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Nordisk Musikkpedagogisk Forskning Årbok 18 Nordic Research in Music Redaktører: Øivind Varkøy Eva Georgii-Hemming Alexis Kallio Frederik Pio Nordisk musikkpedagogisk forskning Årbok 18 Nordic Research in Music Education Yearbook Vol. 18 NMH-publikasjoner 2017:8 Nordisk musikkpedagogisk forskning Årbok 18 Nordic Research in Music Education Yearbook Vol. 18 Redaksjon: Øivind Varkøy Eva Georgii-Hemming Alexis Kallio Frederik Pio NMH-publikasjoner 2017:8 Nordisk musikkpedagogisk forskning. Årbok 18 Nordic Research in Music Education. Yearbook Vol. 18 Redaktører: Øivind Varkøy, Eva Georgii-Hemming, Alexis Kallio, Frederik Pio Norges musikkhøgskole NMH-publikasjoner 2017:8 © Norges musikkhøgskole og forfatterne ISSN 1504-5021 ISSN 2535-4027 (elektroniske utgaver) ISBN 978-82-7853-240-9 ISBN 978-82-7853-241-6 (pdf) 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, 2018 Contents Introduction 5 Music, media and technological creativity in the digital age 9 Anne Danielsen Soundscaping the world with digital tools: The future in retrospect 23 Göran Folkestad Using socio-digital technology to enhance participation and 47 creative engagement in a lower secondary music classroom Marja-Leena Juntunen Kreativitet som glidande diskurs: Berättelser om Biophilia Educational Project 75 Cecilia Björck Performing gender when music is, or is not, at stake – a meta-analysis 97 on students’ adaption to discourse Carina Borgström Källén & Monica Lindgren Crossing affordances: Hybrid music as a tool in intercultural music practices 117 Camilla Kvaal “I feel that too”: Musical problem-solving and mediation through 133 cultural tools in year-nine pop-ensemble practice Cecilia Wallerstedt & Niklas Pramling Barns musikaliska interaktion – syskon, smak och identitet 159 Johan Söderman & Ylva Ågren The Becomings of Satanist Musicianship 179 A study of how black metal musicians describe their learning processes Ketil Thorgersen & Thomas von Wachenfeldt «And the Melody still lingers on»: Om danningspotensiale i ein discolåt 199 Silje Valde Onsrud Form and Order – Dimensions in Musical Meaning Making 219 Peter Falthin Challenges of assessing music performance: teachers’ perceptions 241 Elizabeth Oltedal Goal setting and self-determination in music making: Tenets of becoming 271 a deliberate and motivated music practitioner Johannes Lunde Hatfield Sustaining the assemblage: How migrant musicians cultivate and 295 negotiate their musicianship Mariko Hara “A new educational situation” – perspectives on jazz musical learning in the 317 Swedish jazz journal OrkesterJournalen 1980–2010 Sven Bjerstedt The Body, to make and to be in music. A phenomenological study 347 Johanna Österling Brunström Entreprenørskap i høyere norsk musikkutdanning 367 Åshild Watne & Kristian Nymoen Nordic ph.d.-dissertations 2016–2017 387 Editor group 389 Review panel 390 Introduction Volume 18 of Nordic Research in Music Education Yearbook includes seventeen articles. The themes of the contributions represent a wide variety of interests within the Nordic at the 20th conference of the Nordic Network for Research in Music Education, March music education community. The first two articles first were presented as keynotes 8-10 2016, at Hedmark University College (now called Inland Norway University College of Applied Sciences). The theme for this conference was “Technology and creativity in music education”. In her article “Music, media and technological creativity in the digital age” Anne Danielsen discusses how the creative use of new digital technology has changed how music is produced, distributed, and consumed, as well as how music sounds. Further she examines some creative examples of music production in the digital age, discusses new patterns of use and personalized music “consumption”, and addresses how production and consumption meet in so-called prosumption practices that have arisen in the digital era in the form of remix, sample and mashup music. Göran Folkestad’s article ”Soundscaping the world with digital tools: The future summarizing his own research on creative music making and digital tools in schools. in retrospect” first gives a brief history of music technology, followed by a section From these starting points, he proposes a conceptual framework to aid the analysis and conceptualization of issues regarding composition and creative music making. He puts forward this framework through utilizing the concepts of intertextuality, the personal inner musical library and music discourse. Technology also takes centre stage in Marja-Leena Juntunen’s article ”Using iPads to enhance participation and creative engagement in a 7th-grade music classroom”. The study reported in this article examined a case in which a music teacher experimen- ted with the possibilities of fostering student participation and creative engagement through the integrated use of iPads and body movement in the Finnish lower secon- dary school (grade 7, age 13) music lessons. By examining the pedagogical processes and reasoning behind the practice, the study contributes to the construction of the Technological pedagogical and content knowledge in music teaching and learning. 5 Introduction In her article “Kreativitet som glidande diskurs: Berättelser om Biophilia Educational Project”, Cecilia Björck discusses a project linking science, music, and technology in a curriculum for 10–12-year-olds. The article examines how the aims and potential - ved in the process. benefits of the Biophilia project are discursively constructed by different actors invol In ” Performing gender when music is, or is not, at stake – a meta-analysis on students’ adaption to discourse” by Carina Borgström Källén & Monica Lindgren, a meta-ana- lysis is conducted in order to reinterpret constructions of gender in conjunction with music education in three qualitative studies of their own. The result of the analysis indicates that the construction of gender is a matter of what is at stake in the music classroom – music or education. In her article ”Crossing affordances: Hybrid music as a tool in intercultural music practices”, Camilla Kvaal discusses aspects of intercultural musicking and how to analyse hybrid music as a tool in such practices. The article suggests a way to analyse discourse in music as much as about music. Cecilia Wallerstedt & Niklas Pramling’s article, “I feel that too”: Musical problem-solving and mediation through cultural tools in year-nine pop-ensemble practice” investiga- tes the problems that learners and a teacher identify and grapple with in year-nine compulsory school band practice. A sociocultural perspective is used to conceptualize and theorize observations made by video recording band-practice lessons. In the article ”Barns musikaliska interaktion – syskon, smak och identitet, by Johan Söderman & Ylva Ågren, the reader’s focus is directed towards the role of music in the social life of children. The aim of the article is to study what function music has in sibling interaction. In their article “The Becomings of Satanist Musicianship. A study of how Black Metal musicians describe their learning processes”, Ketil Thorgersen and Thomas von Wachenfeldt investigate the musical learning in a genre that is considered unaccep- table and bad by most of society: Black Metal. Their research opens up for interesting paths in music education when working with musical Bildung and criticism of taken for granted truths. In “’And the Melody still lingers on’: Om danningspotensiale i ein discolåt”, by Silje Valde Onsrud, a cover version of Dizzy Gillespie’s “A Night in Tunisia” called “And 6 Introduction the Melody still lingers on”, sung by the disco queen Chaka Khan, is analyzed as a compound art expression and as an adaptation from one musical genre to another. The purpose of the analysis is to investigate whether a song like this can be didactical on the premises of art itself, and hold potential for Bildung. Peter Falthin’s article “Form and order – dimensions in musical meaning making” concerns musical meaning making in relation to semiotic theory and other forms of salient in many studies comparing aspects of music to language and their respective meaning making. Falthin discusses what he considers to be oversimplified notions capacity to store and convey meaning, intentionally or otherwise. Elizabeth Oltedal’s article ” Challenges of assessing music performance: teachers’ perceptions” draws on Wenger’s concept of communities of practice, in which he highlights “the inseparable duality of the social and the individual”, to explore the perceptions of instrumental teachers concerning assessment of main instrument in Norwegian upper secondary schools. Tenets of Becoming a Deliberate and Motivated Music Practitioner” presents and Johannes Lunde Hatfield’s article “Goal setting and self-determination in music making: elaborates goal-setting and self-determination theories in relation to music practice music education. and performance highlighting potential benefits and pitfalls in the context of higher Mariko Hara’s article ”Sustaining the assemblage: How migrant musicians cultivate and negotiate their musicianship” explores what types of actions that musicians with an immigrant background in Norway undertake in order to sustain a career in music. The aim of Sven Bjerstedt’s article “A new educational situation – perspectives on jazz musical learning in the Swedish jazz journal OrkesterJournalen 1980–2010” is to mirror a time of radical change in Swedish jazz education through perspectives formulated in
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