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Intersection and Interplay ! Publications from the Malmö Academy of Music PERSPECTIVES IN MUSIC AND MUSIC EDUCATION NO 9 Intersection and interplay Contributions to the cultural study of music in performance, education, and society Petter Dyndahl (Ed.) ! ! Intersection and interplay Contributions to the cultural study of music in performance, education, and society © Petter Dyndahl and the authors 2013 ISSN 1404-6032 ISBN 978-91-979584-6-2 Publications from the Malmö Academy of Music: PERSPECTIVES IN MUSIC AND MUSIC EDUCATION NO 9 Printing: Media-Tryck, Lund University, Lund 2013 This book can be ordered from Malmö Academy of Music Box 8203 SE-200 41 Malmö Sweden Tel: +46-(0)40-325450 Fax: +46-(0)40-325460 E-mail: [email protected] ! ! CONTENTS PREFACE 5 CHAPTER 1 Towards a cultural study of music in performance, education, and society? 7 PETTER DYNDAHL CHAPTER 2 Insight through participation – Bridging the gap between cultural anthropology, cultural studies and music education 21 EVA SÆTHER KAPITEL 3 Ideologi och musik i Läroplan för grundskolan, förskoleklassen och fritidshemmet 2011 35 LIA LONNERT KAPITEL 4 Vad för vem? Ensembleämnets didaktik i kritisk belysning 57 KARL ASP CHAPTER 5 Hear the story in my tune – Authenticity as metamorphosis of personal and musical identity 73 PETER SPISSKY CHAPTER 6 Postmodernism and identity. John Cage’s Europeras 1&2 in Zurich 1991 – when a staged anarchy creates anarchy among the participants 85 SUSANNE RONNER LARSSON CHAPTER 7 In search of oscillating relations – power, gender, remix in operatic performance 105 SARA WILÉN CHAPTER 8 Chasing children’s fortunes. Cases of parents’ strategies in Sweden, the UK and Korea 125 YLVA HOFVANDER TRULSSON CHAPTER 9 Musical marginalization processes: Problematizing the marginalization concept through an example from early 20th century American popular culture 141 SVEN BJERSTEDT CHAPTER 10 Intertextuality and creative music making 157 GÖRAN FOLKESTAD CHAPTER 11 Musical gentrification, socio-cultural diversities, and the accountability of academics 173 PETTER DYNDAHL CONTRIBUTORS 189 ! INTERSECTION AND INTERPLAY ! "! ! ! PREFACE This book is an offspring from a PhD course entitled Cultural Studies, Music, and Music Education, held at Malmö Academy of Music in 2011-12. In this course, the doctoral students were given the opportunity to write their coursework as long essays on culture-related topics regarding music, music education and/or artistic research. In the assessment of the essays, the group of doctoral students worked as peers in a reviewing process, also involving a number of the senior researchers of the academy, some of which have contributed to the anthology as well. Speaking both as an editor and on my personal behalf, I want to thank all the contrib- utors as well as those course participants who for various reasons did not join the anthology. My warmest thanks go to the academy and to Professor Göran Folkestad, Chair in Music Education, who has allowed me to present and reflect upon culture-oriented perspectives and issues in such an unprejudiced and engaged community of doctoral students and senior researchers. The process of writing chapters, discussing them in this extraordinary group of people, and assembling the anthology has been exceptionally rewarding. I would also like to direct a special thank you to PhD Candidate (and so much more) Sven Bjerstedt, who has provided invaluable linguistic and literary support to all chapters. Our proofreaders, Professor Thomas Egan and Associate Professor Sandra Kleppe from the English Department, Hedmark University College, also deserve thanks for their important contributions. February 15, 2013, Petter Dyndahl ! #! INTERSECTION AND INTERPLAY ! ! $! ! ! CHAPTER 1 Towards a cultural study of music in performance, education, and society? PETTER DYNDAHL INTRODUCTION In this first chapter, the contents of the book will be linked to a PhD course that was developed and conducted at the Malmö Academy of Music, in the academic year 2011-12. The course was arranged in two parts, one each semester, and entitled Cultural Studies, Music, and Music Education. The overall aim of the course was to present and provide knowledge and understanding of the theoretical basis for cultural studies, as well as discussing its relevance to music education and artistic research. Issues and perspectives from different theories and scholars were examined, including key texts written by essential philosophers and theorists such as Roland Barthes, Zygmunt Bauman, Judith Butler, Jacques Derrida, John Fiske, Michel Foucault, Simon Frith, Henry Louis Gates, Jr., Jürgen Habermas, Stuart Hall, Axel Honneth, Fredric Jameson, Julia Kristeva, Jean-François Lyotard, Gayatri Chakravorty Spivak and Slavoj !i"ek. Furthermore, questions concerning knowledge and power, subjectivity and identity, ideology and hegemony, modernity and postmodernity, popular culture, the media and its audiences, as well as globalization, homogenization and heterogenization, were discussed in relation to music and music education. A central ethical perspective was to focus on the relationship between the taken-for-granted and the Other in music, its practices and – not least – its education and research cultures. To elaborate on and operationalize the objectives of the course, the doctoral students who completed the entire program were given the opportunity to write their coursework in the form of long essays on culture-related topics of their own choice, relating to music, music education or artistic research. In the assessment of the essays, the group of doctoral students ! %! PETTER DYNDAHL ! acted as peers in a reviewing process, also involving some of the senior researchers of the academy, and this procedure served as a preparatory work for the present publication. Hence, in the anthology, current issues in cultural approaches to music in performance, education, and society are addressed, seen from the perspectives of a wide array of themes and areas of humanistic, social and educational research, including anthropological perspectives on music education, ideology critical curriculum analysis, critical Didaktik, matters of postmodernity, intertextuality, authenticity, identity, gender, power, and marginalization, as well as issues related to the sociology of culture and education. At the end of the chapter the subsequent chapters of this anthology will be introduced more comprehensively. SHIFTING INTERSECTIONS AND INTERPLAYS When discussing the significance of cultural theory in relation to music, it is important to take into account that in recent decades, the understanding of what can – and should – be seen as music’s body of research and educational resources and interests has expanded. As part of this development, a significant research interest in looking at music, its practices and education through the wide scope of culture has come forward. Here, questions of how signifying practices may constitute fields of construction, performance and negotiation of cultural meaning, identity, and power are examined. On the one hand, this can be seen in the light of the New Musicology of the 1980s and 1990s, where an object-oriented concept of music, advocating immanent aesthetic qualities, was left behind in favour of a more situated, contextual understanding of music as potentially meaning-producing actions and activities. This also implied a critique of the Western canon that had dominated music as an academic discipline as well as an institutionalized field of art (see e.g. Clayton, Herbert & Middleton, 2012; Cook & Everist, 2001; Kerman, 1985). At the same time, a new, post-structuralist foundation for a shift in the interest of texts (i.e. in the broadest sense of the term, including music) appears. Instead of analysing the intrinsic meaning of a text, scholars would now examine its intertextual connections with other texts. In addition, texts would be considered as multiple plays of meanings, rather than as consistent messages. The individual text loses its individuality; texts are instead seen as manifestations of a text universe without clear boundaries between singular texts (Barthes, 1977; Kristeva, 1980). Apparently, these tendencies led to a wide range of practices at the intersection of art, culture, music and technology, including those which belong to so-called remix and sampling cultures (Dyndahl, 2005a; 2005b; Middleton, 2000), gradually becoming part of the school subject music and teacher education, legitimized by music anthropology, ethnomusicology, popular music studies, ICT and media studies, hypertext, hypermedia and literary studies (Delany & Landow, 1991), as well as other emerging academic disciplines. However, on the other hand, one can claim that a variety of music was already present in music education, at least in Scandinavia. A tendency in the Nordic countries from the be- &! ! Towards a cultural study of music in performance, education, and society?! ! ginning of the 1970s and onwards was to expand the repertoires and resources of music as an area of teaching and learning. Here, jazz, pop, rock, folk music, and world music, etc. gained considerable educational, curricular and institutional status (Nielsen, 2010; Olsson, 1993). For instance, the institutionalization of popular and vernacular music in Scandinavian higher music education, as well as a parallel academization of those kinds of music within the fields of musicology and ethnomusicology, can be considered to represent an end to the previously dominant, monocultural position of classical music
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