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  • 1.
    Agstam, Mikael
    Örebro University, School of Music, Theatre and Art.
    Alexanderteknik för emotionellt uttryck i musik: Alexanderteknik som metod för en effektiv spelteknik, och en tillfredsställande musikalisk framställning riktat huvudsakligen till den klassiska gitarristen2009Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    In this essay, I want to achieve an accessible and applicable entrance to Alexander Technique as a method for learning to use the body in such a way as to allow emotional expression in music. It is necessary to see the real need of Alexander Technique for the active musician, and therefore important components of music-making will be presented. These components are presented from an Alexander-perspective in order to produce a clear picture of the method of application.The prerequisite for emotional expression in music is musicians and music listeners with the ability to generate, and respond after emotional impressions. Alexander Technique provides an approach to make it easier for musicians, especially guitarists, to express emotions in a performance situation.After years of practice and obtaining musical knowledge and practical skills at the instrument, it is common that muscle tension and ingrained patterns contribute to limited expression. Muscle tensions arising from pressured situations such as auditions, competitions and concerts. Repetitive movements contribute to this, and lays the foundation for an insufficient technique. It is clear that traditional learning methods need to be complemented with an approach that treats body awareness as an essential part of musical performances. The notion that the use of the body affects mental states is now a truism, and one can see an opening towards new approaches that facilitate learning as well as performance of musical works. The emotional expression is in focus here, and this study deals with musical production based on the philosophy that music should be driven by decisions involving emotional expression.

  • 2.
    Ahl, Ida
    Örebro University, School of Music, Theatre and Art.
    ”Att de ska få uppleva nånting av det liksom… det är målet”.: En studie om fyra slagverkslärares tankar om didaktiska möjligheter i slagverksundervisning på gymnasiet.2015Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 3.
    Ahlman, Isak
    Örebro University, School of Music, Theatre and Art.
    VAD ÄR KUNSKAP I MUSIK?: - En intervjuundersökning av två musiklärares uppfattning om kunskap i musik2014Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna magisteruppsats är att undersöka två musiklärares uppfattning om kunskap i musik. Uppsatsen baseras på en diskursanalys där jag i intervjuer med två musiklärare ställt frågor som berör deras kunskapssyn. Utsagorna vittnar om två ganska skilda beskrivningar där det musikaliska uttrycket betonas i den ena medan vikten av att eleverna har de verktyg som krävs för och musicera i grupp den andra. Även om utsagorna skiljer sig åt verkar instrumentalspelet och sången spela en viktig roll. I ena fallet som en form av kanal för det musikaliska uttrycket medan det i det andra fallet fungerar som en typ av färdighetsmässig nyckel till den gruppgemenskap som musicerandet innebär. I sina beskrivningar av andra moment som musikteori och musikhistoria framstår de som betydelsefulla först då det vävs samman med instrumentalspelet och sången. I musiklärarnas utsagor framträder en bild där vissa kunskapsmoment värderas högre än andra vilket också får betydelse för musikundervisningen. 

  • 4.
    Alkenäs, Dan
    Örebro University, School of Music, Theatre and Art. Linnéuniversitetet.
    Mitt Komponerande, Kreativitet Och Teknik: Självstudie av den egna kompositionsprocessen2014Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This essay describes a single case self-study of a music composer in order to track the compositional process in real time. In the study the subject and the researcher are the same person. The study builds on previous empirical studies that have used methodological approaches such as analysis of computer-based digital data collection, verbal protocol and video observations. It deals with issues of the compositional process related to for example time consumption, number of artistic decisions, the different roles and skills of a music composer, and methods of research in the musical composition process. During three shifts the researcher worked as a music composer dealing with the issue of converting an audio sketch of a composition into a representative finished audio product. The aim of the study was to highlight a specific phase the composititional process. The results can be divided into artistic and a scientific perspective. An artistic result is a developed and improved musical composition. Examples of scientific results is making visible and discussing artistic strategies in the context of musical composition. The study discusses different artistic roles that the composer uses during composing, each role with different skills and conditions, and how this role-playing significantly may influence the artistic result.

  • 5.
    Andersson, Fredrik
    Örebro University, School of Music, Theatre and Art.
    Violast i själ och hjärta: En studie om didaktiska val i rekrytering och violaundervisning på Kulturskolan.2014Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 6.
    Andersson, Jenny
    et al.
    Örebro University, School of Music, Theatre and Art.
    Holm, Gabriella
    Örebro University, School of Music, Theatre and Art.
    På sångens vingar: en studie om sångpedagogers fokus och lärarroll samt elevers förväntningar på innhållet i kulturskolans sångundervisning2012Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 7.
    Angelo, Elin
    et al.
    Norwegian University of Science and Technology (NTNU), Trondheim, Norway.
    Georgii-Hemming, Eva
    Örebro University, School of Music, Theatre and Art.
    Profesjonsforståelse: en innfallsvinkel til å profesjonalisere det musikkpedagogiske yrkesfeltet2014In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 15Article in journal (Refereed)
    Abstract [en]

    Music-pedagogical philosophy – An approach to professionalize the field of music education

    A carefully considered music-pedagogical philosophy is necessary to develop professional knowledge for the individual music teacher, as well as for music-pedagogical communities and for the music teacher profession as a whole. In this article we elaborate on individuals’ music pedagogical philosophies (no: profesjonsforståelser) as a fruitful approach to articulate and discuss leading ideals and norms for quality within the field of music education. We argue that the professions “body of knowledge” is invisible and irreproachable, and that it is crucial to articulate, clarify and discuss the professional knowledge, expertise and mandate that is held within this vocational field. This article is informed by professional literature and research in music education, and focuses the aspects jurisdiction, certification and authorization, as well as power, identity and knowledge. In conclusion we argue that music pedagogical philosophy should be a focused part of music teacher education, in order to professionalize the field and qualify the discussions about quality, both inside and around the field of music education.

  • 8. Angelo, Elin
    et al.
    Georgii-Hemming, Eva
    Örebro University, School of Music, Theatre and Art.
    Gries, Stefan
    Johansson, Karin
    Varkøy, Øivind
    Rolle, Christian
    Academization and the music profession in higher music education: an analysis from a discourse theory perspective2014Conference paper (Refereed)
  • 9. Angelo, Elin
    et al.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Om opplevelser og forståelser av instrumentalpedagogiske praksiser2012In: Nordisk musikkpedagogisk forskning: årbok 13 / [ed] Sven-Erik Holgersen, Siw Graabræk Nielsen, Lauri Väkevä, Oslo: Norges musikkhøgskole , 2012, Vol. 13Chapter in book (Refereed)
  • 10.
    Asp, Karl
    Örebro University, School of Music, Theatre and Art.
    Om att välja vad och hur: musiklärares samtal om val av undervisningsinnehåll i ensemble på gymnasiets estetiska program2011Licentiate thesis, monograph (Other academic)
    Abstract [en]

    This study investigates how teachers of the subject ensemble in Swedish upper secondary school talk about their choices of subject content in light of their background as musicians and/or music teachers? According to current regulations and curricula (Läroplan för de frivilliga skolformerna, Lpf 94; Programmål för Estetiska programmet, ES 2000:05) the Swedish upper secondary school system can be described as goal-centered, which implies that the goals of the education are in focus and that methods and material to achieve those goals can show great variances. The aim of this study is to investigate how music teacher talk about their choices of content in relation to several background factors like music teacher education and experience and their experience as professional performers.

    Research questions are:

    * How do musicteachers talk in groupinterviews regarding choices of content in ensemble in upper secondary school?

    * What do musicteachers perceive as essential contents in music teaching in the subject ensemble?

    The conceptual framework in this study is inspired by Berger and Luckmann’s (1966/1979) theories of the construction of reality. This means that a non-essentialist approach is taken and that subject matter, content and curricula all are understood as constructs in relation to a context, historically and cultural specific (Burr, 2003). This explains the focus on the interviewees professional backgrounds in relation to choice of content. Furthermore it relies on discourse psychology (Potter & Wetherell, 1987) where interpretative repertoires is used as an analytical tool. By focus group-interviews (Wibeck, 2000; Morgan, 1998) data has been collected and then analyzed. The interviewees are both professional musicians and music teachers, and they are all working as music teachers in upper secondary schools.

    The results of the study indicates that the teachers’ talk about choices of content is constructed mainly through their experiences of performing and professional musicianship and that didactical constructions highly relies on those experiences. This means that music as a subject (cf. Nielsen, 1998) is often seen as a product, as in a concert or a recording, and that the music teachers’ professional experiences of making music is an important ground for accomplishing that task. This raises further questions about how music teaching should be carried out and what implications the focus on a product has on musical learning from a democratic as well as a pedagogical perspective.

  • 11.
    Axelsson, Samuel
    Örebro University, School of Music, Theatre and Art.
    Måla med musik, komponera med färg: En retrospektiv studie av den kreativa processen, bland bild, musik och synestesi2011Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The relationship between color and music, and their relation to the human being and our surrounding universe has been subject of studies, theories and experiments since the old ages. From the ancient China and Persia to the present times, philosophers, scientists and artists have tried to explain these connections between color and music and also tried to find answers to this ancient enigma.

    The invention of the color organ c. 1730, an instrument that was intended to display color in addition to the musical auditive experience, was the first attempt to materialize the practical correlation between notes and color. This correlation has its foundation in the ideas of Isaac Newton, who through his book Optics published only a few years earlier, conformed the beginning of a new art culture: “Visual music”, in which image and sound are the fundamental elements in the creative process.

    The “visual music” concept is not only grounded in the ideas of music and sound, but also in the extraordinary creative capability of certain individuals. In short, those blessed with the gift of synaesthesia, a condition that provides a very small percentage of our population with very unique abilities like seeing color when hearing sound. Synaesthesia, a term that has been surrounded by scepticism and disbelief until the middle of the 19th century, will be the ingredient that would open for a complete new world of creative experiences, and became one of the main subjects of investigation and creation for many modern artists like Kandinsky and Klee, poets like Baudelaire, and composers like Skrjabin, Schoenberg or Wagner.

    In this essay, I’ll create three different studies in which image and sound will be combined to conform unique works. And based on my own synesthetic experience, I will approach my own creative process with the intention of analyzing it and explain how this correlation of image and sound works from my own and subjective artistic perspective.

  • 12.
    Beijer, Kajsa
    Örebro University, School of Music, Theatre and Art.
    "Att kunna tona in sig": Sångpedagogers uppfattningar och upplevelser av sångelevers intonation2014Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 13.
    Bengtsson, Louise
    Örebro University, School of Music, Theatre and Art.
    "Inte en lektion utan spel": Om lärarens didaktiska reflektioner i musikundervisningen2013Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 14.
    Benzinger, Annika
    Örebro University, School of Music, Theatre and Art.
    Ett lätt mätt sätt: Fyra musiklärares syn på betyg och bedömning i musik, med anledning av införandet av betyg från årskurs 62013Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med denna uppsats är att undersöka hur musiklärare ser på betyg, bedömning och betygssättning i musikämnet. Detta görs med anledning av införandet av betyg från årskurs 6, lärarna som intervjuas i studien undervisar alla i årskurs 6. Hur införandet gått till, hur det påverkar undervisningens innehåll, hur lärarna upplever att det påverkar eleverna samt hur det upplevs av lärarna själva är frågor som berörs.

     

    Med utgångspunkt i ramfaktorteorin visar analysen av undersökningen hur yttre ramar som tid, resurser och styrdokument påverkar undervisningens innehåll och lärarens arbetssituation. Detta synliggörs på ett tydligt sätt i och med de förändringar som införandet av betyg från årskurs 6 medfört, framför allt bristen på tid visar sig ha negativ påverkan för en rättvis bedömning i musikämnet. Undersökningen visar att tydligare krav kan komma att ha inverkan på musikämnets status, och även att de bidrar till en musikundervisning med mer kontrollerande och skriftliga uppgifter. En risk för att förändringen innebär ett ökat fokus på det enkelt mätbara identifieras och problematiseras. Vidare berör undersökningen det spänningsfält mellan politiska beslut och den egna professionen som lärare verkar i och dess påverkan på undervisningen.

  • 15.
    Bjerkman, Olov
    Örebro University, School of Music, Theatre and Art.
    Fyra lärares syn på musikämnets värde och mening2013Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 16.
    Bjerstedt, Sven
    et al.
    Musikhögskolan i Malmö, Lunds universitet, Malmö, Sweden.
    Hanne, Fossum
    Norges musikkhøgskole, Oslo, Norge.
    Leijonhufvud, Susanna
    Örebro University, School of Music, Theatre and Art.
    Lonnert, Lia
    Musikhögskolan i Malmö, Lunds universitet, Malmö, Sweden.
    The playing now: A philosophical investigation of present time in music2015In: Nordiskt nätverk för musikpedagogisk forskning (NNMPF), 2015, Helsingfors: Sibelius Academy, 2015Conference paper (Refereed)
    Abstract [en]

    Introduction: Music, such as the duration of a musical piec e or length of a concert, can b e measured by metronomes and clocks in objective time ( chronos ). However, playing an instrument, singing, attending a concert, listening to a record or reading a musical score are musical activities also experienced as subjective time ( kairos) . Music has an intrinsic temporal dimension of experienced time , often including an intensification of the present moment, coexisting intertwined with its measurable dimensions. This makes music a fasc inating object for philosophical exploration. Musical practice em bodie s temporal phenomena like pulse, tempo, timing, ad lib, accelerando and fermata. The musical present can be viewed as a moment of sem antic fullness , a meaningful moment . Music can carry narrative, which is a related phenomenon, also containing intrinsic temporality. Furthermore, music can be improvised in the present moment. The tonal texture of music is experienced as a context, a coherency with an intrinsic temporality. This symposium is set to investigate how music can be experienced, philosophically speaking, in the present moment. In order to do this, we introduce a number of prominent Western philosophers who have taken an interest in the phenomenon of time by using the phenomenon o f music as a lens: Saint Augustine, Husserl, Bakhtin and Ricoeur.

  • 17.
    Bohlin, Kristoffer
    Örebro University, School of Music, Theatre and Art.
    Ensemblelärarens ledarroll: En intervjustudie med lärare i rockensemble på kulturskolan2013Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 18.
    Borgenvik, Oskar
    Örebro University, School of Music, Theatre and Art.
    ”Det är svårt att spela horn efter att ha spelat didgeridoo – Jaha, och?”: En kvalitativ undersökning om fyra brasslärares tankar om undervisning på instrument som inte är deras huvudinstrument.2015Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 19.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    A comment to Rhoda Bernard: reframing or oversimplification?2007In: Action, Criticism & Theory for Music Education, The refereed scholarly journal of the Mayday Group, ISSN 1545-4517, Vol. 6, no 2, p. 1-18Article in journal (Refereed)
    Abstract [en]

    n an earlier issue of "ACT" (Number 2, 2005), Dr. Rhoda Bernard has presented a call for reframing music teacher education. Based on his experience as a leader of a Swedish longitudinal project about music teacher socialization since the late 1980s, the author discusses some problems with her call. In this article, he elucidates Bernard's use of the concepts "musician-teacher identity", "discourse", and her version of the central theoretical concept of "identity". He argues that her use of these concepts only obscures the discussion and that a clearer understanding of these concepts is needed. Her use of the term "discourse" is also misleading and does not point towards or account for the daily informal processes around the music teacher's identity construction that actually occur, as revealed by empirical research. The author concludes that music teacher education must have the mission of helping students develop a professional identity that will succeed in their professional lives--regardless of how the individual identity is constituted--because ever-new identities will arise when they meet new teaching contexts. (Contains 1 note and 1 figure.)

  • 20.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Att bli musiklärare: en socialisationsprocess1999In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, p. 77-90Article in journal (Refereed)
    Abstract [en]

    The subject of this article is the socialization process of Swedish music teachers in their profession. A combination of interviews and questionnaires has been used as data sources. These have been carried out mainly before and after their music teacher training. The analysis process is qualitative and rests mainly on the interviews. This led to the role identity theory, which proved useful in casting light on the social ization process. Role identity is the way that an individual performs a particular social position.

    The group of classmates is of great importance for socialization, through the education code principles for interpretation and action, which are collectively formed by the students. There is no doubt that the role of musician is accorded the higher status by the education code.

    There are two professional roles, music teacher and musician, which the music teacher students can see themselves to be working with in the future. But they also have to decide upon musical comprehensiveness. This can, for the individual student, imply one or more musical genres or one or more instruments, for example playing the trumpct or the whole brass family. In an ordinary municipal music school a brass teacher has to be responsible for the whole brass family.

  • 21.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Dmitrij Sjostakovitj och den sovjetiska kulturpolitiken1984Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
  • 22.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Dmitrij Sjostakovitj och eftervärlden1993In: Nordisk Østforum, ISSN 0801-7220, E-ISSN 1891-1773, no 1, p. 28-31Article in journal (Other academic)
  • 23.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Konstnärlig forskning: en reflektion2007In: Seminarium om dans och musikalisk gestaltning som universitetsämne: 23 september 2005, Musikhögskolan, Örebro universitet / [ed] Marieanne Alsne, Örebro: Örebro universitet , 2007Chapter in book (Other academic)
  • 24.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Music caught between a grandiose plan and captious pedantry: Ideology and music in the Soviet Union1998In: Crosscurrents and counterpoints: Offerings in Honor of Bengt Hambræus at 70 / [ed] Per F. Broman, Nora A. Engebretsen, and Bo Alphonce, Göteborg: Avdelningen för musikvetenskap , 1998, p. 39-61Chapter in book (Other academic)
  • 25.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Music teacher identity meets working life: results from a longitudinal project about Swedish music teacher2005In: Music and human beings: music and identity / [ed] Börje Stålhammar, Örebro: Örebro universitet , 2005, 1, p. 109-121Chapter in book (Other academic)
  • 26.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Music Teacher Socialization: Report from a Swedish Research Project2000In: On the Sociology of Music Education II: Papers From The Music Education Symposium At The University of Oklahoma / [ed] Roger R. Rideout & Stephen J. Paul, Amherst: University of Massachusetts , 2000, p. 51-62Conference paper (Refereed)
  • 27.
    Bouij, Christer
    Göteborgs universitet.
    "Musik – mitt liv och kommande levebröd":: En studie av musiklärares yrkessocialisation1998Doctoral thesis, monograph (Other academic)
  • 28.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Musik, sociokulturella betingelser och musikundervisning1989In: Svensk tidskrift för musikforskning, ISSN 0081-9816, p. 43-76Article in journal (Refereed)
  • 29.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Nutida sovjetisk musik och det rysk-ortodoxa arvet1991In: Rysk resa: ett UHÄ-seminarium i april 1991 / [ed] Lars Haikola, Stockholm: Universitets- och högskoleämbetet , 1991, p. 117-132Chapter in book (Other academic)
  • 30.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Om dynamik i forskningsprocessen: en studie i musiklärares yrkessocialisation1995In: Nordisk musikkpedagogisk forskning / [ed] Harald Jørgensen & Ingrid Hanken, Oslo: Norges musikkhøgskole , 1995, p. 107-115Chapter in book (Refereed)
  • 31.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Swedish Music Teachers in Training and Professional Life1998In: International Journal of Music Education, ISSN 0255-7614, Vol. 32, p. 24-32Article in journal (Refereed)
  • 32.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    The Russian Hymnological Tradition1993In: Choral Music Perspectives: dedicated to Eric Ericson / [ed] Lennart Reimers, Bo Wallner, Stockholm: Kungliga Musikaliska Akademien , 1993, p. 61-118Chapter in book (Other academic)
  • 33.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Two theoretical perspectives on the socialization of music teachers2004In: Action, Criticism & Theory for Music Education, The refereed scholarly journal of the Mayday Group, ISSN 1545-4517, Vol. 3, no 3Article in journal (Refereed)
  • 34.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Vad berättar musiken?: Om musikens roll i några TV-dokumentärer1998In: Tidskrift för KulturStudier, ISSN 1401-1689, no 4, p. 67-87Article in journal (Other academic)
  • 35.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Was lernt man eigentlich wirklich in der Musiklehrerausbildung?2000In: Musik und Bildung, ISSN 0043-8774, no 3, p. 2-9Article in journal (Other academic)
  • 36.
    Bouij, Christer
    et al.
    Örebro University, School of Music, Theatre and Art.
    Bladh, Stephan
    Musikhögskolan vid Lunds universitet, Lund.
    Grundläggande normer och värderingar i och omkring musikläraryrket deras konstruktioner och konsekvenser: ett forskningsprojekt2003In: Tidskrift för lärarutbildning och forskning, ISSN 1404-7659, no 2, p. 39-58Article in journal (Other academic)
  • 37.
    Bouij, Christer
    et al.
    Örebro University, School of Music, Theatre and Art.
    Stenbäck, Helena
    Högskolan i Skövde, Skövde, Sverige.
    Music in Swedish curriculum: a struggle for place2010In: XIV World Congress of Coparative Education Societies Istanbul 2010: Book of Abstracts, World congress of Comparetive Education Societies , 2010, p. 133-Conference paper (Other academic)
  • 38.
    Bouij, Christer
    et al.
    Örebro University, School of Music, Theatre and Art.
    Stenbäck, Helena
    Luleå tekniska universitet, Luleå.
    Principals of Municipal Music/Culture Schools in Sweden Transforming their Tasks2005In: Proceedings from Symposium Sociology of Music Education IV / [ed] Roger R. Rideout, Amherst: University of University of Massachusetts , 2005, p. 66-77Conference paper (Refereed)
  • 39.
    Bovin Schierup, Simon
    Örebro University, School of Music, Theatre and Art.
    Interkulturella musikmöten i teori och praktik: En studie kring utformning av interkulturella musikmöten vid högre musikutbildningar2016Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Syftet med uppsatsen är att i teori och praktik undersöka hur principer för demokrati och interkulturell dialog kan tillämpas i utformandet av interkulturella musikmöten och vidare verka för ett samhällstillvänt och inkluderande mångfaldsarbete vid högre musikutbildningar. Dessutom syftar uppsatsen till att utifrån praktisk erfarenhet undersöka vad sådana musikmöten i sin tur kan generera i form av interkulturell förståelse och ny kunskaps-utveckling.    I uppsatsens inledande delar förs resonemang kring principer för demokrati och god interkulturell dialog, samt hur dessa kan överföras till praktiska musikaliska kontexter och bilda teoretiskt och etiskt ramverk för vad som konstituerar ”ett gott interkulturellt musikmöte”. Från denna utgångspunkt planeras och genomförs ett aktionsforskningsprojekt i form av tre interkulturella musikmöten på Musikhögkolan vid Örebro Universitet, där praktiskt musicerande varvas med samtal kring musik, musikupplevelse och musikens kringliggande kulturella sammanhang.     Ur uppsatsens empiri framkommer exempel på hur interkulturella ”musikutbyten” (dvs möten med fokus på repertoar som associeras till deltagarnas kulturella bakgrunder) visserligen erbjuder goda möjligheter till ökad interkulturell förståelse, men också kan befästa stereotypiseringar av ”de andra”. För att undvika det senare argumenteras för att denna typ av möten bör innefatta gott om utrymme för samtal kring exempelvis autenticitet, musikupplevelse och repertoarernas kulturella sammanhang, för att kunna leva upp till idén om Det goda interkulturella musikmötet som eftersökts och skisserats i uppsatsens inledande delar. Genom dylika samtal uppmärksammas tidigare föreställningar om såväl ”den egna” musikkulturen som ”den andres”, samt hur vår upplevelse av såväl bekant som obekant musik i hög grad påverkas av sådana föreställningar.     Vidare argumenteras för interkulturella musikmöten där musicerandet sker ”bortom kultur”, för att fokusera på personliga möten snarare än ”kulturmöten”. Här föreslås utifrån uppsatsens empiri att kollektiv improvisation kan vara en fruktbar väg för upplösande av kulturella gränser och kreativt nyskapande.    Utifrån projektets dialogiska processer presenteras även ett antal konkreta förslag till utvecklat mångfaldsarbete inom uppsatsens platsspecifika kontext, dvs Musikhögskolan vid Örebro Universitet.

  • 40.
    Brodén, Sanna Maria
    et al.
    Örebro University, School of Music, Theatre and Art.
    Larsson, Helena
    Örebro University, School of Music, Theatre and Art.
    Musik som en länk mellan människor: En studie om kantorers förhållningssätt till populärmusik vid förrättningar i Svenska kyrkan2012Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Författare: Sanna Maria Brodén & Helena Larsson

    Titel: Musik som en länk mellan människor – en studie om kantorers förhållningssätt till populärmusik vid förrättningar i Svenska kyrkan

    Title: Music as a link between people – a study of cantors approach to popular music at the ceremonies of the Church of Sweden

    Syftet med denna uppsats är att undersöka hur kantorer inom Svenska kyrkan förhåller sig till populärmusik under förrättningar. Studien tar upp hur kantorer hanterar populärmusik och hur den påverkar deras arbetssituation. I undersökningen har vi använt oss av kvalitativa intervjuer och valde att intervjua tre kantorer från tre olika församlingar. De fick möjlighet att ge sin bild av hur de ser på populärmusiken och hur den har påverkat deras yrkesutövning som kantorer. Resultatet i undersökningen visar att samtliga kantorer uppfattar att deras arbetssituation har förändrats med den snabbt ökande förekomsten av populärmusik under förrättningar. Alla menar att hanteringen av populärmusiken innebär nya arbetssätt och metoder som skiljer sig från den kantorsutbildning de har med sig i bagaget. Att tillmötesgå de önskemål som kommer menar alla kantorerna är av största vikt för att göra förrättningen till ett fint minne.

    Kantorer är anställda av Svenska kyrkan och alla anställda inom Svenska kyrkan har ett särskilt uppdrag som skiljer sig på många sätt från en annan arbetsgivare. Detta uppdrag innebär att förvalta Svenska kyrkans tro, bekännelse och lära. Församlingens grundläggande uppgift är att fira gudstjänst, bedriva undervisning samt utöva diakoni och mission. En kantors uppgift är att upprätthålla musiklivet i en församling och genom musiken förmedla församlingens uppgift. Vid förrättningar ingår det i kantorers arbete att förmedla de önskemål de får av förrättningsdeltagare. De har även ett uppdrag mot sin arbetsgivare, Svenska kyrkan, att förmedla dess tro och värderingar genom sin yrkesutövning.

  • 41.
    Brorson, Linnéa
    Örebro University, School of Music, Theatre and Art.
    "Idol-...stämplad": En studie av relationen mellan unga sångelevers förhållningssätt till sångundervisning och TV_programmet Idol.2012Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 42.
    Broström, Allfred
    Örebro University, School of Music, Theatre and Art.
    Kulturskolans information i förhållande till elevunderlag och elevrekrytering2014Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 43.
    Brouwer, Lysander
    Örebro University, School of Music, Theatre and Art.
    Musikundervisningen vi minns: En retrospektiv studie om fyra individers negativa minnen, erfarenheter och reflektioner från musikundervisningen i grundskolan2014Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 44. Brown, Steven
    et al.
    Volgsten, UlrikDepartment of Musicology, Göteborg University, Göteborg, Sweden.
    Music and manipulation: on the social uses and social control of music2006Collection (editor) (Refereed)
  • 45.
    Brown, Steven
    et al.
    Institutionen för kulturvetenskaper, Göteborgs universitet.
    Volgsten, UlrikInstitutionen för kulturvetenskaper, Göteborgs universitet.
    Music and manipulation: on the social uses and social control of music2006Collection (editor) (Refereed)
  • 46.
    Brändin, Victoria
    Örebro University, School of Music, Theatre and Art.
    Varför är det bra och hur kan det bli bättre?: Elevers reflektioner om musikundervisning, motivation och elevinflytande i grundskolan2016Independent thesis Advanced level (professional degree), 10 credits / 15 HE creditsStudent thesis
  • 47.
    Calissendorff, Maria
    Örebro University, School of Music, Theatre and Art.
    "Om man inte vill spela – då blir det jättesvårt": en studie av en grupp förskolebarns musikaliska lärande i fiolspel2005Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation project involved following a group of six pre-school children (five years old) in the first year of their learning the violin together and where their parents were present at the lessons. The purpose of the study was to generate a theory which could increase our understanding of how small children learn an instrument where their parents are present at the lessons. The focus was on the child’s perspective. In line with Grounded Theory, the theory was built up as the investigation proceeded.

    All the lessons and concerts during the first year of learning were observed. The children, parents and teacher were interviewed three times. From the observations there emerged “leads” that were followed up in subsequent observations, interviews and chats. From the leads came categories, from which in turn came the core category learning style.

    The children differed in their ways of concentrating and of imbibing, dealing with and remembering information. They had different learning styles. Environmental, emotional, social, physiological and psychological factors affected each child’s learning style to a different extent. The study’s theory of learning style was subsequently integrated into the Dunn & Dunn Learning Style Model and could thereby be regarded as formal.

    The conclusion is that if the teacher is to pay regard to the children’s individual learning styles (these having chiefly to do with different perceptual preferences), he or she must present the content of the lesson in different ways.

  • 48.
    Canalp, Safa
    MIAM - Center for Advanced Studies in Music, Istanbul Technical University, Istanbul, Turkey.
    Building patronage and cult of personality through music authorship: the case of Minik Serçe2015Conference paper (Refereed)
    Abstract [en]

    Sezen Aksu (a.k.a. Little Sparrow; in Turkish, Minik Serçe) has long been considered as the undisputed queen of Turkish popular music. In the 1970s, she became famous for being the first female Turkish singer to perform her “own” songs in public. Then, after two decades of securing her position in the music industry, in the 1990s, she reached the level of providing support of mentorship to emerging artists, and since then, she has widely been approved as a modern patron of popular music in Turkey. Of course, her patronage has been derived from her prolific authorship. In the last twenty five years, she has written a great deal of songs to be used by other musicians, and concordantly, those who have used Aksu’s songs in their albums caught critical media attention. Eventually, many successful musicians have built their careers on their collaborations with Minik Serçe, and the latter’s patronage has continued to be consolidated. So, should this story be evaluated at face value?

    Drawing on the Weberian concept of cult of personality and with reference to Adorno’s writings on the fetish-character in music, this paper discusses about the established author(ity) of Sezen Aksu in Turkish popular music scene. 

  • 49.
    Canalp, Safa
    Humboldt University of Berlin, Institute of Musicology and Media Studies, Berlin, Germany.
    Echoes of Twin Peaks: emergence and development of dark jazz2017Conference paper (Refereed)
    Abstract [en]

    Since Twin Peaks aired on ABC in the beginning of the 1990s, beside the critical and national acclaim it has reached in the US, it has managed to capture an international cult following. In the meantime, the soundtracks of the TV series and the following feature film, which were produced by David Lynch and Angelo Badalamenti and composed by the latter, have experienced a similar reception process. Apart from the Grammy Award which was won by Badalamenti in 1991, the music of this idiosyncratic universe has separately attracted a somewhat distinctive attention among the fans. However, this attention would not stay limited within the confines of appreciation for some enthusiasts who would intend to carry their interest to the level of appropriation, and in the next period, echoes of Twin Peaks would begin to be heard in Europe as a new music sub-genre which would semi-popularly be known as dark jazz.

    This paper aims to understand the influence of a TV production on the emergence and development of a new musical phenomenon. Approaching the issue with relational musicological concerns, the paper proposes to look at a specific journey that jazz has taken thanks to one of its encounters with the screen. This is a journey that can be considered not only as border-crossing, but also as passing through different taste spheres. Moreover, the paper reasons about possible methods for further research on dark jazz. Considering the fact that 2017 is the year in which a whole book dedicated to Twin Peaks’ music is published by Bloomsbury through its 33 1/3 series and the TV series makes a come-back, I believe this is an appropriate time to foster a scholarly discussion on musics that are considered as post-Twin Peaks in many aspects.

  • 50.
    Canalp, Safa
    Humboldt University of Berlin, Institute of Musicology and Media Studies, Berlin, Germany.
    Emotional alliances: Erdogan‘s celebrities2018Conference paper (Refereed)
    Abstract [en]

    This paper focuses on mostly representational socio-political activities of Turkish celebrities --with an emphasis on the musicians-- who have remained in Turkish President Erdogan’s (in)famous celebrity circles, and it intends to propound a conceptual discussion on their roles in the social normalization of deviance within the country during AKP’s autocratic regime which has grown in the last fifteen years. The paper questions and observes those celebrities’ motivations for and potential gains and losses from their highly mediated engagements with the state, and accordingly, it perceives these celebrity circles as illustrative to socio-politically influential groupings which I call emotional alliances. With reference to anthropological discussions on media and emotion, my argumentation is built upon Grossberg’s (1984, 1992) notion of affective alliances, Elias’s (1939) seminal work on the civilizing process and Berger and Luckmann’s (1966) stimulating discussions on the social construction of reality, albeit with some appropriative changes which are intended to serve for the empirical exploration. While Grossberg’s notion focuses on fans, my notion puts emphasis on celebrities. Besides, while looking upon celebrities’ alignments and their influence on the society, the notion’s relatively more dystopic perspective makes it agonize over processes of de-civilizing and objective (as both discursive and institutional) constructions of un-reality and delusion. Furthermore, the paper tries to handle the socially segregated conjuncture of the country through following thinking paths provided by Williams (1977) in his discussions on structures of feeling and dominant culture. Instead of blaming such alignments insensitively, the paper eventually observes that when joining the alliances, even the celebrities may admire or fear (the regime), and even their potential gains and losses may range from subvention to prosecution (by the regime). Within such social segregation which is reinforced by the cultural bio-politics of emotion that operate under Erdogan’s neoliberal autocracy, the celebrities’ above-mentioned position-takings make them encounter horns of a social dilemma: pro-Erdoganists’ embracement and anti-Erdoganists’ condemnation.

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