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Hele Årboken (2.501Mb) Redaktører: Eva Georgii-Hemming Sven-Erik Holgersen Øivind Varkøy Lauri Väkevä Nordisk musikkpedagogisk forskning Årbok 16 Nordic Research in Music Education Yearbook Vol. 16 NMH-publikasjoner 2015:8 Nordisk musikkpedagogisk forskning Årbok 16 Nordic Research in Music Education Yearbook Vol. 16 Redaksjon: Eva Georgii-Hemming Sven-Erik Holgersen Øivind Varkøy Lauri Väkevä NMH-publikasjoner 2015:8 Nordisk musikkpedagogisk forskning. Årbok 16 Nordic Research in Music Education. Yearbook Vol. 16 Redaktører: Eva Georgii-Hemming, Sven-Erik Holgersen, Øivind Varkøy og Lauri Väkevä Norges musikkhøgskole NMH-publikasjoner 2015:8 © Norges musikkhøgskole og forfatterne ISSN 1504-5021 ISBN 978-82-7853-208-9 Norges musikkhøgskole Postboks 5190 Majorstua 0302 OSLO Tel.: +47 23 36 70 00 E-post: [email protected] nmh.no Sats og trykk: 07 Media, Oslo, 2015 Contents Introduction 5 Musical Knowledge and Musical Bildung – 9 Jürgen Vogt Some Reflections on a Difficult Relation 23 the unheard On Heidegger’s relevance for a phenomenologically oriented music Didaktik: Frederik Pio Challenges to music education research. 53 Cecilia K. Hultberg Reflections from a Swedish perspective Gender Performativity through Musicking: 69 Examples from a Norwegian Classroom Study Silje Valde Onsrud Keeping it real: addressing authenticity in classroom popular music pedagogy 87 Aleksi Ojala & Lauri Väkevä “You MAY take the note home an’… well practise just that” – 101 Children’s interaction in contextualizing music teaching Tina Kullenberg & Monica Lindgren Young Instrumentalists’ Music Literacy Acquisition 121 Hilde Synnøve Blix Multicultural music education from the perspective of Swedish-speaking 139 teachers and state authorities in Finland Marja Heimonen & Maria Westvall Music teaching as a profession 163 On professionalism and securing the quality of music teaching in Norwegian municipal schools of music and performing arts Anne Jordhus-Lier Informella stämledare 183 Körledares erfarenheter av samarbete mellan sångarna i körstämman Sverker Zadig & Göran Folkestad 209 improvisation in asymmetric relations ‘Musical dialoguing’: A perspective of Bakhtin’s Dialogue on musical Karette Stensæth Composition in Music Education: A Literature Review of 10 Years of Research Articles Published in 227 Music Education Journals Tine Grieg Viig Arts-based research in music education – 259 general concepts and potential cases Torill Vist Skolekonsertene og skolekonteksten: 293 Mellom verkorientering og kunstdidaktikk Kari Holdhus Music-related aesthetic argumentation: 315 Confronting a theoretical model with empirical data Christian Rolle, Lisa Knörzer & Robin Stark Lullaby singing and its human Bildung potential 327 Lisa Bonnár 379 Dissertations 2014–2015 Editor group 383 Review panel 384 Introduction Volume 16 of Nordic Research in Music Education Yearbook includes 16 articles. The themes of the contributions represent a wide variety of interests within the Nordic music education community, including philosophy of music education, classroom teaching, students’ perspectives, teachers’ perspectives, music education as profes- sion, choir singing, improvisation, composition, school concerts, and lullaby singing. at NNMPF conference organized at Royal College of Music, Stockholm, April 23–25, The first three articles of this volume are based on keynote presentations read 2014. In the opening article, Jürgen Vogt explores the relation of musical knowledge and musical Bildung. While musical Bildung traditionally implies the formation of the inner self, it is also embedded in a social context. In line with Foucault, Vogt argues that, musical Bildung can be considered as a mainly aesthetic kind of self-transfor- mation within the medium of music, rather than a passive formation of the self by and through music. In the succeeding article, Frederik Pio discusses Martin Heidegger’s relevance for a phenomenologically oriented music Didaktik. To do this, he considers Heidegger’s ontological approach in terms of its partial difference from the Husserlian approach to music Didaktik as presented by late professor Frede V. Nielsen. Pio demonstrates how a Heideggerian approach of music pedagogy comes into contact with existing para- ontological approach is in this article incorporated into a music pedagogical setting by digms and yet also uncovers a potentially forgotten space of significance. Heidegger’s means of a fourfold systematic approach, which is elaborated to capture four different levels of musical experience (designated as ”the audible quadruple”). In the third article of the keynote section, Cecilia Hultberg discusses music educa- tion research from a Swedish standpoint. Hultberg argues that the complexity of this the maturity of music education research necessitates acknowledging the changing research field calls for a reconsideration of the topics investigated. She suggests that may be left outside the scope of other academic domains. conditions for music learning and teaching and recognizing the fields of interests that The next four contributions address students’ perspectives in a variety of settings. how pupils stage and construct gender through musical performance in the Norwegian In her article, Silje Valde Onsrud reports the findings of her doctoral thesis, exploring lower-secondary school music education. The study reveals that pupils relate to 5 Introduction the gender constructions that often figurate in popular music as almost predefined In their article, Aleksi Ojala and Lauri Väkevä discuss implications of authenticity packages in relation to forms and genre definitions. in music pedagogy. Is there a gap between the “real-world” and classroom teaching with respect to the authenticity of popular music or should they rather be discussed in terms of different places for cultural production? The authors suggest that authen- ticity can be seen as a function of musical productivity that is meaningful both from the standpoint of the culture and from the standpoint of the individual learner. Tina Kullberg and Monica Lindgren report an investigation of four children’s instructional interaction in a teaching activity in order to understand their communi- cation and musical sense making. The children’s communication was not only merely interpersonal in nature as it clearly referred to an embedded cultural context that existed beyond the local interactional context. The second section ends with Hilde Blix’s article about Young Instrumentalists’ Music Literacy Acquisition. Observations and interviews were used to collect data about students’ learning strategies and music literacy development. The findings for instruction and future studies are presented. revealed a variety of strategies, which are discussed and, finally, recommendations The following three contributions focus on teachers’ perspectives. In their article, Marja Heimonen and Maria Westvall discuss minority rights and educational aims in relation to the Nordic welfare state model through the lens of musical diversity in Finland. Connected to a research project “The Minorities in the Minority”, the article asks whether teachers in the Swedish-speaking schools in Finland perceive that school music can provide a basis for the development of multicultural skills. teaching can be understood as a profession, by looking into general traits of professi- In the subsequent article, Anne Jordhus-Lier reflects on whether and how music ons and seeing how they relate to music teaching. The discussion is centred on music teachers in the Norwegian municipal school of music and performing arts (MSMPA). Jordhus-Lier also discusses how we can understand different forms of knowledge and knowledge bases in relation to professions and music teaching. The relevance of discussing music teaching as a profession is debated, and seen in relation to the ongoing public debate in Norway involving teachers’ working conditions. In their contribution, Sverker Zadig and Göran Folkestad identify two different kinds of informal leaders among choir singers: one with a focus on leading the musical line and another with a focus on the choral blend. In order to develop choirs to sound more even, synchronised, and in blend, the authors suggest that choir leaders consi- der where to place a musical leader in the choral voice, and also to what degree this consideration should be made explicit and discussed with the members of the choir. 6 Introduction The following four texts focus on musical creativity. Karette Stensæth discusses Mikhail Bakhtin’s concept of dialogue in settings of improvisation and free playing by asking what implications it could have on our understanding of musical improvisation in asymmetric relations (e.g. teacher/therapist—pupil/client). What is labelled musical and harmony but also dissonances and misunderstandings. In the discussion practical dialoguing, remains influenceable and unfinalised, and contains not just consensus settings from music pedagogy and music therapy are referred to. Next Tine Grieg Viig provides a useful review of 89 articles published over ten years in music education journals. The articles she examines cover a wide scope of areas in both formal and informal learning contexts, including issues such as music technology, collaboration, challenges to teaching composition, and assessment, from different perspectives. Torill Vist discusses potential arts-based research processes in the different phases of a research project, including the question development, the data collection and the result development phase.
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