines between the existing perspectives and findings, teaching and learning practices in Nordic schools, the field of music education research, and to what is needed to be investigated further according to his view of the situation (11 min). Finally a discussion between the participants and the audience will take place. Claiming semiotic space with classroom composing: meeting the challenge of the new Finnish national core curriculum Juha Ojala & Lauri Väkevä This conjoint presentation is based on the philosophical-theoretical rationale and practical cases described in our book Säveltäjäksi kasvattaminen ("Educating a composer”; Finnish National Board of Education 2013) that collected together Finnish practices of classroom composing under the theoretical frame of semiotic pragmatism. In the rationale of the book, we portrayed composing as a key practice in building musical lives. Instead of mere creative production of listenables, composing can be seen as quintessential way of claiming semiotic space in the social-cultural realm of sonic actions and transactions. Through several examples of Finnish classroom composing, we argue that such perspective can help us to build a comprehensive view of composing-based music pedagogy that is not stuck to genre-based distinctions between creative approaches, nor restricted to the specific agendas of teaching methods. This, we maintain, is the best way to realize the democratic and inclusive goals of the new Finnish core curriculum for the comprehensive school music. Some key findings from a PhD-study on composition education: The Dynamics of Collaborative Creative Music-Making: Reflection-in-action, facilitation and interaction Tine Grieg Viig This Ph.D.-project focuses on the educational perspectives of collaborative processes where children and young adolescents compose music together with professional artists. The study aims at making a contribution to an on-going discussion of creative processes in the field of music education. Through asking how creative competencies in creative music-making can be taught, learned and developed, this research is based on three case studies where professional artists and children collaborate in creative processes composing music. Interviews with focus groups and leaders of the projects, observations and video-recordings of the creative process along with the musical material make up the empirical data in all the cases. Through a sociocultural perspective on learning and interaction, important foci in the study are the reflection-in-action and facilitation of the creative process through scaffolds and dynamic interaction. The findings point at the important role of an expanded repertoire in these processes, as a basis for the reflection in- and through the musical material in for example aesthetic, artistic and structural modes of reflection-in-action. This includes a discussion of the facilitator role, and the different modes an experienced leader of composition workshops utilizes in the scaffolding of creative collaborative practices. Passed and now intertwining when learning is at stake. - Composing and learning in a musical theatre project Annette Mars This contribution presents a study investigating musical learning among 9th grade adolescents in a Swedish lower secondary school. The adolescents collaboratively composed songs for a self-written musical, which they taught to their peers. The purpose of the study was to explore the ways adolescents acquire musical knowledge in this specific setting. A sociocultural perspective was employed; and the method used was observation and interviews with the adolescents. The results demonstrated that the adolescents’ choice of tools when learning and peer teaching composition, were the same as their teachers’. The written score was distinct in all their musical learning, suggesting the dominance of the written paradigm. In conclusion, in order to support students’ musical learning, music teachers need to know how to create possibilities for peer teaching, and when to interfere and guide the adolescents in a Zone of Proximal Development. Composing with iPads in a 7th-grade music classroom Marja-Leena Juntunen Based on a recent study, this presentation discusses a case in which a music teacher in a Finnish lower secondary-level school explored the possibilities of using iPads in a 7th-grade music classroom (compulsory general music course) searching for opportunities for creative and integrated experimentation with movement, music and technology. The iPads were used to facilitate creative activities and production that included music and movement improvisation and composition, combined with a video recording, and its subsequent editing to match the composed music. The project was facilitated by the teacher’s willingness to incorporate mobile devices in the music classroom in a way that integrated bodily activities and creative production with the use of technology. The case has been examined from three perspectives: students’ experiences, development of agency, and embodied learning. In the presentation, the results of the study will be discussed shortly. Loose control, listen to each other, and create – understanding cooperative music making from a chiasmic perspective Cecilia Ferm Thorgersen In order to create democratic milieus for creative musical group work, relations between individuals and the musical world should be investigated. One way of coming close to the interaction between subjects and music in such environments is to use philosophy as a tool for understanding. In the current article the philosophy of flesh and chiasm as developed by Merleau-Ponty in his later works, is used to acquire knowledge about cooperative composition. Chiasm means criss-crossings between the perceiving and the perceived, self and other, and language and meaning. The aim of the study was to describe and understand the phenomenon of cooperative composing from a pupil’s point of view. The experiences of five 15 years old pupils involved in a New music project constitute the access to the phenomenon. Themes that describe the phenomenon of cooperative composing showed to be: To embody new areas, Intertwinement of ideas, The function of language and symbols in chiasmic communication, Challenges and wonders, and To grow into the field of contemporary composition. Exploring the boundaries of musical meaning making: Using a graphic programming environment to develop higher order thinking in composition Peter Falthin In music composition, manner and methods are often integral to the aesthetic position in which a piece is conceived. This is not to say that choice of method and tools will bring with them a predestination for musical form and expression but rather that a composition as a whole comprises also the process of its making. This paper will discuss some aspects of composition learning that has surfaced in different studies by the author concerning students first encounter with computer programming as a means for composition and development of musical thinking. Some critical issues are connected to, attitude that to varying degree can be sceptical or curious, difficulties to evaluate materials and ideas due to unfamiliarity with the medium, lack of cultural context which can be both confusing and liberating and the indirectness of the medium putting demands on a composer to operate on meta-levels when planning for structures, sound design, playing activities, expression and communication. Results show that the challenge is sometimes positively experienced, and there are several cases where this has meant a turning point for musical reconceptualization far beyond the scope of the original project. Other times the experience is more problematic and seems to cause anxiety and a sense of lack of orientation. The difference does not necessarily correspond with the ability to reach solid musical results in the sense of being able to realize one’s ideas. A number of questions emerge around the role of experience and attitude to learning and thinking in music composition and how it can be dealt with. What do we know and what is to be investigated further? Jon-Helge Sætre Will be formulated upon a reading of and reflection upon the short presentations sent to Jon-Helge in beforehand.
29.	Ferm Thorgersen, Cecilia, 1966- (author) Nurturing and shared responsibility in Swedish compulsory music education : Contribution to symposia 2012 In: International Society fo Music Education. - Thessaloniki : ISME. Conference paper (peer-reviewed)abstract In the new national curricula for primary and lower secondary schools in Sweden it says that: “Teaching should be carried out in democratic forms and prepare students for active societal participation. It should develop their ability to take personal responsibility”. More concrete the teacher shall develop rules for work and intercourse in co-operation with the students, and together with the parents nurture the students and make clear the school’s norms and rules as a starting-point for work and co-operation. My contribution to the symposia will take Hanna Arendt’s view of democracy and common sense as a point of departure for an investigation where Swedish student voices about the functions of rules in (music) classrooms are related to the formulations in the curricula. Connected to Arendt’s view of democracy is her thinking about balance between Vita Activa and Vita contemplativa, about sociality in relation to individualism, the need of a language, and the right to being heard and listened to. Questions that will be elaborated upon are: Do the experienced functions of rules in Sweden encourage multi voicedness, reflection, and responsible future (musical) members of society? In what ways do rule systems in Swedish music class rooms contribute to bildung, curiosity and respect among students and teachers?
30.	Ferm Thorgersen, Cecilia, 1966-, et al. (author) Ontology, Music, Education Heideggerian Inspirations : Panel contribution 2012 Conference paper (peer-reviewed)
31.	Ferm Thorgersen, Cecilia, 1966- (author) Professional learning in Wind band environments : Meeting between two communities of practice 2012 In: Nordik Network for Music Education. - Rejkavik : Reijkavik University. Conference paper (peer-reviewed)abstract During the fall 2011 a co-operation between The Symphonic Wind Band at School of music Ingesund, and the Military Wind Band in Karlskrona was started. The project offers unique possibilities to study how musical knowledge within a specific area, is mediated and developed in the meeting between these two communities of practice. The over arching aim with the study is to conceptualise and define professional musical knowledge among wind band musicians, and how these are mediated and developed in the meeting between professionals and students. The study can be defined as ethnographic, and includes interviews and video observations, combined with log book writings. The participants have been encouraged to write log books where they describe and reflect upon on beforehand defined aspects connected to identity development, based on the knowledge they develop during the period, and especially in the meeting with the professional orchestra. In addition to that, observations of common rehearsals have been video recorded. The participants will also be interviewed based upon the content in the log books, and the first analysis of the video recordings. A community of practice can be defined as a group within a profession that is held together by common interests, a passionate aim, and which is interacting continually. Communities can be constituted within an organisation, or between organisations. They can be formal and informal and human beings can be connected to several communities at the same time. They are different from other groups as they are working for the development, education and exchange of the participants. They can also change their agendas to suit their participants and they work for development of professional competence and mediating of good practice. Hence, both individual and social identity development as well as learning is central within a community of practice. What knowledge and competence are valued as important, what forms of learning that are functional, and how activities can be organized is decided in being. A strong community is built upon mutual trust and respect, characterized by an interest in putting questions, change ideas, and listen. Frames, ideas, tools, styles, language, anecdotes, and documents create and re-create practice. New members are often peripheral and become as times runs more and more engaged in the mentioned activities. Based on these starting points the arenas that the orchestras of the investigation represent can be defined as communities of practice. Wenger developed later the theory of communities of practice to also include the ability to learn, which underlines the individuals possibility to take care of learning outcomes from one community, and use and develop them within and between others, through learning trajectories. Learning trajectories are connecting learning of individuals to learning systems. If an education program is seen as a learning system, organisation for education can include making learning trajectories possible, and by that increase possibilities for the individual to learn and by that handle his or her life. Participation in orchestras as a system can also be seen as connected to a larger system of social learning, where different orchestras and organisations exist and co-operate with one another. One question is how the ability to learn as a wind band musician which the education offers in the meeting with the professional orchestra to develop, function as a base for further careers as wind band musicians? The specific aim of the study is to increase knowledge about professional knowledge within wind bands together with how that knowledge is mediated and developed within the meeting between students and professionals. To meet this aim the following research questions were formulated: What happens in the meeting between students and professional musicians with specific focus on musical knowledge in a holistic perspective? What educational approaches become visible in the meeting between peripheral and central parts of the wind band seen as a community of practice? What constitutes the military musical heritage and how it is taken care of and developed in the meeting and creation of a new common musical expression? How is choice of repertoire treated in the project? The presentation will communicate the preliminary results of the study.
32.	Ferm Thorgersen, Cecilia, 1966-, et al. (author) PROFESSORS' VISIONS OF MUSIC TEACHER EDUCATION 2012 In: Nordic Network for Music Education NNMPF. - Rejkavik : Rejkavik University. ; , s. 35-36 Conference paper (peer-reviewed)abstract Recent developments at the labor market for music teachers require a broader understanding of the music teacher profession than before and cause music teachers to establish themselves as versatile music workers at various levels and areas of music education. This requires music teacher education to not only offer a variety of relevant courses albeit also to secure that the student music teachers profit from the potential synergies of relating and reflecting the learning outcomes of those courses in each other. As a basis for succeeding in such an endeavor, studies into the characteristics and manifestations of the various educational traditions at play are very much needed. In addressing this need empirically we found the notion and concept of vision a possible point of departure. Drawing on Hammerness (2006) we conceive music teacher's visions to entail "images of an ideal practice" (ibid.: 1), bringing together their hopes, cares and dreams with their understandings. As such, a vision represent a reach for them that also is within the realm of possibility. In turn vision connect to their understandings, dispositions; and practices as well as notions of accessible tools. While the role and function of visions among teachers and student teachers have been scrutinized by several scholars, visions' role in the teacher education of particular subjects and the role of the teacher educators' visions have not yet been systematically studied. We hold that these visions may turn out to be equally important for the quality of teaching and learning in music teacher education that (music) teachers' visions may prove to be in the areas and schools for which the student music teachers are qualified. Furthermore, the professors' visions can be expected to influence the visions of student music teachers and teacher freshmen and thus constitute a kind of visions of second degree. Hence, in this presentation we will address the following question: What characterize the visions of Musikdidaktik professors and how do those visions relate to their notions of understandings, dispositions, practices, and tools within the Musikdidaktik subject as a learning community? The study is positioned within the ﬁeld of research on higher music education and how that education can be further developed. The theoretical framework draws on teacher thinking research (e.g. Jyrhämä 2002; Kansanen 1999), questions of teaching and teacher development in teacher education (Darling-Hammond 2006; Darling-Hamond & Bransford ed. 2005) and the understanding of teaching and learning in musikdidaktik (e.g., Ferm & Johansen 2008, Juntunen 2007). The study is a shared project of three researchers from Sweden, Norway and Finland each examining one music teacher education program of their country educating both classroom and instrumental music teachers. Data consist of four semi-structured interviews of musikdidaktik professors from each country representing musikdidaktik for classroom, voice, piano and strings. The results will be presented and discussed in connection with Professors visions of good practice, Professors visions of an ideal graduate, and Professors visions of the musikdidaktik subject as a whole. The ways in which similarities and differences between countries and musikdidaktik traditions emerge from the visions will be discussed in relation to music teacher education, as well as music teaching practice.
33.	Ferm Thorgersen, Cecilia, 1966-, et al. (author) Skriftlig respons i fokus inför deltagarorienterade seminarier 2015. - 1:1 In: Seminariet i högre utbildning. - Lund : Studentlitteratur AB. - 9789144104959 ; , s. 155-173 Book chapter (pop. science, debate, etc.)abstract Detta kapitel handlar om seminarier som används för att diskutera och förbättra texter av olika slag. Arbetssättet prövades ursprungligen i en forskningsmijö och har sedan under en tioårsperiod utvecklats vidare i olika forskningsmiljöer och högskoleutbildningar. Den bakomliggande tanken är att samtliga seminariedeltagare formulerar skriftlig respons inför seminariet och att författaren väljer vilka frågor som ska vara föremål för en fördjupad bearbetning under seminariet. Vår text beskriver seminarieformen samt deltagares erfarenheter av arbetssättet i en magister- och forskarutbildning undr 2014. Vi som skrivit texten har båda erfarenheter av rollen som deltagare och ledare av arbetssättet. En central utgångspunkt för oss har varit att utveckla alternativa former för textseminarier som vilar på vetenskaplig grund.
34.	Ferm Thorgersen, Cecilia, 1966-, et al. (author) Social Networking and Democratic Practices as Spheres for Innovative Musical Learning 2012. - 111 In: The Place of Music in the 21st Century. - New York : University Colorado Press. ; , s. 160-176 Book chapter (peer-reviewed)
35.	Ferm Thorgersen, Cecilia, et al. (author) Teaching for learning or teaching for documentation? : about music teachers' relations to syllabuses in Swedish compulsory schools year 5 to 7 2013 Conference paper (peer-reviewed)abstract Over the last years several reforms have influenced the educational system in Sweden. A new curriculum for the compulsory school has offered teachers and pupils a totally new system for assessment. A new credit scale is constructed and all pupils will be graded already in the 6th grade, which means that new teacher groups will have to grade their pupils’ performances. The curriculum describes criteria in three qualitative levels for each subject by defining aspects of a holistic knowing and describing three levels of competence within each of these aspects. Clarity and transparency have been steering concepts in the formulation process in order to offer parents and pupils a better possibility to understand and influence education and assessment in schools. At the same time teachers are expected to make holistic assessments of the pupils’ acquired knowledge. In a subject as music, teachers’ subject knowledge and conceptions of quality can transcend what is currently possible for them to verbalize. In several other subjects written and spoken language constitute the primary media of communication. Musical knowledge though, can be expressed and experienced in sounding forms, a mode of expression which is not easily transduced into writing or speaking. Hence, high demands for verbal clarity in aims and assessment may result in essential parts of music being excluded from teaching and learning, based on a view that these aspects are too complicated to assess equally, or impossible to communicate verbally in a clear way. There is a risk that the new demands on clarity and transparency may reduce the subject to comprise only those aspects that can be easily measured and talked about.The current study aims to systematically and critically investigate in which ways the Swedish curriculum with its new assessment- and grading regime influences music teachers’ practice and their students’ musical learning in grade 5 to 7. Earlier research has generally stated that educational reforms take time to implement, but recent reforms in England and USA give evidence that teaching methods and content can change rapidly, given a strong external pressure, for example through economic incentives, inspections, school choice and public display of schools’ and pupils’ performances. Music education could become an easy prey for such pressures, given that music teachers lack a tradition to accompany music with words and that musical assessment criteria often are perceived as subjective, as compared to objective measurables. The demand for clear and explicit criteria offers challenges, since differences between credit levels are expressed as assessable qualities and not measurable quantities. A forced verbalisation of these quality aspects may get consequences for music teachers’ evolving understanding of knowledge aspects, as well as for their experience of and qualitative evaluation of students’ musical achievements and expressions. The first phase of the study includes interviews with music teachers teaching in year 5-7 about changes in their teaching practices as well as their perceptions of the new demands in Lgr11. The second phase will be a survey, aiming to map the implementation scenario among Swedish music teach in the same years. The third and final part gets its inspiration from Engeström’s activity theory where structural and intentional contradictions are expected to have a key function for learning and development. In this phase the teachers’ as well as the students’ perspectives are focused through participant observation, interviews, and collegial conversations. The teachers define the problems found in practice, which are discussed among colleagues who together create strategies for further development. A model for general development work will be constructed through the project. By limiting the investigation to teachers who teach music in year 5-7 the study can claim to generate new knowledge concerning a group of teachers that have been neglected earlier. In the presentation at the conference we will present the study as a whole and also communicate some preliminary results from the first phase interview study.
36.	Ferm Thorgersen, Cecilia, 1966-, et al. (author) THE EDUCATIONAL CONTENT OF PRE-SERVICE MUSIC TEACHER TRAINING 2010 Conference paper (other academic/artistic)
37.	Ferm Thorgersen, Cecilia (author) The Music Classroom as a Local Place and a Public Space : Democratic Education Towards Music as a Language of Us All 2015 In: Svensk tidskrift för musikforskning. - 1653-9672. ; 97, s. 61-73 Journal article (peer-reviewed)abstract Several youngsters need and use art-based expressions to communicate their feelings, experiences and ideas. To be able to handle different forms of expressions is a human right. But even if this is something that we all can agree upon, several questions have to be formulated. The aim of the paper is to present the message of democracy in current curricula, and investigate Hannah Arendt’s thoughts about democracy as a guideline for organizing of music education in Swedish schools. What challenges and priorities do music educators achieve from Hannah Arendt’s writings in this respect? Arendt underlines that human beings become clear to them selves and to others through interaction in the social life. In those interactive activities we need different forms of languages to try, modify, and create ideas and insights. Questions that have to be elaborated upon when using Arendt’s view of democracy are for example; Who is expected to make their voices heard, who is seen as a possible participant, and who has access to the specific areas?
38.	Leijonhufvud, Susanna, 1972-, et al. (author) Leistungsbewertung im kompetenzorientierten Musikunterricht Videobasierte Unterstützungssysteme zur Bewertung musikpraktischer Leistungen : Anregungen aus Schweden 2014 Conference paper (other academic/artistic)
39.	Leijonhufvud, Susanna, 1972-, et al. (author) Music as Art – Art as Being – Being as Music : A Philosophical Investigation into How Music Education Can Embrace a Work of Art Based on Heidegger’s Thinking 2015 In: Philosophy of music education challenged. - New York : Springer-Verlag New York. - 9789401793186 - 9789401793193 ; , s. 113-128 Book chapter (peer-reviewed)abstract Martin Heidegger claims that a Work of Art contains an intrinsic power to open the space of Being. If a Work of Art can be a musical Work of Art, then music possesses the power to strike us and hence throw us into Being. The chapter communicates an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking could generate for music educational practice. The chapter presents an examination of Heidegger’s thinking in relation to the new Swedish syllabus for the subject music. To structure the philosophical investigation two lines were drawn; one investigating Art as an opener to Being and the other line investigating the inescapable nexus of how the Artist makes the Work of Art simultaneously as the Work of Art makes the Artist. The results show that there is an overrepresentation of phenomena connected to what Heidegger refers to as Earth and an underrepresentation of what he refers to as World. According to Heidegger, the phenomenon of art will not reveal itself unless both Earth and World are present, connected to each other throughstrife; a state of tension where Being comes forth. Being, in the Heideggerian sense, has the power to change history and hence constitute history on both a collective and an individual level. Although not explicitly stated in the music syllabus, our results suggest that there are possibilities for art as Being to be expressed in the subject of music.
40.	Leijonhufvud, Susanna, 1972-, et al. (author) Music as Art – Art as Being – Being as Music : A philosophical investigation of how Music Education can embrace the Work of Art based on Heidegger’s thinking 2011 In: RIME. - Exeter : School of LIfelong Learning. Conference paper (peer-reviewed)abstract The paper presentation will communicate an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking generates for music educational practice. As Heidegger tries to capture truth within the concept of Art he passes through his thinking of the essences of Art as well as his constant thinking about Being. To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those issues to the Swedish national syllabuses for the subject Music. For educators within an artistic domain, the reasoning is highly interesting to investigate further. The paper will focus and discuss Art, the way Heidegger describes it, as it can exist within music and further music education. Heidegger’s examples of art in painting, architecture, poetry, and musical composition is extended with examples within music educational practise. How can we relate to Music as Art with the same distinctions as Heidegger presents to us, by looking upon Art as a Thing as well as a Tool but also as an as an opener to the World (Welt) and in that sense, Art as the Making of History.The paper will present a way of understanding The Origin of the Work of Art and its connections to music educational practice. This will lead us to the question of how educators can or should be aware of the origin of the artist, the origin of the work of art and most crucial the origin of art itself when teaching. Heidegger’s thinking also provides an interesting line of reasoning about the relations between artist, listener and the work of art. A crucial battery of questions, that evokes from Heidegger’s thinking, is how school and educators can position themselves as being an unquestionable part of the origin of the Artist as well as the origin of the Work of Art within Music Education.
41.	Leijonhufvud, Susanna, 1972- (author) Sångupplevelse - en klingade bekräftelse på min existens i världen : en fenomenologisk undersökning ur första-person-perspektiv 2011 Licentiate thesis (other academic/artistic)abstract This thesis treats the phenomenon of Singing Experience. Its purpose is to reveal the content that constitutes the phenomenon of singing from the singers’ point of view. Singing should be understood as a unique vocal expression carried by tones in a form that is sonorous, alive and fluid. The singing is in the context of singing with others. In order to perform a study that aims to reveal content within a phenomenon, the study uses a phenomenological approach from a first-person perspective, which is also my own perspective as the singer as well as the researcher. The interest in the field has arisen from the experience of singing with people who do not seem to notice that they sing out of tune. This has led to the thoughts that the phenomenon of singing includes different contents for different people in different situations. The phenomenological methods provide cogitations to stretch the particular situated momentary experience into the sphere of the possible experience. In the thesis the result of this eidetic study is described with its general essence a “musical vocal confirmation of my existence in the world” as well as a description of the constitution of the phenomenon of singing. The description of the phenomenon is a description of the essences of the lived-body, as well as the immanence of emotion and cogito. The description also includes the surrounding world, which harbours the dimension of the real as well as inter-subjective transcendence concerning time and space, humanity, music and the divine. All of the essences have shown to be essential essences of the experience of singing. This, however, is dependent on how the phenomenon of existence is regarded: to exist in a wide or a narrow sense, including or excluding the transcendent aspects of the phenomenon of singing.
42.	Leijonhufvud, Susanna, 1972-, et al. (author) The Music Teacher in the Nexus of Art Origin 2015 Conference paper (peer-reviewed)
43.	Music, education and innovation : Festschrift for Sture Brändström 2010 Editorial collection (other academic/artistic)
44.	Nyberg, Johan, 1971-, et al. (author) Translation and mutual understanding : Adolecents’ conceptualization of musical knowledge and learning as a starting-point for teaching 2011 In: RIME. - Exeter : School of Lifelong Learning. Conference paper (peer-reviewed)abstract This paper will take the results of a study – inquiring into how adolescent students conceptualize and communicate musical knowledge and learning – as a point of departure for a discussion of communication, translation and mutual understanding as vital parts of teaching and learning music. The study was conducted as a narrative inquiry, the study of experience as story, using narrative analysis as method. Results show that the students conceptualize musical knowledge as a situated, three-part combination of theory, practice and emotion/expression. Hence, musical knowledge is seen by the participants as manifested through action, and learning in school as made possible on an individual level by the will to practice (and thereby develop innate abilities), where curricula and teacher(s’) experience(s) are seen as key factors. The specific aim of this presentation is to relate these results to a philosophy of learning, language, art and communication based on Deweyan pragmatism and Heidegger’s existential phenomenology, and their possible implications for music education. What is new to a student may be old and already known to a teacher or vice versa. This new, and not known, in conjunction with Dewey’s view of esthetic communication, gives that a teacher should be able to somehow/someway place herself in connection with students’ perception(s) and/or view(s). Communication seen as a prerequisite for learning requires a common language. This, in turn, demands openness in the forms of mutual curiosity, a will to listen carefully, to try to understand the other, which also – according to Heidegger – can be defined as translation. In other words, it could be necessary to make room and time available for communication, reflection, creation and re-creation in music education. Consequently, an interest in – and understanding of – adolescents’ conceptualizations is crucial when it comes to organizing conditions for their musical learning. If conceptualization has a central role in learning of music, as the said philosophies hold, what kinds of demands do the result of the study put on the music teacher?
45.	Perspektiv på praktiknära musikpedagogisk forskning : Utkomster av en forskarskola 2013 Editorial collection (pop. science, debate, etc.)
46.	Schwieler, Elias, 1969-, et al. (author) Translating the Impossible : Listening, Learning, and Art 2014 In: Society for the Philosophical Study of Education. - : Society for the Philosophical Study of Education.. ; 2 Journal article (peer-reviewed)
47.	Thorgersen, Cecilia Ferm (author) Assessment of musical knowledge from a life-world- phenomenological perspective 2010 In: Crossing Borders. - : Lund University: Malmö Academy of Music. Conference paper (other academic/artistic)abstract In the current time, when all syllabuses in all subjects and school forms are rewritten in Sweden, assessment is a concept for discussions in several settings at several levels. Formal and informal, formative and summative assessment of musical knowledge has been carried out in all settings where musical performance has taken place. In several contexts the idea of how different qualities of musical knowledge are performed, is constituted and re-created through sharing of experiences. Concepts and descriptions of the qualities, that are possible to transcend between time and space, and possible to use as a base for discussion and reflection upon musical knowledge are missing though. A prerequisite for such a conceptualising is a common understanding of what musical knowledge is. This presentation will take life-world-phenomenology as a point of departure for defining musical learning and knowledge, a base for a further discussion about how musical knowledge can be assessed, and how assessment can become a part of learning of music. Briefly, life-world-phenomenology defines learning as temporally elongated insights, from a behavioural perspective, a temporally elongated process leading to competence, and from an existential perspective, a person’s acquisition of confidence or beliefs in her/his capabilities to do something. Through interaction with the world insights, music and instruments are embodied. Musical learning consists in other words of theoretical, practical and existential dimensions and can be described as ending up in an ”I-can-feeling”, or in a set of “I cans”. Consequently this tradition admits a holistic view of learning and knowledge, which puts demands to the function of assessment. One challenge is to formulate goals that encourage and value holistic learning processes and “I-can-music”. A second is to find concepts of qualities that cover and grasp holistic musical knowledge, and at the same time integrate assessment into the process of teaching and learning. One question that has to be considered, is how “I-can” is possible to assess. In other words this is about to find forms of assessment that harmonize with performances of embodied musical knowledge. Another challenge that is connected to integration of assessment into the process of teaching and learning of music, are dimensions of power. If teaching and learning is all about sharing of experiences, which Life-world-phenomenological didaktik implies, what about the asymmetric relation between teachers and students in assessing situation? In the presentation the questions and issues of assessment will be discussed into light of life-world-phenomenology, which hopefully contribute to a larger discussion about assessment of aesthetic ability and competence.
48.	Thorgersen, Cecilia Ferm (author) Att delta i estetiska aktiviteter : en demokratisk rättighet 2012 Conference paper (pop. science, debate, etc.)abstract Presentationen kommer att belysa relationer mellan specialpedagogik och estetiska lärprocesser ur ett holistiskt livsvärldsfenomenologiskt perspektiv. Med ett sådant perspektiv som utgångspunkt kommer begreppen delaktighet, tillgänglighet, likvärdighet och gemenskap i fokus. Att delta i estetiska aktiviteter och lärandeprocesser kan med andra ord ses som en demokratisk rättighet. Alla människor har rätt att växa i rollen som utövare, mottagare och skapare av estetiska uttryck. Den holistiska approachen gör det möjligt att komma förbi de motsatsförhållanden (dikotomier som) ofta dominerar specialpedagogiska sammanhang, till exempel dikotomiska förhållningssätt till inklusion och integration, det sociala kontra det individuella, eller individen kontra miljön. I stället kommer möjligheten att skapa mening genom att samspela i och med världen i dess estetiska form i centrum. Det är individens upplevelser och erfarenheter av musik, dans, bild, drama och andra utgångspunkter som räknas oavsett förutsättningar. Motivation och nyfikenhet, närvaro, tidigare erfarenheter, känslor och reflektion utgör utgångspunkten för vars och ens möjligheter till estetiska erfarenheter och därmed lärandeprocesser. Tidigare studier av estetisk kommunikation och anknytning till undervisningens/ skolans styrdokument i relation till olika former av funktionshinder kommer att inspirera och fungera som en röd tråd i presentationen.
49.	Thorgersen, Cecilia Ferm (author) Den fortsatta resan : Varierade karriärvägar för deltagare i den nationella Forskarskolan i Musikpedagogik 2015 In: Knowledge formation in and through music. - Stockholm : Royal College of Music Stockholm. - 9789198281200 ; , s. 37-46 Book chapter (other academic/artistic)
50.	Thorgersen, Cecilia Ferm, et al. (author) Exploring Arts Education Practices : Two case studies 2014 Conference paper (peer-reviewed)abstract We will present a research project that explores arts education practices in Norwegian and Swedish schools . Our presentation will especially focus upon the research design, research methods, and some very preliminary results. This study is an ethnographic double case study, meaning that two cases are studied in-depth. The cases, strategically selected, are one primary school in Norway (years 1-7) and one in Sweden (years F-6) that are well known for their arts education. Methods used are observation, interviews, and informal conversations with teachers, pupils, and school leaders, performed during the school year 2013-2014. The focus has been on activities within the arts subjects, but also other activities such as everyday school life, staff and team meetings, pupils’ musicals and voluntary rock bands, community-directed activities, etc. have been observed. Our research questions are: • How is arts education carried out in the selected schools? • How do the actors perceive the arts education practices in their schools? • How are arts education practices articulated and legitimated among different actors and in different contexts? As the project is practice-based and empirical oriented, it is not based on specific theoretical foundations. We will draw upon various literature and earlier research on arts education, aesthetic experience, children’s culture, agency and empowerment, school development, and curriculum research. In our opinion, it is crucial to describe and discuss educational practices that take the arts seriously. Such practices can demonstrate possible spaces for the arts and aesthetic experience and communication in schools, and thereby also contribute to improvement of teacher education in the arts. In this study, the actors’ perspectives on and experiences with the arts is essential, so is the interaction between pupils, teachers, and materials. However, arts learning and teaching are not isolated happenings. One must look beyond the specific situations and also consider the context that such practices occur within, for instance historical conditions and traditions within the arts, as well as constraints, possibilities and limitations within the school context. Arts education practices must therefore be studied at close range, in context, and it must include the perspectives of multiple actors.

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