Nordic Research in Music Education最新文献_第3页

The philosophical fiber: Rethinking ensemble conducting in light of a record producer’s practice 哲学纤维:根据唱片制作人的实践重新思考合奏指挥

Nordic Research in Music Education Pub Date : 2020-11-17 DOI: 10.23865/nrme.v1.2639

Ola Buan Øien Johansen

{"title":"The philosophical fiber: Rethinking ensemble conducting in light of a record producer’s practice","authors":"Ola Buan Øien Johansen","doi":"10.23865/nrme.v1.2639","DOIUrl":"https://doi.org/10.23865/nrme.v1.2639","url":null,"abstract":"The overall aim of this single case study is to find aspects of musical leadership relevant to ensemble conducting, using the theory of practice architectures to analyze a record producer’s practice. Data generation is performed mainly through transcripts and reflection logs based on YouTube interviews and videos. Insights into ensemble conducting are offered by exploring the following question: “What aspects of musical leadership relevant to conducting can be identified by applying the theory of practice architectures to an analysis of record producer Daniel Lanois’s practice?” The materials are analyzed based on three contexts of interpretation of meaning in hermeneutics. The theory of practice architectures serves as the analytical lens for the third context of interpretation. Main findings from this study are extracted into nine concepts that may serve as aspects of musical leadership relevant to conducting: a fast communication system, a self-adjusting act, black dubs, locations, operating by limitation, master station, the philosophical fiber, preparing, and sonic ambience. These and similar concepts may offer new insights into ensemble conducting in contexts similar to recording situations.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"151 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120890992","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

”Konstnären”, ”fostraren”, ”tjänstemannen” och ”rebellen”: Musiklärares dramaturgiska framträdanden kring musikundervisning, social rättvisa och demokrati

Nordic Research in Music Education Pub Date : 2020-11-17 DOI: 10.23865/nrme.v1.2637

Anna-Karin Kuuse

{"title":"”Konstnären”, ”fostraren”, ”tjänstemannen” och ”rebellen”: Musiklärares dramaturgiska framträdanden kring musikundervisning, social rättvisa och demokrati","authors":"Anna-Karin Kuuse","doi":"10.23865/nrme.v1.2637","DOIUrl":"https://doi.org/10.23865/nrme.v1.2637","url":null,"abstract":"This article intends to explore how some Swedish music teachers present their teaching in relation to democracy and social justice. Present-day social issues such as socio-economic vulnerability and ever more segregated schools have accentuated the need for critical reflection on social and democratic aspects in all teaching. This also has consequences for music educational practices. During two focus group interviews with Swedish music teachers from both the community school of music and arts and elementary school, the organisation of the teaching practice, as well as the teachers’ respective opportunities and challenges in relation to their specific contextual social and democratic issues are discussed. With the aid of dramaturgical theory and interview analysis it is shown how the teachers’ joint discussions make space for four social roles in relation to those themes: the artist, the fosterer, the civil servant and the rebel. In spite of some similarities in the staging opportunities of the two different music educational contexts, some differences appear in terms of the dramaturgical significance of the respective roles, as well as the force of the connections between them. In both contexts, still a common ambivalence is displayed in the perception of democracy and social justice in relation to the very practical task of teaching music. Following the article’s results in relation to social justice, the music teachers’ opportunities for internal professional control and joint negotiation of their teaching task are discussed. The article thus advocates further reflection on the institutional structures and basic philosophical assumptions that appear to govern perceptions of music teaching, democracy and social justice in music educational practices at large.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124055247","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Developing reflection-in-musicking in creative practices 在创造性实践中发展音乐中的反思

Nordic Research in Music Education Pub Date : 2020-11-17 DOI: 10.23865/nrme.v1.2633

Tine Grieg Viig

引用次数: 1

Music education as manipulation – a proposal for playing 音乐教育是一种操纵——一种演奏的建议

Nordic Research in Music Education Pub Date : 2020-11-17 DOI: 10.23865/nrme.v1.2562

Ketil A Thorgersen

{"title":"Music education as manipulation – a proposal for playing","authors":"Ketil A Thorgersen","doi":"10.23865/nrme.v1.2562","DOIUrl":"https://doi.org/10.23865/nrme.v1.2562","url":null,"abstract":"An important feature of music is its ability to affect people in unpredictable and deep ways. Music has therefore been used to oppress and (mis)lead people by dictatorships, religious leaders and supermarkets amongst others, and to help lure people into acting in ways that are beneficial for the manipulators. Such forms of ethically dubious musical manipulation happen because of the sublime potential of music to do something to people, and in such a way that they have few ways to defend themselves against it. Thus, the power of music is also the reason people seek out the unforeseen affects and effects in their encounters with the arts. Building on a theory of aesthetic communication, and seeking support from Deleuze and Guattari (1994), Dewey (2005) and Spinoza (Spinoza & Lagerberg, 2001), the aim of this article is to propose the term manipulation as a tool in music education or as a vehicle for teachers and researchers to help frame activities in music education as meaningful for aesthetic communication. I argue that manipulation is a necessary component of all art and aesthetic communication, that, despite its usual negative connotations, manipulation is an act that can be used for good or bad purposes, and that music education has a duty to educate pupils in artistic manipulation. Manipulation is considered action, and as such, it is argued that it can take on any value from good to bad depending on the intentions and effects it causes. This article invites a discussion of possible ways of designing music education that revolve around tinkering with aesthetic communication, and wherein desirable manipulation plays a vital role, and outcomes-based curricula are replaced with an alternative more compatible with the arts.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124632308","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts 音乐教师对他们在瑞典社区音乐和艺术学校破坏文化和社会再生产的机会的看法

Nordic Research in Music Education Pub Date : 2020-11-17 DOI: 10.23865/nrme.v1.2638

Cecilia Jeppsson

{"title":"Music teachers’ perspectives on their chances to disrupt cultural and social reproduction in the Swedish Community Schools of Music and Arts","authors":"Cecilia Jeppsson","doi":"10.23865/nrme.v1.2638","DOIUrl":"https://doi.org/10.23865/nrme.v1.2638","url":null,"abstract":"This study sheds light on music teachers’ perspectives on their chances to disrupt cultural and social reproduction in music education in the Swedish Community Schools of Music and Arts (kulturskolor, sing. kulturskola). Focus group conversations were carried out involving 18 teachers at five such schools. As a point of departure, the analysis of the conversations applied the theoretical perspective of Bourdieu with an emphasis on the concepts explicit versus implicit pedagogy and Bernstein’s corresponding concepts visible and invisible pedagogy. The analysis discusses explicit versus implicit assumptions interwoven in the teachers’ accounts of their efforts. The teachers describe it as difficult to challenge social structures. Based on marketing efforts vis-á-vis families from immigrant backgrounds, the teachers point to differing understandings of the significance of participation in the programmes. The teachers’ descriptions point to opportunities that stem from efforts to facilitate children taking part in music education in cooperation with compulsory schools, teaching practice habits and more general behaviours, and initiatives to reach parents and children from immigrant backgrounds with information. The descriptions show explicit as well as implicit components, often in terms of implicit assumptions embedded in an explicit framing. Reflection upon implicit assumptions is suggested as a means to develop more radical strategies to disrupt cultural and social reproduction in the Swedish kulturskolor.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114729805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

The conditions for learning musical interpretation in one-to-one piano tuition in higher music education 高等音乐教育钢琴一对一教学中学习音乐演绎的条件

Nordic Research in Music Education Pub Date : 2020-11-17 DOI: 10.23865/nrme.v1.2635

Carl Holmgren

{"title":"The conditions for learning musical interpretation in one-to-one piano tuition in higher music education","authors":"Carl Holmgren","doi":"10.23865/nrme.v1.2635","DOIUrl":"https://doi.org/10.23865/nrme.v1.2635","url":null,"abstract":"Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher’s understandings of what musical interpretation is, (2) the student’s experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student’s explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students’ development.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129847809","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 5

Music, agency, and social transformation: Processes of subjectivation in a Palestinian community music program 音乐、代理和社会转型:巴勒斯坦社区音乐项目的主体化过程

Nordic Research in Music Education Pub Date : 2020-11-17 DOI: 10.23865/nrme.v1.2634

Kim Boeskov

引用次数: 2