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  • 1. 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)
  • 2. 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)
  • 3.
    Bagga-Gupta, Sangeeta
    et al.
    Örebro University, School of Humanities, Education and Social Sciences.
    Ferm Thorgersen, Cecilia
    Uppsala University, Uppsala, Sweden.
    Georgii-Hemming, Eva
    Örebro University, School of Music, Theatre and Art.
    Varkøy, Øivind
    Oslo University, Oslo, Norway.
    Aesthetic and communicative experiences: building on the ideas of Christopher Small2014In: Music Education Research, ISSN 1461-3808, E-ISSN 1469-9893Article in journal (Other academic)
  • 4. Fossum, Hanne
    et al.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    The changing concept of "aesthetic experience" from a Nordic and international perspective2011Conference paper (Other academic)
  • 5.
    Georgii-Hemming, Eva
    et al.
    Örebro University, School of Music, Theatre and Art.
    Angelo, Elin
    Program for lærerutdanning, NTNU, Trondheim, Norway.
    Gies, Stefan
    Hochschule für Musik Karl Maria von Weber Dresden, Dresden, Germany.
    Johansson, Karin
    Konstnärliga fakulteten, Lunds universitet, Malmö, Sweden.
    Rolle, Christian
    Universität zu Köln, Köln, Germany.
    Varkøy, Øivind
    Norges musikkhøgskole, Oslo, Norway.
    Artist or researcher? Tradition or innovation? Challenges for performing musician and arts education in Europe2016In: Nordic Research in Music Education, ISSN 1504-5021, Vol. 17, no 5, p. 279-292Article in journal (Refereed)
    Download full text (pdf)
    Artist or researcher? Tradition or innovation? Challenges for performing musician and arts education in Europe
  • 6.
    Georgii-Hemming, Eva
    et al.
    Örebro University, School of Music, Theatre and Art.
    Angelo, Elin
    Program for lærerutdanning , Norges teknisk-naturvitenskapelige universitet, Trondheim, Norge.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Rolle, Christian
    Örebro University, School of Music, Theatre and Art.
    The impact of academization on higher music education and the music profession2015Conference paper (Refereed)
  • 7.
    Georgii-Hemming, Eva
    et al.
    Örebro University, School of Music, Theatre and Art.
    Johansson, Karin
    Konstnärliga fakulteten, Lunds universitet, Lund, Sweden.
    Angelo, Elin
    Norwegian University of Science and Technology, Trondheim, Norway.
    Gies, Stean
    Dresden University of Music, Dresden, Germany.
    Rolle, Christian
    University of Cologne, Köln, Germany.
    Varkøy, Øivind
    Norwegian Academy of Music, Oslo, Norway.
    The construction of Academic Academies: Art, research and marketization as competing discourses2017Conference paper (Refereed)
    Abstract [en]

    Aim of this paper

    This paper draws on the on-going comprehensive three-year study Discourses of Academization and the Music Profession in Higher Music Education (DAPHME) conducted by a team of senior researchers in Sweden, Norway and Germany. The overall purpose of the project is to investigate how processes of academization affect performing musician programmes. By focusing discourses in higher music education (HME) the project, more specifically, explores contrasting perspectives on performing musicians’ expertise and societal mandate. Data are gathered through official documents and interviews with institutional leaders and teachers in HME across Europe.

    Based on the preliminary analysis of about 30 interviews this paper presents findings that concern notions of competence, knowledge and research activities within HME. We will particularly discuss these findings in relation to the analytic framework of critical discourse analysis (Angermüller 2007; Fairclough 1993, 2009, 2010).

    The Context

    Performing musician programmes around Europe currently find themselves in a phase of change. While the main concern of HME during the 20th century has been to educate musicians and composers for a profession where conceptions of craftsmanship and artistic skill were given, new conditions for employability and processes of academization are now challenging this expert culture. Since the Bologna declaration 1999, music institutions must stimulate research activities within the context of artistic practice. Musical expertise is thus not enough for today’s music profession. Traditionally, concepts like employability and (artistic) research have not played an important role in music profession. Therefore it is likely that conflicts arise when these enter the discourses on and within music academies. In a wider context, this also concerns the broader issue of the role of higher education in times of marketization and instrumentalization.

    Methodology

    Empirical data consist of official documents (e.g. syllabi, official presentations, self evaluations, political documents related to the Bologna process) and interviews with leaders and teachers within four institutions in Sweden, Norway and Germany respectively. We are primarily interested in exploring the tensions between different viewpoints within higher education institutions. Therefore we are focusing on those responsible for implementing educational policies on a daily basis, rather than interrogating students’ experiences. The topics addressed in the open-ended interviews, central for this paper, concern notions of competence, knowledge, and artistic research, as well as views on their functions in education and in the music profession.

    In order to analytically capture and make visible the tensions that indicate negotiations and renegotiations of higher music education, the analytic framework of critical discourse analysis (Fairclough 1993, 2009, 2010), combined with linguistically informed French discourse analysis (Foucault 1974), especially enunciative pragmatics (Angermüller 2007) are used. The reason for this choice is CDA’s view on discourse, not only as language in general but discourses as a form of social interaction and practice (Fairclough 1993; 2009). Changes, and discursive events, in society help to shape both institutions and interactions between actors. This relationship can be understood in terms of a mix of discourses. The method of analysis can therefore demonstrate how multiple, competing discourses are shaped by the politics of education reforms. Over time, different discursive practices within and across institutions are also restructured.

    Earlier examinations concerning the purposes of higher (music) education, and its role in relation to society and the individual, provided three key discourses (Barkholt 2005; Georgii-Hemming, Burnard & Holgersen 2013; Unemar Öst 2009; Kezar 2004; Hufner 2003, Johansson 2013; Wilson and van Ruiten 2014; Stephens 2013), which served as the foundation for the first phases of our analysis: (i) The classical academic discourse, (ii) The discourse of marketization; (iii) The discourse of artistic freedom.

    These articulations have a long history in the Western world, but are also present within the European policy arena today. Thus, present-day articulations adhere to, and in different ways reformulate, earlier ideas about higher (music) education. Following Fairclough (e.g. 2010), discursive struggles are fundamental social conditions. Different social actors have access to, and help to create, plural discourses, which does not mean that certain discourses are linked to specific actors. However, depending on the distribution of power particular discourses are easier to obtain than other.

    With regards to academic institutions, it is fairly common that they acquire a hybrid discourse where elements of the ”Entrepreneurial University” are added to, and fused with, classical European university norms and structures (Melander 2006). This potentially means that art academies are currently in a process of developing hybrid discourses where components from articuations of art, research and market are mixed.

    Conclusion

    This paper deals with empirical discursive objects in a theoretical way and will engage in a critical reflection of the nexus of language, knowledge and practice in contemporary higher music education. Preliminary analyses indicate discourses between at least two social logics: in the world of knowledge to be recognised as part of a specialised art community and in the world of power to be recognised as part of academic organisations with a certain status (c.f. Angermüller 2013). 

  • 8.
    Pio, Frederik
    et al.
    Aarhus Universität, Aarhus, Denmark.
    Varkøy, ØivindÖrebro University, School of Music, Theatre and Art.
    Philosophy of Music Education Challenged: Heideggerian inspirations2014Collection (editor) (Other academic)
  • 9.
    Røyseng, Sigrid
    et al.
    BI Norwegian Business School, Norway.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art. Norwegian Academy of Music, Oslo, Norway.
    What is music good for?: a dialogue on technical and ritual rationality2014In: Action, Criticism, and Theory for Music Education (ACT), ISSN 1545-4517, Vol. 13, no 1, p. 101-125Article in journal (Refereed)
  • 10.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Bildung - and instrumentalism2011Conference paper (Refereed)
  • 11.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Bildung: between cultural heritage and the unknown, instrumentalism and existence2015In: The Routledge International Handbook of the Arts and Education / [ed] Mike Fleming, Liora Bresler, John O'Toole, Routledge, 2015Chapter in book (Refereed)
  • 12.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Den musikaliska erfarenhetens egenvärde2013In: Musik för alla: Filosofiska och didaktiska perspektiv på musik, bildning och samhälle / [ed] Varkøy, Øivind & Söderman, Johan, Lund: Studentlitteratur AB, 2013, p. 21-32Chapter in book (Other academic)
  • 13.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Den tekniske rasjonaliteten - og musikken2012In: Svensk tidskrift för musikforskning, ISSN 0081-9816, Vol. 94, p. 49-63Article in journal (Refereed)
  • 14.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Instrumentalism in the field of music education?: Are we all humanists?2007In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 15, no 1, p. 37-52Article in journal (Refereed)
    Abstract [en]

    Oivind Varkoy discusses instrumentalism as a trend in educational politics and pedagogical thinking. Instrumentalism implies looking upon both school subjects and humans as instruments, as tools or means for reaching another goal or end. The discussion is related to philosophy of music education by focusing on aspects of philosophies of humankind, the idea of forming the child versus the idea of free growth, and the humanistic tradition of dialectics. To link the philosophical discussion of instrumentalism to music education in a more practical way, the author focuses on the discussion of assessment of knowledge in music. Is it for instance possible for a music educator to accept the idea of measuring musical knowledge by means of standardized tests without having some problems sailing under the flag of pedagogical humanism?

  • 15.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Mellom relevans og frihet: om kunsttenkning og profesjonstenkning2014In: Kunstner eller lærer?: profesjonsdilemmaer i musikk- og kunstpedagogisk utdanning / [ed] Angelo, Elin & Kalsnes, Signe, Cappelen Damm Akademisk, 2014, 1, p. 171-183Chapter in book (Refereed)
  • 16.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Music - 'usefull tool' or 'useless hapiness'?: Ideas about music in Norwegian general education2002In: Research in and for higher music education: Festschrift for Harald Jørgensen / [ed] Ingrid Maria Hanken, Siw Graabræk Nielsen, Monika Nerland, Oslo: Norges musikkhøgskole , 2002, p. 121-134Chapter in book (Other academic)
  • 17.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Musik, 'sinnvolles Werkzeug' oder 'sinnloses Glück'?: Überlegungen zur Bedeutung von Musik in der (norwegischen) Allgemeinerziehung2007In: Polyästhetik im 21. Jahurhundert: Chancen und Grenzen ästhetischer Erziehung; Tagungsband des 24. Polyaisthesis-Symposions auf Schloss Goldegg / [ed] Michaela Schwarzbauer, Gerhard Hofbauer, Frankfurt am Main: Peter Lang Publishing Group, 2007, p. 127-138Chapter in book (Other academic)
  • 18.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Musikalisk erfarenhet som existentiell erfarenhet2014In: Musik för alla: filosofiska och didaktiska perspektiv kring musik, bildning och skola / [ed] Varkøy, Øivind & Söderman, Johan, Lund: Studentlitteratur AB, 2014, p. 45-56Chapter in book (Other academic)
  • 19.
    Varkøy, Øivind
    Universitetet i Oslo.
    Musikk for alt (og alle): om musikksyn i norsk grunnskole2001Doctoral thesis, monograph (Other academic)
    Abstract [no]

    En diskusjon av musikksyn ut fra en analyse av fire norske læreplaner for grunnskolen fra 1960 til 1997.

  • 20.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Musikkens frihet2007In: Katolsk tidskrift for kirke og kultur, no 1Article in journal (Other (popular science, discussion, etc.))
  • 21.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Musikkopplevelse som eksistensiell erfaring - i Kunnskapsløftet2010In: Allmenn musikkundervisning: perspektiver på praksis / [ed] Geir Salvesen, Jon Helge Sætre, Oslo: Gyldendal Akademisk, 2010, 1, p. 23-38Chapter in book (Other academic)
  • 22.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    "...nytt liv av daude gror": om å puste nytt liv i døde talemåter2012In: Om nytte og unytte / [ed] Øivind Varkøy, Oslo: Abstrakt forlag, 2012Chapter in book (Other academic)
  • 23.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Nyttig for det som er hinsides nytten: om kunsterfaringen som kritikk2012In: SEGL: katolsk årsskrift for religion og samfunn / [ed] Ståle Johannes Kristiansen, Peder K. Sohlberg, Oslo: St. Olav forlag , 2012, p. 193-204Chapter in book (Refereed)
  • 24.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Om dårlige lärere og gode elver - og omvendt: möter med pedagogiske situasjoner hos Thomas Bernhard, Thomas Mann och Dag Solstad2007In: La livets kilde rinne: festskrift til Ove Kristian Sundberg på 75-årsdagen / [ed] Nils Grinde, Ove Kr. Sundberg, Magnar Mangersnes, Oslo: Norsk musikforlag , 2007, p. 287-297Chapter in book (Other (popular science, discussion, etc.))
  • 25.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Om musikk och liturgi - eller om musikk og liv: en refleksjon over Ratzingers musikktenkning2007In: Katolsk tidskrift for kirke og kultur, no 6Article in journal (Other (popular science, discussion, etc.))
  • 26.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Om nytte og unytte2012Collection (editor) (Other academic)
  • 27.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Pengene eller livet!: Dannelsesteoretiske perspektiver på musikkpedagogisk masterutdannelse2007In: Nordisk musikkpedagogisk forskning: årbok 9 / [ed] Frede V. Nielsen, Sven-Erik Holgersen, Siw Graabraek Nielsen, Oslo: Norges musikkhøgskole , 2007, p. 95-120Chapter in book (Refereed)
  • 28.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Philosophies  of humankind2006In: Finnish Journal of Music Education, ISSN 1239-3908, no 1Article in journal (Refereed)
  • 29.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Reconstruction and rethinking of the term "values of music in itself"2011Conference paper (Refereed)
  • 30.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Reconstruction and rethinking "the value of music in itself"2011Conference paper (Refereed)
  • 31.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Sangene som samlet oss2014In: Musikk og 22. juli / [ed] Trondalen, Gro; Skånland, Marie & Knudsen, Jan-Sverre, Oslo: Senter for musikk og helse, Norges musikkhøgskole , 2014Chapter in book (Refereed)
  • 32.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Techne - and music education2011Conference paper (Refereed)
  • 33.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art. Norwegian Academy of Music, Oslo, Norway.
    Technical rationality, techne and music education2013In: Professional knowledge in music teacher education / [ed] Eva Georgii-Hemming, Pamela Burnard, Sven-Erik Holgersen, Farnham, Surrey: Ashgate, 2013, 1, p. 39-50Chapter in book (Refereed)
  • 34.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    The concept of 'Bildung'2007Conference paper (Refereed)
  • 35.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    The concept of 'Bildung'2010In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 18, no 1, p. 85-96Article in journal (Refereed)
    Abstract [en]

    In this article I will discuss the originally German term and concept of Bildung. The reason why I, as a Scandinavian, find such a discussion both interesting and important is that the trend of instrumentalism in modern educational politics and pedagogical thinking (at least in Scandinavian countries) is problematic; that is, looking on knowledge in general and school subjects in particular primarily as tools or means for reaching another goal or end. The discussion of the concept of Bildung has during the history of pedagogical philosophy in my cultural context given—and has still possibilities to give—impulses to fundamental discussions concerning the value and justification of teaching music (and in fact all other school subjects). I focus my discussion on three aspects which are central to the concept of Bildung: cultural heritage (or what could be called a normative aspect of the term culture); “the journey” as a metaphor; and last but not least a criticism of instrumentalism. Furthermore I discuss both content and teaching/learning methods in relation to the concept and tradition of Bildung.

  • 36.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    The role of music in music education research: reflections on musical experience2009In: Nordisk musikkpedagogisk forskning: årbok 11 / [ed] Frede V. Nielsen, Sven-Erik Holgersen, Siw Graabraek Nielsen, Oslo: Norges musikkhögskole , 2009, p. 33-48Chapter in book (Other academic)
  • 37.
    Varkøy, Øivind
    Örebro University, School of Music, Theatre and Art.
    Øre og øye: tre paradokser i skriften om muntlighet og skriftlighet2008In: Nordisk musikkpedagogisk forskning: årbok 10 / [ed] Frede V. Nielsen, Sven-Erik Holgersen, Siw Graabraek Nielsen, Oslo: Norges musikkhögskole , 2008, p. 135-166Chapter in book (Refereed)
  • 38.
    Varkøy, Øivind
    et al.
    Örebro University, School of Music, Theatre and Art.
    Fossum, Hanne
    Høgskolen i Oslo og Akershus, Oslo, Norway.
    Norwegische Musikpädagogik: zwischen Scandinavisch, Deutsch und English2013In: Diskussion Musikpädagogik, ISSN 1437-4722, Vol. 60, no 4Article in journal (Refereed)
  • 39.
    Varkøy, Øivind
    et al.
    Örebro University, School of Music, Theatre and Art.
    Fossum, Hanne
    Høgskolen i Oslo og Akershus, Oslo, Norway.
    The changing concept of aesthetic experience in music education2013In: Nordic research in music education: yearbook vol. 14 / [ed] Sven-Erik Holgersen, Oslo: Norges musikkhøgskole , 2013, Vol. 14, p. 9-26Chapter in book (Refereed)
    Abstract [en]

    The article's goals are to contribute to the clarification of the term aesthetic experience used in the context of music education, and to discuss different interpretations of Kant in this context. As the musical aesthetic experience may be said to be at the core of music education, it should be of vital interest to music education research to clarify the term. Usage of this term in some Nordic literature confirms the impression of a strong influence by Anglo-American thinking at the expense of German ideas and discussions in the last decades. The article reveals how different understandings of the term in the Anglo-American and German fields, respectively, give rise even to contradictory statements concerning the meaning and implications of the term. Keywords: Aesthetic experience, music education, philosophy

  • 40.
    Varkøy, Øivind
    et al.
    Norges Musikkhøgskole, Oslo, Norway.
    Georgii-Hemming, EvaÖrebro University, School of Music, Theatre and Art.Kallio, AlexisUniversity of the Arts (Uniarts), Helsinki, Finland.Pio, FrederikAarhus University, Aarhus, Denmark.
    Nordisk musikkpedagogisk forskning: Årbok 182018Collection (editor) (Refereed)
    Abstract [en]

    Nordic Research in Music Education Yearbook has been published since 1997 by the Norwegian Academy of Music. This Volume 18 includes seventeen articles. The themes of the contributions represent a wide variety of interests within the Nordic music education community. The articles “Music, media and technological creativity in the digital age” by Anne Danielsen, and ”Soundscaping the world with digital tools: The future in retrospect” by Göran Folkestad, first were presented as keynotes at the 20th conference of the Nordic Network for Research in Music Education, March 8-10 2016 at Hedmark University College (now: Inland Norway University College of Applied Sciences). The theme for this conference was “Technology and creativity in music education”. The other contributions represent different interests within the community including for instance gender studies, intercultural music practices, musical meaning making, music and body, assessment, practicing, and entrepreneurship. The last section of the Yearbook provides information about Nordic doctoral dissertations in music education from 2016-17, the review panel, and the editorial group.

  • 41.
    Varkøy, Øivind
    et al.
    Örebro University, School of Music, Theatre and Art.
    Pio, Frederik
    A reflection on musical experience as existential experience: an ontological turn2010Conference paper (Refereed)
  • 42.
    Varkøy, Øivind
    et al.
    Örebro University, School of Music, Theatre and Art.
    Pio, Frederik
    Aarhus University, Aarhus, Denmark.
    A reflection on musical experience as existential experience: an ontological turn2012In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 20, no 2, p. 99-116Article in journal (Refereed)
    Abstract [en]

    In the current world of education, politics and public opinion, musical experience is increasingly threatened. It is designated ever more as an expendable luxury. This kind of general trend has hardly left the thinking in the field of music and music education untouched. Inspiration comes from the technical rationality of our time. This rationality affects an oblivion of ontology. In this article we discuss this trend related to Martin Heidegger's thinking concerning the human existence in the world, artworks and notions like “being” (Sein) and “oblivion-of-being” (Seinsvergessenheit). We think that it is possible to see this “oblivion-of-being” in relation to the trend in cultural and educational politics as well as in music educational thinking to focus on the instrumental usefulness of learning music.

  • 43.
    Varkøy, Øivind
    et al.
    Örebro University, School of Music, Theatre and Art.
    Røyseng, Sigrid
    The good music: instrumental and ritual trends in the valuing of music in education2013Conference paper (Refereed)
  • 44.
    Varkøy, Øivind
    et al.
    Örebro University, School of Music, Theatre and Art.
    Söderman, JohanMalmö högskola, Malmö, Sverige.
    Musik för alla: filosofiska och didaktiska perspektiv kring musik, bildning och skola2014Collection (editor) (Other academic)
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