To Örebro University

oru.seÖrebro University Publications
Change search
Refine search result
1234567 1 - 50 of 691
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf
Rows per page
  • 5
  • 10
  • 20
  • 50
  • 100
  • 250
Sort
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
  • Standard (Relevance)
  • Author A-Ö
  • Author Ö-A
  • Title A-Ö
  • Title Ö-A
  • Publication type A-Ö
  • Publication type Ö-A
  • Issued (Oldest first)
  • Issued (Newest first)
  • Created (Oldest first)
  • Created (Newest first)
  • Last updated (Oldest first)
  • Last updated (Newest first)
  • Disputation date (earliest first)
  • Disputation date (latest first)
Select
The maximal number of hits you can export is 250. When you want to export more records please use the Create feeds function.
  • 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.

    Download full text (pdf)
    FULLTEXT01
    Download full text (pdf)
    Framsida
  • 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
    Download full text (pdf)
    fulltext
  • 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. 

    Download full text (pdf)
    I_Ahlman
  • 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.

    Download full text (pdf)
    fulltext
  • 5.
    Alsterfors, Linn
    Örebro University, School of Music, Theatre and Art.
    Musik och sport: Med ”tro i våra hjärtan”.: En kvalitativ studie om musiken ochsupportramsornas funktion och användning i hockeysammanhang.2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Den här uppsatsen efterforskar vilken funktion och användning supportramsor och deninspelade musiken har i hockeysammanhang och för fem unga vuxna i Sverige med intresse förÖrebro hockey, som uppsatsen är avgränsad till. Studien undersöker även om musiken ellersupportramsorna kan ha en roll som identitetskonstruktörer för publiken. Arbetet utgår frånföljande huvudfrågeställningar, Vilken funktion och användning har musiken som spelas iarenan och hur upplever publiken den ur ett individuellt som kollektivt perspektiv? Hur användssupportramsor vid lagsportevenemanget hockey? Har musiken och supportramsorna enfunktion som identitetskonstruktör för publiken, och i sådana fall hur? För att undersöka dettahar jag genomfört fem semi-strukturerade kvalitativa intervjuer. Detta för att lyfta fram varjeinformants erfarenheter och personliga åsikter om ämnet. Studien tar teoretisk utgångspunkt iStuart Hall och Paul du Gays definition av begreppet identitet (Hall & du Gay, 1996) sominnebär att identitet inte är något statiskt utan det formas i ett samspel med omgivningen ochLars Lilliestams resonemang om musikens betydelse för människan, hur den ger reaktioner ikroppen samt hur musik kan reglera vårt humör.Det finns lite tidigare forskning om musikens funktion i hockeysammanhang. Denna uppsatsbidrar med kompletterande perspektiv till de få studier som har gjorts (Ahlsved 2014, 2017).Uppsatsen visar i likhet med tidigare forskning hur musiken har specifika funktioner under enhockeymatch samt hur supportramsorna är ett tecken på samhörighet och gemenskap. Dennagemenskap visar även hur supportramsorna och musiken fungerar som identitetsmarkörer förpubliken. På grund av att det inte finns mycket tidigare forskning om just musik och hockey såutgår detta arbete från mina informanters perspektiv. Resultatet för uppsatsen avser inte att varaheltäckande utan det är en fallstudie utav en grupp supportrar om deras upplevelser, tankar ochidéer om musiken och supportramsorna.

    Download full text (pdf)
    fulltext
  • 6.
    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
    Download full text (pdf)
    F_Andersson
  • 7.
    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
  • 8.
    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.

  • 9. 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)
  • 10. 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)
  • 11.
    Angelo, Elin
    et al.
    NTNU, Trondheim, Norway.
    Varkøy, Øivind
    Norwegian Academy of Music, Oslo, Norway.
    Georgii-Hemming, Eva
    Örebro University, School of Music, Theatre and Art.
    Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies2019In: Journal for Reserach in Arts and Sports Education, E-ISSN 2535-2857, Vol. 3, no 1, p. 78-100Article in journal (Refereed)
    Abstract [en]

    Policy changes and higher education reforms challenge performing musician programmes across Europe. The academisation of arts education means that classical performance programmes are now marked by strong expectations of research paths, publications, and the standardisation of courses, grades and positions. Drawing on interviews with ten teachers and leaders within the field of higher music education, this article discusses notions of mandate, knowledge and research in classical performance music education in Norway. Against the backdrop of academisation, the aim of this article is to illuminate central tensions and negotiations concerning mandate, knowledge and research within higher music education. The problem concerns issues of who should be judged as qualified and who should have the authority to speak on behalf of the performing music expertise community. The study is part of the larger study Discourses of Academisation and the Music Profession in Higher Music Education (DAPHME), conducted by a team of senior researchers in Sweden, Norway and Germany. Through an analytic-theoretical reading of the empirical data, informed by Foucault’s power/knowledge concept, two discourses on mandate are identified (the awakening discourse and the Bildung discourse) as well as three discourses on knowledge (the handicraft discourse, the entrepreneurship discourse and the discourse of critical reflection) and two discourses on research (the collaborative discourse and the ‘perforesearch’ discourse). The latter of the two research discourses pinpoints a subject position as a musician/researcher with knowledge, craft and skills in both music performing and research.

    Download full text (pdf)
    Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies
  • 12.
    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.

    Download full text (pdf)
    fulltext
  • 13.
    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.

    Download full text (pdf)
    Uppsats
    Download (zip)
    Innehåll CD
  • 14.
    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
  • 15.
    Belchior, Louise
    Örebro University, School of Music, Theatre and Art.
    “You can’t construct the mood alone”: Three Brazilian music teachers on teaching in Swedish highereducation.2023Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis looks into cross-cultural music-making in higher education byexploring the plausible outcomes of the teaching of three Brazilian music teachers thatcame to a Swedish university to teach Brazilian music to Swedish students in theLinnaeus-Palme exchange project between the said university and a Brazilian universityin the 2010s. Through interviews the three Brazilian music teachers have given theirview of the teaching that took place, what they taught and why, and what methods theywere using. Comparing the answers to current literature, this thesis shows that there areboth musical gains that lead to musical maturity in working with new unknown materialwith insider teachers as well as gains in terms of cultural competence, a culturalawareness, when getting the chance to study with insider teachers that introduces thestudent to traditions and cultural values through the methods of their teaching. Culturalawareness is a useful competence when working in a multicultural society and aglobalized world, hence universities with music education should consider finding waysof letting students study with insider teachers.

    Download full text (pdf)
    fulltext
  • 16.
    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
  • 17.
    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.

    Download full text (pdf)
    A_Benzinger
  • 18.
    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
  • 19.
    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.

    Download full text (pdf)
    fulltext
    Download full text (pdf)
    fulltext
  • 20.
    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
  • 21.
    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
    Download full text (pdf)
    fulltext
  • 22.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    A comment to Rhoda Bernard: reframing or oversimplification?2007In: Action, Criticism and Theory for Music Education, E-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.)

  • 23.
    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.

  • 24.
    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
  • 25.
    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)
  • 26.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Konstnärlig forskning: en reflektion2007In: Seminarium om dans och musikalisk gestaltning som universitetsämnen: 23 september 2005, Musikhögskolan, Örebro universitet / [ed] Marieanne Alsne, Örebro: Örebro universitet , 2007Chapter in book (Other academic)
  • 27.
    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)
  • 28.
    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)
  • 29.
    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)
  • 30.
    Bouij, Christer
    Göteborgs universitet.
    "Musik – mitt liv och kommande levebröd":: En studie av musiklärares yrkessocialisation1998Doctoral thesis, monograph (Other academic)
  • 31.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Musik, sociokulturella betingelser och musikundervisning1989In: Svensk tidskrift för musikforskning, ISSN 0081-9816, E-ISSN 2002-021X, p. 43-76Article in journal (Refereed)
  • 32.
    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)
  • 33.
    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)
  • 34.
    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)
  • 35.
    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)
  • 36.
    Bouij, Christer
    Örebro University, School of Music, Theatre and Art.
    Two theoretical perspectives on the socialization of music teachers2004In: Action, Criticism and Theory for Music Education, E-ISSN 1545-4517, Vol. 3, no 3Article in journal (Refereed)
  • 37.
    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)
  • 38.
    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)
  • 39.
    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)
  • 40.
    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)
  • 41.
    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)
  • 42.
    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.

    Download full text (pdf)
    fulltext
  • 43.
    Bovin Schierup, Simon
    et al.
    Örebro University, School of Music, Theatre and Art.
    Westvall, Maria
    Örebro University, School of Music, Theatre and Art.
    Mångkulturella miljöer i musikundervisningen: Barriärer, möten och utveckling2018In: Skapande och integration / [ed] Y. Hofvander Trulsson & M. Westvall, Lund: Studentlitteratur AB, 2018, p. 149-168Chapter in book (Other academic)
  • 44.
    Broch Ålvik, Jon Mikkel
    Örebro University, School of Music, Theatre and Art.
    Armed with the Faith of a Child: Marit Larsen and Strategies of Faking2017In: The Routledge Research Companion to Popular Music and Gender / [ed] Stan Hawkins, London: Routledge, 2017, p. 253-266Chapter in book (Refereed)
  • 45.
    Broch Ålvik, Jon Mikkel
    Örebro University, School of Music, Theatre and Art.
    Between noises: Public spaces, the presence of noise and musical self-care2019In: INTER-NOISE 2019 MADRID: 48th International Congress and Exhibition on Noise Control Engineering2019 / [ed] Calvo-Manzano A.,Delgado A.,Perez-Lopez A.,Santiago J.S., SOCIEDAD ESPANOLA DE ACUSTICA - Spanish Acoustical Society, SEA , 2019Conference paper (Refereed)
    Abstract [en]

    "Noise” is everywhere. This may be a truism; however, what makes the idea of inter-noise compelling is precisely that personalised music listening in urban spaces entails that silence is replaced with noise, i.e., if music bleeds through our headphones or we play music on our smartphones without regard to the well-being of others in our vicinity. Drawing on Jacques Attali’s assertion that “nothing essential happens in the absence of noise”, I intend to explore public spaces as arenas that are truly inter-noise in that sound always replaces sound and that we are between noises rather than between noise and silence. Building on this, I go on to discuss Thomas Hylland Eriksen’s suggestion that modern (information) age creates new forms of vulnerability. To this end, I offer a reading of this statement in the light of Marie Skånland’s theory of the useof MP3 players as “musical self-care” and as a means for empowerment and agency.This opens for understanding music in public spaces as “aesthetic control”, creating relationships between the individual and the environment, but also as a bridge between noises, where noise always takes on the function of defence against other noise.

  • 46.
    Broch Ålvik, Jon Mikkel
    University of Oslo, Oslo, Norway.
    Det vi ser og det vi ikke ser: Nærhet og avstand hos Marit Larsen og Marion Ravn2013In: I Dreamt I Was A Real Boy: Ei utstilling om kjønn i norsk pop og rock, Trondheim: Museumsforlaget AS, 2013, p. 43-48Chapter in book (Refereed)
  • 47.
    Broch Ålvik, Jon Mikkel
    Örebro University, School of Music, Theatre and Art.
    Framing Tix: Musical persona and meaning-making within and across genres2022Conference paper (Refereed)
  • 48.
    Broch Ålvik, Jon Mikkel
    Örebro University, School of Music, Theatre and Art.
    “I do not have an image, I am just who I am”: Marit Larsen, persona and authenticity in popular music2019Conference paper (Refereed)
    Abstract [en]

    In popular music, the notion of authenticity seemingly bridges the gap between pop artists’ music and their pop lives. We may see artists’ claim to authenticity in terms, such as realness and honesty, as a crucial factor in the construction of their personae.

    Exemplified by claims such as, ”I do not have an image, I am just who I am”, the Norwegian pop artist Marit Larsen employs stereotypes of age and gender to create a persona that exemplifies authenticity as an unmarked term, functioning as a binary opposite to purportedly dishonest ideas of strategically staging a persona.

    Analysing Larsen’s self-reflexive discourse in interviews and TV appearances, I investigate into how assertions of honesty and realness are substantiated through her persona. Central to my argument is the theory that the persona is never identical to the person, as the persona must also accommodate the listener and their desires. Even though theories of the artist’s persona go against any notion of authenticity, the deconstruction of the persona as separate from the real person reminds us that we cannot know what the actual person adds or subtracts in order to create the persona, and enables critical analysis of the artist’s purported authenticity.

  • 49.
    Broch Ålvik, Jon Mikkel
    Örebro University, School of Music, Theatre and Art.
    "I Hate Vanilla": BDSM, populærmusikk og det dobbelte blikket2023Conference paper (Other (popular science, discussion, etc.))
    Abstract [no]

    I dette foredraget kobler jeg egen forskning på representasjoner av BDSM i populærmusikk (2008) med eget nyere arbeid om nordiske artisters strategier for å skape sine artistpersonaer (2021). Representasjoner av BDSM i populærmusikk gir oss innganger til å undersøke hvordan ideer om seksualitet dels normaliseres gjennom at de blir gjort tilgjengelige for et bredt publikum, og dels patologiseres gjennom å bli definert utenfor samfunnets grenser for normalitet. Jeg bruker Margot Weiss' analysemodell for hvordan dette dobbelte blikket (the double gaze) skiller mellom akseptable og uakseptable framstillinger av BDSM i min lesning av to musikkeksempler, som begge kan ses som at de utvider rommet for representasjoner av BDSM i populærkulturen generelt og populærmusikk spesielt.

  • 50.
    Broch Ålvik, Jon Mikkel
    Örebro University, School of Music, Theatre and Art.
    Kuuk, Skrap, and the Resistance Vernacular2020In: Nordlit, ISSN 0809-1668, E-ISSN 1503-2086, Vol. 46, p. 303-317Article in journal (Refereed)
    Abstract [en]

    How are gendered identities enabled, contested, and performed through Nordic popular music? Building on relevant approaches in popular music analysis, this article offers an investigation into the function/s of language and musical style in enabling and engendering agency and subjectivity via two case studies in Norwegian popular music. Gender and language are crucial factors in this. In a global context of popular music, bands and artists who choose to sing in their local language may be seen to take up marginal positions compared to artists who choose to sing in English, as the choice of language would naturally limit their audience. I argue that this overlooks the efficacy of using one’s local language to express points of view that are relevant on a local level; what is more, it overlooks the possibility of subverting globalized trends and using these to one’s own ends. 

    In this article, I offer close readings of Norwegian-language albums by two all-female groups: the hip-hop duo Kuuk (Live fra Blitz) and the electronica duo Skrap (Atlantis). Applying Russell A. Potter’s (1995) concept of the ‘resistance vernacular’ as it has been expanded and operationalized by Tony Mitchell (2004), I contend that the bands’ use of their local language opens their music to a broader set of possibilities when it comes to subverting gender and genre norms at the same time as it enhances the music’s political potential. 

    Working in discernible genres enables both bands to create music that expresses a feminist stance; in the case of Kuuk, deconstructing and subverting expectations of gendered behaviour through parodying hip-hop misogyny, and in the case of Skrap, drawing on strategic naïvety to steer clear of gender stereotypes. 

    Download full text (pdf)
    Kuuk, Skrap, and the Resistance Vernacular
1234567 1 - 50 of 691
CiteExportLink to result list
Permanent link
Cite
Citation style
  • apa
  • ieee
  • modern-language-association-8th-edition
  • vancouver
  • Other style
More styles
Language
  • de-DE
  • en-GB
  • en-US
  • fi-FI
  • nn-NO
  • nn-NB
  • sv-SE
  • Other locale
More languages
Output format
  • html
  • text
  • asciidoc
  • rtf