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  • 101.
    Calissendorff, Maria
    Örebro universitet, Musikhögskolan.
    "Om man inte vill spela – då blir det jättesvårt": en studie av en grupp förskolebarns musikaliska lärande i fiolspel2005Doktoravhandling, monografi (Annet vitenskapelig)
    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.

  • 102.
    Campusano, Jorge, Esteban
    Örebro universitet, Musikhögskolan.
    Effektivisera rappskrivande2017Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 103.
    Carbin Åhlund, Siri
    Örebro universitet, Musikhögskolan.
    Att översätta klassisk sång: - från översättningsarbete till framförande2012Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 104.
    Carenvall, Björn
    Örebro universitet, Musikhögskolan.
    De synliga valen i teaterns repetitionsprocess.2010Independent thesis Basic level (university diploma), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Detta arbete handlar om de synliga valen som görs under repetitionsarbetet med en pjäs. Med synliga val menar jag de val som publiken kommer se, t.ex. hur skådespelare rör sig och hur det ser ut på scenen.För att samla in material har jag gjort tre observationer av en amatörteatergrupp över en tid av tre veckor. Under observationerna har jag filmat en timme vid varje tillfälle. Från detta filmmaterial har jag transkriberat diskussionerna som skett mellan regissören och skådespelarna och/eller mellan skådespelarna. Dessutom har jag gjort mindre intervjuer med gruppen om val som skett före och efter mina observationer.I dessa diskussioner har jag analyserat och kategoriserat de synliga val som görs. Kategorierna har jag grundat på Tadeusz Kowzans (1982) teatersemiotikschema, framför allt vad han har kategoriserat som visuella tecken. Jag har själv kommit fram till fyra olika kategorier av synliga val, och i min analys ger jag exempel på dessa från mina transkriberingar.Det jag kommer fram till är att de synliga valen som görs är viktiga för föreställningens helhet, men att fokusera på de synliga delarna kan göra att man missar en stor del av vad som händer på scen. Dessutom, menar jag, missar teatersemiotiken en viktig del inom teatern, nämligen den känslomässiga.

  • 105.
    Carl, Bäckman
    Örebro universitet, Musikhögskolan.
    Att vara musiker och diabetiker2014Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 106.
    Carlfjord, Erik
    Örebro universitet, Musikhögskolan.
    Daw Wars: Hur Musikproduktionsprocessen påverkas av verktygen som används2017Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 107.
    Carlgren, Alexandra
    Örebro universitet, Musikhögskolan.
    Från inre harmoni till yttre välklang: En studie av idrottspsykologins mentala träning anpassad för musiker2010Independent thesis Basic level (degree of Bachelor), 15 poäng / 22,5 hpOppgave
    Abstract [sv]

    Sammanfattning

    Syftet med denna uppsats är att undersöka om det är möjligt att från idrottspsykologins mentala träning anpassa och skräddarsy den för mig, som musiker, för att på så sätt kunna sänka både stress och nervositetsnivå.

    Min tanke med uppsatsen är att den förhoppningsvis ska kunna väcka ett intresse för idrottspsykologins mentala träning inom musikaliska kretsar.

    De aspekter av den mentala träningen som jag valt att fokuserat på är att med hjälp av den mentala träningen strukturera upp den mentala förberedelseprocessen: inför, under och efter ett uppträdande.

    De metoder som jag använt mig av är litteraturstudier och praktiska undersökningar, på mig själv som musiker, med hjälp av de olika övningar och teorier som presenteras i den litteratur som jag studerat. Dessa övningar och teorier har jag sen anpassat för mig, som musiker.

    Jag har även valt att läsa boken The inner game of music av Berry Green och W. Timothy Gallwey för att se vilka teorier som redan finns översatta för musiker och för att se om det finns något mer att tillägga.

    Resultatet visar att det är möjligt att sänka både stress och nervositetsnivån med hjälp av de teorier och övningar som jag tagit del av och sedan omvandlat.

    Vidare diskuteras det i analysen och i diskussionen hur en musiker på bästa sätt kan ta till vara på dessa metoder och övningar.

  • 108.
    Carlsson, Joacim
    Örebro universitet, Musikhögskolan.
    "De lever för dagen": Musiklärares tankar om höga ljudnivåer och dess risker2013Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
  • 109. Carson, Charles D.
    et al.
    Westvall, Maria
    Örebro universitet, Musikhögskolan.
    Shifting the Center: Intercultural approaches and “diversified normality” in music teacher education2015Konferansepaper (Fagfellevurdert)
  • 110.
    Carson, Charles
    et al.
    University of Texas, Austin, USA.
    Westvall, Maria
    Örebro universitet, Musikhögskolan.
    Intercultural Approaches and “Diversified Normality” in Music Teacher Education: Reflections from Two Angles2016Inngår i: Action, Criticism, and Theory for Music Education (ACT), ISSN 1545-4517, Vol. 15, nr 3, s. 37-52Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In this article we argue for sustained and contextualized exposure to a variety of musics as a valuable means of developing intercultural approaches in music education as well as in teacher education, approaches which integrate more norm-critical perspectives. Musical diversity in music education concerns issues of participation, citizenship and interaction, not just a presence and representation of differences. It is also about how institutions need to change to reflect the diversity of the society in which we now live, leading to both broadened knowledge, and broadened interest in music. Music education needs to consciously be developed in such a way that it reflects—and is a dynamic partof—the society we live in today.

  • 111.
    Carson, Charles
    et al.
    University of Texas, Austin, USA.
    Westvall, Maria
    Örebro universitet, Musikhögskolan.
    Intercultural Encounters in Rio de Janeiro: Grassroot Activism and Musicianship2016Inngår i: Music in an Intercultural Perspective / [ed] Antenor Ferreira Corrêa, Brasília: Strong Edições , 2016, s. 61-68Kapittel i bok, del av antologi (Fagfellevurdert)
  • 112.
    Carson, Charles
    et al.
    University of Texas, Austin, USA.
    Westvall, Maria
    Örebro universitet, Musikhögskolan.
    Musical Engagement as Social Responsibility in Rio de Janeiro: Cultural Encounters and Carioca Activism2016Konferansepaper (Fagfellevurdert)
  • 113.
    Cerderblad, Oskar
    Örebro universitet, Musikhögskolan.
    Soundet frpn idé till verklighet: En studie i att spela kärnfullt, pregnant och med intention2019Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 114.
    Coban, Berk
    Örebro universitet, Musikhögskolan.
    Flerkulturella Instrumentallärare: En studie om den flerkulturella bakgrundens betydelse för tre utlandsfödda instrumentallärares yrkesutövning2013Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
    Abstract [sv]

    Denna uppsats handlar om lärare som har kommit till Sverige i vuxen ålder, utbildat sig här och är yrkesverksamma instrumentallärare i musik- och kulturskolor. Uppsatsens syfte är att utforska den flerkulturella erfarenhetens betydelse för utlandsfödda instrumentallärares yrkesutövande. Invandrare som kommit till Sverige lämnar sina hemländer bakom sig. En del av det som de tar med sig från sin uppväxt i hemlandet, t.ex. språk, utbildning osv. kan bli användbara i Sverige. Hur den utlandsfödda läraren förhåller sig till den ”nya situationen” tas upp i uppsatsen.Kvalitativa intervjuer har genomförts med tre utlandsfödda instrumentallärare som kommer från mellanöstern och är yrkesverksamma inom musik- och kulturskolan. Uppsatsen tar sin utgång i de tre instrumentallärarnas berättelser av sina livsresor; den flerkulturella bakgrundens betydelse i yrkesutövningen och under musikhögskoleutbildningen. Resultaten visar att musiklärarnas undervisning påverkas av de musikutlärande traditioner som är av universell karaktär. Deras val av repertoar påverkas inte av den egna etniciteten och den flerkulturella bakgrunden utan det visar sig att det är instrumentets/ämnets undervisningskulturer och traditioner som bestämmer vilken repertoar lärarna använder i undervisning.

  • 115.
    Croner, Kevin
    Örebro universitet, Musikhögskolan.
    ”Good artists copy...”: Ett undersökande arbete om sampling som kompositionsmetod2017Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 116.
    Dahlquist, Patrik
    et al.
    Örebro universitet, Musikhögskolan.
    Herlitz, Carl
    Örebro universitet, Musikhögskolan.
    Att se och uppleva musik som blind2014Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
  • 117.
    Dahlqvist, Jonatan
    et al.
    Örebro universitet, Musikhögskolan.
    Ronnheden, Elin
    Örebro universitet, Musikhögskolan.
    Äta, Skita, Musika: Musiklärares legitimering av musikämnet i grundskolan2014Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
  • 118.
    Dahlstrand, Niklas
    Örebro universitet, Musikhögskolan.
    Vad spelar jag för roll?: Mitt bidrag som ljudtekniker i den konstnärliga processen2017Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 119.
    Danielsson, Annika
    Örebro universitet, Musikhögskolan.
    Experience, inclusion and exclusion: an attempt to grasp adolescents' musicking2007Konferansepaper (Fagfellevurdert)
  • 120.
    Danielsson, Annika
    Örebro universitet, Musikhögskolan.
    Music between us: Orders of identity in adolescents' musicking2013Konferansepaper (Fagfellevurdert)
  • 121.
    Danielsson, Annika
    Örebro universitet, Musikhögskolan.
    Musik oss emellan: identitetsdimensioner i ungdomars musikaliska deltagande2012Doktoravhandling, monografi (Annet vitenskapelig)
    Abstract [en]

    This thesis considers ordinary Swedish teenagers and their everyday use of,and views on, music. The aim of the study is to analyse the relationship between identity and adolescents’ use of music in their daily lives. Theories are employed that hold identity to be a process, and that comprise the social as well as the psychological aspects of the individual (Giddens,1991; 1997; Jenkins, 2008). Since for both Giddens and Jenkins the reflexive identity process takes place in everyday life, it is a concept that is essential to this study. The idea that people are active, not passive, in their day-to-day use of cultural products ultimately leads to Small’s (1998) definition of musicking. The empirical part of the study was carried out among fifteen eighthgraders (14–15 years) in two schools in two Swedish cities. An initial questionnaire provided outlines of the adolescents’ musical preferences, and were followed by focus group conversations centred on six music examples. Later, interviews were carried out to chart the informants’ individual relationships with music and their personal use of it. The material is analysed thematically in three chapters on music and ‘them’, music and ‘us’, and music and ‘me’. In the final chapter, a competent musicking agency is held to be a combinationof individual and social factors. Whether these aspects can coexist boils down to the question of authenticity: much like Giddens’s competent agent, the competent musicking agent moves between life sectors, maintaining balance between uniqueness and normality, and is therefore perceived as authentic by both herself and others. In school, pupils tend to choose music that promotes their public image. Instead of yielding to a tussle between self-image and public image, it is suggested that music education should become a free zone where the well known is looked at in newways, and where one could get to know the unknown.

  • 122.
    Danielsson, Annika
    Örebro universitet, Musikhögskolan.
    Secondary school students' views on musical competence inside, and outside, school2011Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This study investigates the tension between normalizing discourses and the personal use of music in teenagers’ identity formation. The point of departure is a doctoral thesis in progress about music’s social and personal meanings, where the methods used are focus groups and in-depth interviews conducted with 15 Swedish teenagers (14-15 years old). The focus of this paper is on teenagers’ views of their own and others’ musical competence. I take a broad view on music education, which includes both formal and informal learning. Public instances like the school as well as the TV show Swedish Idol  have a clear normalizing effect on how the teenagers perceive musical competence. Both the jury in the TV show and music teachers are regarded as authorities, but in different ways. The members of the jury are referred to as “those who know”. Watching the show, the teenagers themselves are allied with the experts. When it comes to music education in school, it is described as being concerned with teaching “what they think we need to learn”, but the teenagers often don’t see how the musical skills can be useful in real life. In a way, this creates distance and insecurity. However, the teenagers’ descriptions of their personal use of music and media reveal quite a lot of self-confidence and empowerment. One preliminary result is that the teenagers’ talk about their own music is characterized by familiarity skills and know-how. At the same time, when it comes to music within the school context, the focus tends to be on a perceived shortage, or lack, of capacity.

  • 123.
    Danielsson, Annika
    Örebro universitet, Musikhögskolan.
    Synen på musik i Lpo94 och dess föregångare2008Inngår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 10, s. 215-228Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The purpose of this article is to discuss the main ideas about music and music education in the Swedish compulsory school, as presented in the Swedish curriculum and the music syllabus. Music is there portrayed as 'a social and general cultural instrument', 'a part of cultural heritage' and 'a language that transcends boundaries'. These views on music are interesting to analyse more in detail, and therefore this article will focus particularly on four areas of music. These are

    • Music as a social and cultural phenomenon
    • Music as a part of cultural heritage
    • Music as a language
    • Music as a means for transcending boundaries

    In order to illuminate and analyse these particular areas, previous Swedish curricula and relevant literature within the areas of music education, sociology, ethnology and philosophy will be reviewed.

  • 124.
    Danielsson, Annika
    et al.
    Örebro universitet, Musikhögskolan.
    Westvall, Maria
    Örebro universitet, Musikhögskolan.
    Democracy, equality and participation - issues for the context of music education2013Konferansepaper (Fagfellevurdert)
  • 125.
    Danstål, Emma
    Örebro universitet, Musikhögskolan.
    Kan alla spela allt?: Om teaterlärares överväganden vid rollsättning inom gymnasieskolans estetiska program.2019Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 126. Dartsch, Michael
    et al.
    Konrad, SigridRolle, ChristianÖrebro universitet, Musikhögskolan.
    Neues hören und sehen... und vermitteln: Pädagogische Modelle und Reflexionen zur Neuen Musik2012Collection/Antologi (Fagfellevurdert)
  • 127.
    Daveby, Philip
    Örebro universitet, Musikhögskolan.
    Om betydelsen av musikens formella aspekter för användandet av EDM: - en studie i hur improvisationen påverkas av att öva gehör2015Independent thesis Basic level (degree of Bachelor), 10 poäng / 15 hpOppgave
  • 128.
    Davidsson, Karin
    et al.
    Örebro universitet, Musikhögskolan.
    Fernström, Olle
    Örebro universitet, Musikhögskolan.
    När det musikaliska och sociala går hand i hand: Gymnasieelevers syn på samspel i ensemble.2015Independent thesis Advanced level (professional degree), 10 poäng / 15 hpOppgave
  • 129.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Addressing Gender Inequalities in Music: Sweden as a Comparative Case Study2017Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Increasing media attention has been given to gender inequalities within the music industries, and across genres, in global Northern nations. Whilst noting that gender inequalities exist in different genres is not new, their persistence, as well as identifying successes in strategies to change them, require further exploration.In this respect, Sweden, a country with an international reputation for comparatively greater equality between binary genders, as well as popular music ‘folkbildning’ traditions, provides an important case study.This paper will address how notions of gender equality are constructed in activist and policy measures in Sweden. It notes how these influence and, in turn, are influenced by material resources which shape strategies in different ways. Drawing from 10 interviews with key-stakeholders in the UK and Sweden, as well as comparative policy analysis, the paper argues that both ‘cultural democratic’ and ‘gender mainstreaming’ traditions help to counter entrenched sexism and misogyny across genres. At the same time, it also advocates the need to extend and develop these in order to integrate more firmly intersectional understandings of equality as both an ethical and aesthetic concern.

  • 130.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Book Review: Masculinities in Contemporary American Culture: An Intersectional Approach to the Complexities and Challenges of Male Identity2018Inngår i: Men and Masculinities, ISSN 1097-184X, E-ISSN 1552-6828, Vol. 21, nr 5, s. 759-761Artikkel, omtale (Annet vitenskapelig)
  • 131.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Bored of Bourdieu?: On the Limits of Bourdieusian Approaches to Music Sociology2017Inngår i: Beyond Bourdieu?: International Symposium, 22nd - 24th September 2017, Delmenhorst, Germany. Abstracts, 2017, s. 3-4Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Bourdieu-inspired approaches have been the most influential in sociological research on music in many Western and Northern European nations, since the publication of Distinction in 1979. Cultural capital, particularly, was popularised in Anglophone countries through work on popular music aesthetics (Frith 2002) and notions of ‘subcultural capital’ (Thornton 1995) during the 1990s, whilst, more recently, habitus and cultural capital’s explanatory force in relation to music, have most obviously been indebted to large-scale projects around cultural capital and social exclusion (Bennett et al. 2008; Bihagen and Katz-Gerro 2000; Savage et al. 2015). In the Nordic countries, too, questions of music education and gentrification have also taken up Bourdieu’s concepts to explain the acquisition, deployment and institutionalisation of music taste (Burnard et al. 2015; Dyndahl et al. 2017). 

    A number of scholars have challenged Bourdieu’s formulation and the way in which his work has been taken up in relation to music specifically (see Prior 2013; Rimmer 2012). The question is how to locate a discussion of social inequalities of music whilst carrying out meaningful social research which takes into account material practices of music listening (DeNora 2003) in relation to (unevenly) globally dispersed, technological change.

    This presentation outlines how a range of quantitative and qualitative sociological methods may help to reveal more complex, intersecting forms of inequalities and notions of aesthetic experience than are currently offered by Bourdieusian frameworks. It also seeks to offer insights from postcolonial and posthumanist-feminist theorising as a means of rethinking the linear value-hierarchy between hexis/doxa, subject/object and material/cultural which work to reinscribe simplistic notions of hierarchically determined taste. Through this, the presentation aims to raise some implications for sociologically grounded studies of music education, specifically around notions of value and musical development which take account of Bourdieusian insights but are not limited to their frameworks.

  • 132.
    de Boise, Sam
    Örebro universitet, Musikhögskolan. Department of Sociology, Wentworth College, University of York, York, United Kingdom.
    Cheer up emo kid: rethinking the ‘crisis of masculinity’ in emo2014Inngår i: Popular Music, ISSN 0261-1430, E-ISSN 1474-0095, Vol. 33, nr 2, s. 225-242Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    ‘Emo’, an abbreviation of the word ‘emotional’, is a term both used to describe music which places public emphasis on introspective displays of emotion and a pejorative phrase applied to fans of a diverse range of music. It is overwhelmingly male-dominated in terms of production and it has been suggested that the development of emo can be explained with reference to a ‘crisis in masculinity’. This implies that explicit, male emotional expression is historically incompatible with the performance of Western ‘masculinity’. This article first briefly explores how emo emerged and how it has been linked to the idea of a crisis. It then moves on to conduct a lyrical, discursive analysis around three themes: emotional expression and relationships; overt chauvinism; and ‘beta male misogyny’. Through these concepts I suggest that, rather than indicating a crisis or ‘softening’ of masculinity, there are actually a number of historical continuities with masculinities as a means of sustaining gendered inequalities.

  • 133.
    de Boise, Sam
    Örebro universitet, Musikhögskolan. Department of Sociology, Wentworth College, University of York, Heslington, UK.
    Contesting ‘sex’ and ‘gender’ difference in emotions through music use in the UK2016Inngår i: Journal of Gender Studies, ISSN 0958-9236, E-ISSN 1465-3869, Vol. 25, nr 1, s. 66-84Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This article builds on social psychological critiques of ‘hardwired’ gender difference inemotions, looking at the topic through the emotional use of music. Starting from thepremise that gender differences in emotion are socially and discursively constructedrather than innate, it moves on to challenge existing work in which masculinity andfemininity are treated as singular, oppositional concepts, that are ‘normally’ attached toideas of existing sex differences. Drawing on data, generated from a UK-based onlinesurvey of 914 respondents (male = 361; female = 553), this article highlights thatwhilst gender plays a significant part in shaping the emotional experience of music, thisis often mediated heavily by age and personal experience. It suggests that music is apractical means of moving beyond ideas of differences in gender or sex differences inemotional display, towards ideas of diversity, especially given that existing face-to-face research has often found men to be ‘unable’ to communicate emotional experiencein particular ways. Both inductive quantitative trends and open-ended fragments frompeople’s emotional experiences of music are included in order to demonstrate howemotions and gender intersect discursively.

  • 134.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Cultural Capital and Music in the UK and Sweden: Exploring Class and Gender Inequalities2015Inngår i: Societies in transition: Progression or regression? : BSA Annual Conference 2015, Durham: British Sociological Association , 2015Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    As Prieur and Savage (2011) observe, Bourdieu's notion of cultural capital does not entail a timeless, fixed set of social relations. For example, some have pointed out that there are strong gender, rather than class, divides in 'highbrow' taste in Sweden (Bihagen and Katz-Gerro 2000) whereas in the UK, participation rather than consumption may often be a better indicator of social inequality (Bennett et al. 2008). How certain types of participation accrue symbolic value cross-culturally and temporally can therefore help illuminate differing forms of structural inequalities. Music has often been one of the most distinguishing measures in terms of class (Bennett et al. 2008: 46). Nevertheless a Bourdieusian approach to music tends to reduce its role entirely to its social function (Frith 2002: 251); neglects questions of aesthetics (Born 2010; Prior 2011), affect (Hennion 2007) and listening; and often fails to explore how inequalities can be subverted. Focusing on reproduction is important however we need to outline how groups renegotiate and contest symbolic violence also. This paper foregrounds the first stages of postdoctoral research project looking at inequalities in music practices in the UK and Sweden. Using a 3 stage mixed-methods research design, it aims to outline different types of 'public' and 'private' participation and provide a detailed picture of how music attachments (Hennion 2010) and practices relate to gender and class. Through highlighting the similarities as well as the differences between the two countries, this will help to expand on and extend the insights of cultural capital theory.

  • 135.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Fighting Gender Inequalities in Music: Comparing the UK and Sweden2017Inngår i: Popular Music Studies Today: Abstracts for the conference of the International Association for the Study of Popular Music, June 26-30, Kassel, Germany / [ed] Julia Merrill and Jan Hemming, 2017, s. 136-137Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Many have documented how gendered discrimination impacts on inequalities across music scenes and genres (eg. Davies 2001; Donze 2010; Farrugia 2012; McClary 1991; Rustin and Tucker 2008). These studies have shown that gender influences access to, participation in and engagement with music, in a variety of different ways, providing important critiques of objective notions of musical ‘excellence’ and utopian views of music subcultures.Studies on gender inequalities in music have often focused on Anglophone countries. Yet research on Sweden (eg. Bergman 2014; Björck 2013; Gavanas and Reitsammer 2013) – a supposedly much more gender-equal nation - has demonstrated that many of the same issues are present. This indicates the prevalence of transnational discourses around popular music and a need to recognise the work of activists, networks and musicians in challenging such practices.This paper draws on research with 10 representatives from networks, in the UK and Sweden, involved in fighting gender inequalities in music. It outlines what benefits can be gained from a cross-national, comparative perspective before exploring how gender inequalities and equality are understood by networks working across and within particular genres. It links organizational strategies to structural differences between the two nations, before noting how these networks articulate their limitations.

  • 136.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Gender Equality in Music: A Comparison of the UK and Sweden2016Konferansepaper (Fagfellevurdert)
  • 137.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Gender Inequalities and Higher Music Education: Comparing the UK and Sweden2018Inngår i: British Journal of Music Education, ISSN 0265-0517, E-ISSN 1469-2104, Vol. 35, nr 1, s. 23-41Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Whilst the impact of gender inequalities has been studied in relation to music education,especially in the UK, relatively little has been written about their impact on higher musiceducation (HME). This article compares data on HME programs and courses, in the UK andSweden, from 2010 to 2014. It looks at similarities and differences in the numbers of menand women who applied to HME subjects, compared to those who were offered a place ontheir chosen program or course, in both nations. Through this it demonstrates that whilst aSwedish HME appears to show less institutional discrimination against women, there arestill similar transnational divisions in men’s and women’s HME subject choices. Howeverthe article uses these data to build on existing critiques around a need for intersectionalunderstandings of gender inequalities, before arguing that a critique of neoliberalism isessential to tackling gender inequalities in HME.

  • 138.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Gender Inequalities in Higher Music Education: Comparing the UK and Sweden2017Inngår i: The 22nd Annual Conference of the Nordic Network for Research in Music Education, March 14-16 2017: Abstracts, Senior research, NNMPF 2017, 2017, s. 19-21Konferansepaper (Fagfellevurdert)
    Abstract [en]

    A number of studies have either directly or indirectly pointed to the role of music education in reproducing broader gender inequalities, in broader music life, across genres (eg. Abeles 2009; Abeles and Porter 1978; Armstrong 2011; Bogdanovic 2015; Branch 2012; Gould 2004; Green 1997). Crucially, gender inequalities shape instrument and activity choices (Wych 2012) as well as perceptions about the relative value of those activities (Georgii-Hemming and Kvarnhall 2015). Such processes operate is alongside active discrimination against girls and women, as well as differential (and often preferential) treatment of individuals and groups on the basis of gender. Many, though not all, of these studies have been based on Anglophone countries. Yet despite its international reputation as a more ‘gender equal’ nation than many countries in other respects (U.N. 2014), music continues to be one field where people of non-male genders are excluded and discriminated against through ‘informal’ practices (Bergman 2014; Björck 2013; Kvarnhall 2015). 

    Furthermore, whilst many approaches have focused on primary (grundskola) and secondary (gymnasiet) education, relatively few have actively explored the state of gender inequalities in higher music education (HME). Given HME’s increasingly important role in the professionalization of music careers across Europe (Allsup 2015) a focus on gender inequalities in higher education is of critical importance (Bogdanovic 2015; Born and Devine 2015). Such an approach entails asking where the problems lie, how gender inequalities manifest themselves and, crucially, how to change them given that course choices are, already, often shaped by years of specialisation in ‘lower’ education.

    The first part of this paper presents comparative HME statistics from Sweden and the UK from 2010-2014, surrounding music course choices amongst undergraduate students. Drawing from statistical analysis on comprehensive data from UHR (Sweden) and UCAS (UK), it compares application and acceptance rates for men and women. This allows us to point to the extent to which institutional discrimination or previous education play a part in shaping participation rates at HME institutions at a national level. It relates similarities and differences between the two national contexts to key contextual features in the way music education is established and executed as well as broader societal commitments to gender equality.

    However whilst Sweden has adopted a highly-successful gender mainstreaming agenda, something which clearly has an impact on HME, it is problematic to represent inequalities only in terms of inequalities of representation. Attempts to ‘fix representation’ may do very little to challenge patriarchal assumptions on which different music traditions are founded (Macarthur 2010; 2014); traditions such as all-male canons (Citron 2004), instrumental fetishisation (Pellegrini 2008) or masculinist aesthetic judgment (Macarthur 2002). Furthermore it may actively lead to preferential treatment of men in areas where women are now better represented, despite historical exclusion - the so-called missing males problem in choirs for example (Koza 1993; O'Toole 1998) - as well as overlooking how intersectionality  impacts on different forms of gendered exclusion. In this respect, a gender-mainstreaming focus in Sweden has also tended to overlook how class, ethnic and racial inequalities in other areas influence gender inequalities (de los Reyes 2016); something which could well extend to music.

    The second part of the paper therefore outlines some of the issues the data throws up around how to define, understand and combat gender inequalities in HME. It makes specific reference to how gender mainstreaming approaches may discriminate against trans* individuals (Hines 2013), and how efforts to increase women’s representation may miss more fundamental strategies in engaging and transforming men’s attitudes and behaviour. Crucially, in doing so, it also touches on more complex issues around what the marketization of higher education means for gender inequalities at a university level. Comparing the more-recently neoliberal free-market system in the UK (Allen et al. 2013; De Angelis and Harvie 2009; Radice 2013), with the more ‘public institution’ approach in Sweden, allows for debate as around how universities should challenge already-gendered ‘consumer’ choices and how far they can seek to actively change those choices. These questions centre not just on the subjects that are offered but the way in which the subjects are marketed to appeal to a range of groups.

  • 139.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Gender Mainstreaming in the Music Industries: Perspectives from Sweden and the UK2019Inngår i: Towards Gender Equality in the Music Industry: Education, Practice and Strategies for Change / [ed] Catherine Strong and Sarah Raine, London: Bloomsbury Academic, 2019, s. 117-130Kapittel i bok, del av antologi (Fagfellevurdert)
  • 140.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    I’m Not Homophobic, “I’ve Got Gay Friends”: Evaluating the Validity of Inclusive Masculinity2015Inngår i: Men and Masculinities, ISSN 1097-184X, E-ISSN 1552-6828, Vol. 18, nr 3, s. 318-339Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Anderson’s concept of “inclusive masculinity” has generated significant academic and media interest recently. It claims to have replaced hegemonic masculinity as a theoretical framework for exploring gender relations in societies that show “decreased” levels of cultural homophobia and “homohysteria”; this clearly has important implications for critical studies on men and masculinities (CSMMs). This article is divided into two parts and begins with a theoretical evaluation of work using the framework of inclusive masculinity and what it claims to offer over hegemonic masculinity. The second half is an analysis of inclusive masculinity’s conceptual division of homophobia and homohysteria. Through this analysis, it is suggested that there are several major theoretical concerns, which call into question the validity of research utilizing the framework of inclusive masculinity.

  • 141.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Masculinity and homophobiaArtikkel i tidsskrift (Fagfellevurdert)
  • 142.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Men, masculinity, music and emotions2015Bok (Fagfellevurdert)
    Abstract [en]

    This book examines how we can reconcile the widely held belief that men are 'less emotional' than women, with a history of emotions in music. A belief that men identify with an ideal of rationality  - understood as the separation of emotion from rational action  - has informed critical studies on men and masculinities. Yet engaging with a wide range of music to stimulate, reflect and express, as well as manage particular types of emotions continues to be the key to music's appeal. Through detailing how judgments about emotions are expressed in relation to music tastes and distastes, this book demonstrates that emotions are as much social, value judgments as embodied, affective responses. It therefore raises the importance of looking at music listening contexts, culture, personal experience and a history of emotions in order to contest the orthodoxy that men's privilege stems from the 'repression' of emotions.

  • 143.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Music Participation Matters: Gender Inequalities and Higher Education Music Course Selection in the UK and Sweden2015Konferansepaper (Annet vitenskapelig)
  • 144.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Post Bourdieusian Moments and Methods in Sociologies of Music2016Inngår i: Global Societies: Fragmenting and Connecting: BSA Annual Conference 2016, Aston University, Birmingham, Wednesday 6 - Friday 8 April 2016, BSA Publications Ltd. , 2016, s. 258-258Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Bourdieu’s theoretical shortcomings in his approach to music have been heavily critiqued, leading to what Prior (2011) has called, an emerging trend toward a ‘post-Bourdieu moment’ in the sociology of music. Yet despite sustained criticism, many recent empirical studies have tried to ‘update’ his initial approach whilst avoiding questions of aesthetics, social change and questions of production. The uses of cultural capital and habitus, particularly, have tended to depict a certain cohesion in increasingly complex music practices which go far beyond the nation state. Enormous, global, technological changes have also not only impacted on the way in which many consume, but also write and engage with music.

    A ‘post-Bourdieu moment’ in the sociology of music raises particular methodological and theoretical issues; primarily, how can we integrate a non-deterministic approach to musical sociology which recognizes music’s sensory and affective qualities, without negating questions of power and the focus on critical, large-scale, empirical research. This paper makes the case for new interventions in empirical frameworks for exploring music in relation to social inequalities. It argues that we need to be sensitive to the impact of digital technologies, the changing structures of the music industries and adopt a much more explicit focus on listening practices. Drawing on mixed-methods, empirical data from my own research, the paper looks particularly at focusing on ‘music engagement’ in order to understand not only how music relates to inequalities but also how it offers a means of contesting them, without reverting to static models of taste.

  • 145.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Post-Bourdieusian Moments and Methods in Music Sociology: Toward a Critical, Practice-Based Approach2016Inngår i: Cultural Sociology, ISSN 1749-9755, E-ISSN 1749-9763, Vol. 10, nr 2, s. 178-194Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Bourdieu’s work has been hugely influential in sociological research on music and society, especially in shaping research on the relationship between social inequalities and music. Recent sociological work has also ‘updated’ his approach in order to demonstrate how his central insights are still relevant today, demonstrating strong links between music and social inequalities. Despite a move toward a ‘post-Bourdieu moment’ in the sociology of music (Prior, 2011), few have attempted to outline empirical strategies which are critically sensitive to social inequalities, whilst addressing questions of aesthetics, value, resistance and social change. This article acknowledges Bourdieusian contributions to the sociology of music as well as attempts to ‘update’ Bourdieu’s initial approach. However, it argues that a new understanding of musical subjectivity, a broader focus on music engagement, as well as greater methodological flexibility, are required in order to help us explore increasingly complex relationships between music and social inequalities today.

  • 146.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    Tackling gender inequalities in music: A comparative study of policy responses in the UK and Sweden2019Inngår i: The International Journal of Cultural Policy, ISSN 1028-6632, E-ISSN 1477-2833, Vol. 25, nr 4, s. 486-499Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Cross-disciplinary research has highlighted the persistence of gender inequalities across music scenes. However, the way in which cultural policy shapes responses to gender inequalities in music has been relatively underexplored. This article draws on research from Swedish and UK contexts, supporting analysis with reference to 9 key-stakeholder interviews from both. Comparing perspectives from ‘more’ and ‘less’ gender-equal contexts, with sufficiently different cultural policy traditions, the article explores how responses to gender inequalities in music are influenced by ‘cultural democratic’ and ‘arm’s length’ approaches. It demonstrates that, as a result of these traditions, there is a comparatively more interventionist approach in Sweden at a national level, whereas the lack of central government response in the UK has encouraged more market-oriented solutions. It suggests that this ‘arm’s length’ approach necessitates different grassroots organisational strategies in order to affect change but notes that these, alongside austerity agendas, are insufficient in the long term.

  • 147.
    de Boise, Sam
    Örebro universitet, Musikhögskolan. School of Sociology and Social Policy, University of Leeds, Leeds, UK.
    The Coming Crisis?: Some Questions for the Future of Empirical Sociology in the UK2012Inngår i: Graduate Journal of Social Science, ISSN 1572-3763, E-ISSN 1572-3763, Vol. 9, nr 2, s. 40-64Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Working in commercial research, it was interesting to note that many researchers had little grounding in academic social research methods or social theory. Organizations dealing with research often took for granted that to get at ‘the truth’ involved either simply ‘talking to people’ and looking at an aggregation of opinions, or carrying out a mix of ‘pre’ and ‘post’ (usually online) surveys and ‘ad-hoc’ pieces which privilege Likert scales as the primary tool of ‘measurement’. As Mike Savage and Roger Burrows (2007) note, such industries have challenged the public legitimacy of empirical sociological inquiry. Such a challenge arguably hinges on political rhetoric around demonstrable ‘impact’ and ‘maximising efficiency’. However, a lack of attention to research design poses significant problems for the authority that these industries lay claim to. Noting sociology’s ethical value and personal experience of commercial, ‘client led’ research, this paper seeks to outline a case for the continued importance of rigorous, ethical social research in contemporary society and against narrow conceptions of impact.

  • 148.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    The Performing Rights of Man: The Global Music Industries and Transnational Hegemonies of Men2019Inngår i: Unsustainable Institutions of Men: Transnational Dispersed Centres, Gender Power, Contradictions / [ed] Jeff Hearn, Ernesto Vasquez del Aguila, Marina Hughson, Abingdon: Routledge, 2019, 1, s. 155-171Kapittel i bok, del av antologi (Fagfellevurdert)
  • 149.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    The Personal is Political … just not Always Progressive: Affective Interruptions and their Promise for CSMM2017Konferansepaper (Fagfellevurdert)
  • 150.
    de Boise, Sam
    Örebro universitet, Musikhögskolan.
    The Personal is Political … just not Always Progressive: Thinking and Re-Thinking Men and Emotions2016Inngår i: Global Societies: Fragmenting and Connecting: BSA Annual Conference 2016, Aston University, Birmingham, Wednesday 6 - Friday 8 April 2016, BSA Publications Ltd. , 2016, s. 79-79Konferansepaper (Fagfellevurdert)
    Abstract [en]

    There is a widespread belief that a majority of men, in the US, the UK and Western Europe, are getting ‘more in touch’ with their emotions, leading to a ‘softening’ of masculinity. Feminist and profeminist campaigners have (rightly) cited an increasing understanding of men’s emotional lives, and getting men to understand their own emotions, as central to any project addressing gender inequality. Psychologists have also linked greater emotional self-attunement as key to tackling men’s underreporting of depression and (both separately and in connection with) high suicide rates. In short: men being ‘more emotional’ is almost always seen as progressive.

    There is a problem, however, with narratives around increasingly ‘more emotional’ men. Not only do these fail to engage with historical precedents, they divide ‘progressive’ from ‘regressive’ men without accounting for structural power relations impacting on ideas around progress and regression. Furthermore, assuming that men’s emotions are inherently gender-progressive, ignores more sinister examples of antifeminist rage, easily identifiable through men’s rights activism and online misogyny.

    This paper argues that we need to engage critically with how we think about both emotions and a history of emotions in relation to gender equality. Considering how emotions are put into language as well as the mechanisms by which societies are expected to articulate and measure certain emotions have an impact on how we characterize emotions and ‘emotional’ behaviour. In focusing on these areas, this paper aims to contribute a critical analysis on a developing and much-needed area of sociological research on men and emotions.

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