| 1. |
- Frostenson Lööv, Cecilia Charlotta, et al.
(författare)
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Verktygsrelaterad flexibilitet som undervisningskompetens : En fallstudie av tre multiinstrumentala musiklärare
- 2021
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Ingår i: Educare. - : Malmo University Library. - 1653-1868 .- 2004-5190. ; :2, s. 182-206
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Tidskriftsartikel (refereegranskat)abstract
- In the current debate concerning the Swedish Schools of Music and Performing Arts (SMPAs) the concept of flexibility is frequently used. Here it mostly describes the necessity to take students’ requests and needs into account in teacher education and the institutions’ ability to adapt to changing demands for artistic activities among children and adolescents. In contrast to this view, this study examines flexibility as a central competency of the teaching profession and particularly in a curriculum-free environment such as the SMPAs. Resting on the assumption that teachers with a large toolkit have a certain advantage in practising flexibility, the study is based on interviews with three multi-instrumentalists, all of them experienced music teachers in SMPAs. The analysis suggests three forms of flexibility that are related to the teachers’ use of instrumental tools, each of them emerging in particular kinds of teaching activities: problem-solving flexibility in instrument-related counseling, method flexibility in ensemble leadership, and role flexibility in group music-making. The findings are discussed in relation to ideals of teacher specialization and versatility, and the notion of tool-based flexibility is distinguished from improvisation as a teaching skill.
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| 2. |
- Huovinen, Erkki
(författare)
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Approaching vulnerability through contemporary music : The Gelland approach
- 2021
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Ingår i: Music education as craft. - Cham : Springer Nature. - 9783030677039 ; , s. 191-205
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Bokkapitel (refereegranskat)abstract
- Drawing on philosopher Richard Sennett’s view of craftsmanship, this chapter argues that music education should address human incompleteness and ambiguity—as especially evident in contexts involving vulnerability. Music has often been seen as an indicator, but also as a means of overcoming unwanted psychological or social vulnerabilities. From another point of view, vulnerability may also be understood as a desired quality of openness needed for creativity and education—a quality that nevertheless requires appropriate safety mechanisms. These facets of vulnerability are illustrated through the schoolwork of the Swedish-German Duo Gelland, one of world’s foremost classical violin duos. Using brief contemporary compositions, the Gellands elicit children’s associative imagery, incorporating it in subsequent interpretations of the music in which the children may take part as conductors or musicians. Through interviews and observations from school workshops in Germany, it is shown how the Gellands create musical contexts in which children’s vulnerabilities can be safely exposed and transformed. At the same time, the musicians see children’s engagement as proving the social value of the music. In providing a neutralising arena for children’s sometimes frightening and violent realities, the Gellands demonstrate a model for “health musicianship”, challenging sharp distinctions between artistic, pedagogical and therapeutic realms.
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| 3. |
- Huovinen, Erkki, et al.
(författare)
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Early attraction in temporally controlled sight reading of music
- 2018
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Ingår i: Journal of Eye Movement Research. - : University of Bern. - 1995-8692. ; :2, s. 1-30
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Tidskriftsartikel (refereegranskat)abstract
- A music reader has to “look ahead” from the notes currently being played—this has usually been called the Eye-Hand Span. Given the restrictions on processing time due to tempo and meter, the Early Attraction Hypothesis suggests that sight readers are likely to locally in- crease the span of looking ahead in the face of complex upcoming symbols (or symbol re- lationships). We argue that such stimulus-driven effects on looking ahead are best studied using a measure of Eye-Time Span (ETS) which redefines looking ahead as the metrical distance between the position of a fixation in the score and another position that corresponds to the point of metrical time at fixation onset. In two experiments of temporally controlled sight reading, musicians read simple stepwise melodies that were interspersed with larger intervallic skips, supposed to create points of higher melodic complexity (and visual sali- ence) at the notes following the skips. The results support both Early Attraction (lengthening of looking ahead) and Distant Attraction (lengthening of incoming saccades) in the face of relative melodic complexity. Notably, such effects also occurred on the notes preceding the nominally complex ones. The results suggest that saccadic control in music reading depends on temporal restrictions as well as on local variations in stimulus complexity.
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| 4. |
- Huovinen, Erkki, et al.
(författare)
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Eye movements in sight singing: A study with experts.
- 2021
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Ingår i: Psychomusicology. - : American Psychological Association (APA). - 0275-3987 .- 2162-1535. ; 31:3-4, s. 134-148
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Tidskriftsartikel (refereegranskat)abstract
- In comparison with instrumental sight reading of musical notation, sight singing is typically characterized by the presence of lyrics. The purpose of this study was to explore how skilled sight singers divide their visual attention between written music and lyrics and how their eye-movement behavior is influenced by musical stimulus complexity. Fourteen competent musicians performed 10 newly composed songs in a restricted temporal condition (60 bpm). Eye movements and vocal performances were recorded and complemented with posttask complexity ratings and interviews. In the interviews, the singers emphasized the priority of focusing on the melody instead of the lyrics. Accordingly, eye-movement analyses indicated not only more total fixation time on music than lyrics but also longer fixation durations, longer durations of visits (i.e., sequences of fixations), and a larger number of fixations per visit on music than on lyrics. The singers also more typically arrived at a bar by glancing first at the music instead of lyrics. Generalized linear mixed-model analyses showed that the number of notes and accidentals in a bar influenced the fixation time and that pupil dilation was increased by a larger number of accidentals. Measurements of eye–voice span, that is, the temporal distance between fixating and singing a note, were best predicted by phrase structure and the note density of previous melodic material. According to the interviews, the best sight singers’ approaches were characterized by a flexibility of moving between different sight-singing strategies. The study offers a comprehensive overview regarding the bottom-up and top-down aspects affecting sight-singing performance.
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| 5. |
- Huovinen, Erkki, 1971-
(författare)
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Improvisaation psykologiaa
- 2022. - 2
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Ingår i: Musiikkipsykologia. - Jyväskylä : Eino Roiha -säätiö. - 9789529459759 ; , s. 437-460
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Bokkapitel (övrigt vetenskapligt/konstnärligt)
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| 6. |
- Huovinen, Erkki, et al.
(författare)
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Improvising on Emotion Terms : Students’ Strategies, Emotional Communication, and Aesthetic Value
- 2021
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Ingår i: Journal of research in music education. - : SAGE Publications. - 0022-4294 .- 1945-0095.
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Tidskriftsartikel (refereegranskat)abstract
- Studies in musical improvisation show that musicians and even children are able to communicate intended emotions to listeners at will. To understand emotional expressivity in music as an art form, communicative success needs to be related to improvisers’ thought processes and listeners’ aesthetic judgments. In the present study, we used retrospective verbal protocols to address college music students’ strategies in improvisations based on emotion terms. We also subjected their improvisations to expert ratings in terms of heard emotional content and aesthetic value. A qualitative analysis showed that improvisers used both generative strategies (expressible in intramusical terms) and imaginative, extramusical strategies when approaching the improvisation tasks. The clarity of emotional communication was found to be high overall, and linear mixed-effects models showed that it was supported by generative approaches. However, perceived aesthetic value was unrelated to such emotional clarity. Instead, aesthetic value was associated with emotional complexity, here defined as the heard presence of “nonintended” emotions. The results point toward a view according to which the expressive content of improvisation gets specified and personalized during the very act of improvisation itself. Arguably, musical expressivity in improvisation should not be equated with the error-free communication of previously intended emotional categories.
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| 7. |
- Huovinen, Erkki
(författare)
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Interaction affordances in traditional instruments and tablet computers : A study of children's musical group creativity
- 2019
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Ingår i: Research Studies in Music Education. - 1321-103X .- 1834-5530.
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Tidskriftsartikel (refereegranskat)abstract
- In order to promote children’s collaborative musical creativity in new digital environments, we need a better understanding not only of the sound production capabilities provided by the new digital tools, but also of the interaction affordances involved. This study focuses on the interactional patterns emerging in children’s musical creativity, comparing creative group processes on iPad tablet computers (with GarageBand software) to processes on traditional musical instruments. Both instrumentations were assigned to five groups of four 10–12-year-olds for creating sound landscapes for a “space” movie. The traditional instrument groups’ processes were characterized by peer teaching as well as multimodal, improvisatory negotiations with rapid exchanges between the participants, both kinds of processes involving the intertwining of deictic expressions with hands-on musical demonstrations, and clear signs of group flow. By contrast, the tablet groups relied on solitary, parallel planning processes where possible coordinations between the participants took on a more abstract, conceptual form, at a remove from the actual musical ideas and their interplay. Also, there were far fewer signs of group flow than in the traditional instrument groups. In sum, the tablets did not seem to match traditional musical instruments in terms of their interactional and creative affordances. This may be because the traditional instruments offer richer textures of gestural and tactile qualities, visual cues, and spatial anchoring points for facilitating concrete musical interaction, and because the GarageBand software actually requires some reliance on abstract conceptual labels, channelling the participants’ attention toward pre-planning rather than hands-on musical play. The results are problematized with a view to our decision to treat the tablet computer as akin to a musical instrument rather than as an action environment of its own.
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| 8. |
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| 9. |
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| 10. |
- Huovinen, Erkki
(författare)
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Musiikin aatehistoriaa
- 2023
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Ingår i: Trio. - Helsingfors. - 2242-6418 .- 2242-6426. ; 12:1, s. 33-42
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- In his book Music, Ideas, History: Texts 1990–2022 (in Finnish: Musiikki, aatteet, historia: Tekstejä 1990–2022), Matti Huttunen sheds light on the world of Western art music by showing how past historiographies of music have given it form and meaning. While grounded in Dahlhaus’ principles of structural history, Huttunen also challenges such models by allowing greater interpretive multidimensionality. He believes that by studying past writings about music, we can learn about music and ourselves, but his research also reflects a Nietzschean distance to one’s own time. In future accounts of Finnish musicology, Huttunen’s writings may provide a focus for a "long 20th century" of musical historiography.
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