1. okt Prisvinnerens musikk eller tekst må være urfremført eller utgitt foregående år. Det legges også vekt på opphavspersonens øvrige produksjon. 1. nov Manageren til Casiokids, Chris Wareing, blir snart å finne som ryddegutt .. Kilde : Esben Esther Pirelli Benestad Sexolog NACS, Førstelektor UiA for oss som liker grensesprengende, djeveldyrkende musikk – eller rett og. The Nordic Network of Research in Music Education (NNMPF) celebrates its 20th ani- versary in The network was foun.

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Home Add Document Login Register. The network was founded in January when it launched its first Nordic conference at Schaeffergaarden in Copenhagen. Sincethe Yearbook has been ranked as one of the journals at mmusikklre highest scientific levels in Norway. Only a handful doctoral students were doing their research in music education in the Nordic countries at that time, and they were nearly all present at the conference.

The doctoral students came from Finland, Sweden, Denmark and Norway and were all given a lot of space and time to present and discuss their work with the bneestad researchers in the field. Since the Yearbook has been ranked as one of the journals at the highest scientific levels in Norway. The present volume includes fifteen articles. The first three articles discuss various aspects of the education of and the professional practices of music teachers. Here chiasm symbolically represents the practicum as a meeting place of theory and practice.

Nordisk musikkpedagogisk forskning à rbok 15 Nordic – BIBSYS Brage – PDF Free Download

From this perspective, practicum can be seen as an endless journey, where the self encounters a world of different and unique music teaching and learning experiences, unpredictable turns, challenges and wonders.

The article by Angelo and Georgii-Hemming examines the concept of music pedagogical philosophies. The article stresses how a carefully 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.

It is concluded that consciously reflecting on approaches to music and the role of education will help to professionalize the field and thereby qualify discussions about music education and quality. In his article, Music teaching as professional practice — a praxeological approach, Finn Holst discusses the indirect relation between theory and practice. Building on German educational theorist Dietrich Benner, Holst presents a model of professional 5 Introduction music teaching practice in the cross field between music as artistic practice and as pedagogical practice.

The following ten articles present results from research on a variety of formal and informal music education contexts. The study reported in the article examined inclusion processes in a cross-Nordic context based on ethnographical studies of three lower secondary schools in Oslo, Stockholm and Helsinki.

Karlsen concludes that Nordic music teachers working in multicultural contexts face demands of inclusion that are potentially conflicting and contradictory. Ingeborg Lunde Vestad challenges a one dimensional understanding of musical diversity as she analyses a dance situation with kindergarten children.

As the title of this article explains, one can easily miss the point in a way similar to how a magician challenges the view of the spectator: Her discussion is based on observations and interviews with one particular person, a ninth grade student in a Norwegian lower secondary school. The analysis is anchored in the theory of meaning and in the methodological principle of the ethnographic astonishment. Such new perspectives can serve as starting points for new discussions surrounding music education practice and research.

In her article Anne Haugland Balsnes discusses the relationship between music, education and health related to choral singing. The discussion is exemplified by three studies of different choir practices; a local community choir, a multicultural gospel choir, and various chamber choirs.

The article shows how music education research may interact with and contribute to music education practice. Johan Nyberg reports a narrative study on how students in Swedish Upper secondary school music programme conceptualize and communicate musical knowledge.

Musical learning is seen to be dependent upon action, and it is made possible through the will to practice and to develop innate abilities — a result that fits the pragmatist frame of reference that Nyberg uses to analyse the data.

Tony Valberg examines the historical development of how Norwegian symphonic orchestras have made an effort to attract new audiences to their concerts. He argues that the presence of children and young people at symphony orchestra concerts today is due to the orchestras willingness and capability to differentiate their repertoires and concepts of concerts to shifting audiences.


In his article, The pedagogical modernist, Lars Ole Bonde discusses how music in many different genres by the Danish composer Bent Lorentzen has contributed to the field of music pedagogy.

Through more than 40 years Lorentzen has lived as a free composer navigating between different musical and pedagogical traditions. Referring to Lorentzens own writings as well as to interview with the composer, Bonde suggests that his work may be categorized as music by, for and with children.

The study shows that the ontology of music 7 Introduction and art is continually being redefined. Ontological perspectives with epistemological claims are on the battlefield with more relativized perspectives. It is argued that problematization and discussions of such constructions can contribute to improved teaching and learning qualities. Analysing three different but intertwined acts, the aim of the article is to contribute to the phenomenology of ensemble playing.

Finally, the editors would like to thank the authors and the reviewers for their invaluable contributions to this journal. We would also like to thank the member institutions that ensure the publication of the Yearbook by subscribing to the journal, and especially, the Norwegian Academy of Music that since has provided the financial basis for the publication. We also want to express our sincere gratitude to Anders Eggen NMH who has been responsible for the layout editing. In order to develop high quality music teacher education, we have to understand what happens in practicum contexts.

It is in meetings between student teachers, practicum supervisors, students, steering documents, culture and music that student teachers learn how to teach music in adequate ways. Chiasm also signifies an inter-twining, an intersection, reversibility, or the process of the flowing of phenomena into one another. In this sense, chiasm can symbolically represent the practicum as an intertwining of theory and practice. These stories were collected during individual and group interviews in a NorwegianSwedish research project focusing on the educational quality of music teacher education.

Hopefully the analysis of these stories will contribute to the understanding of how individuals and groups embody knowledge of their music teaching and learning life-worlds. To be able to develop and deliver good quality music teacher education, it is important to understand how professional learning takes place within different arenas. Consequently, chiasm can symbolically represent the practicum as an intertwining of theory and practice. How do music student teachers embody music teaching and learning through their lived experiences of a practicum?

The theory of chiasm The Intertwining—The Chiasm Merleau-Ponty focuses on the relationship between interiority and exteriority. In rejecting a model that assumes musikklrf isolated body separate from the external world, Merleau-Ponty takes into account the notion that the body is the threshold of experience.

He argues that subject-object distinctions need to be understood from the perspective of entanglement and interconnection. Flesh belongs neither to the material body nor to the world exclusively. It is both subject and lived materiality in mutual relation. Flesh includes chiasmic spaces, and gaps between the body and the world, wherein it folds back on itself in an intertwined and ensnared relationship. Flesh as Being gives rise to the perceiver seer and the perceived seen bwnestad interdependent aspects of subjectivity.

My body, declares Merleau-Pontyis a thing among things; it is caught in the fabric of the world, and its coherence is that of a thing.

But because it moves itself and sees, it holds things in a circle around itself. Thus perception and sensation are a kind of doubling of the flesh of the world upon 11 Cecilia Ferm Thorgersen itself.

Muzikklre could think of it as the wave as it breaks and curls over. To illustrate this double sensation, Merleau-Ponty implements the metaphor of one hand touching and grasping another, which in turn touches beneshad back. This reaching out and crossing over the hand touched object reverses or folds back on itself in the act of becoming a touching subject. Thus in the chiasm or space of the fold the body inserts itself between subject and object, between the interior and exterior.

Nordisk musikkpedagogisk forskning à rbok 15 Nordic … – BIBSYS Brage

Perception mysikklre formed in the closeness that is reversible in and through the body. The act of touching inverts the subject-object relationship, thereby breaking the boundaries between self and other. It jusikklre a way of knowing and being muwikklre in closeness and through encounters.

This claim beestad quite different from traditional philosophical models that designate vision as distant and separate, and as being controlled by the seeing subject. It is within the chiasm or gap that perception is benextad, embodied, and entangled. In a gap the outside is never fully absorbed; but is benestzd once both exterior and interior. The gap is a space of tension and excitement.


Our embodiment of action is not musikjlre from our social history of experience. Nor is it separate from the emergent interactions with the environment that bring forth a new perception. In this sense, the phenomena of experiencing is never one fixed event but an on-going interpretative inquiry. Experience is always corporeal, relational, temporal and spatial van Manen This kind of thinking suggests that the experiences of supervisors and student teachers are intertwined, crisscrossed in a circle of the touched and the touching.

Method The study presented in this paper is based on a life-world phenomenological way of thinking about the world. This kind of thinking implies, as described above, that 12 Traversing the chiasm of lived teaching and learning experience human beings are indissolubly connected to the world. To understand the world it is crucial to understand how it is experienced, which is why it is important to consider the lived worlds of human beings.

This kind of research has to fijn turned towards things, and to be adapted to things in themselves Bengtsson According to this reasoning it becomes crucial to access human experiences of a practicum in order to understand it as a concrete phenomenon. To gain access to the life-world, or in other words, the lived experiences of student music teachers within the field of the practicum, five student teachers from two conservatoires in Norway and Sweden benestsd interviewed.

Both female and male students had experiences in the classroom as well as in instrumental practicum over sufficient time to guarantee a good amount of experience therein. The interviews were based on an interview guide that used specific questions under each theme quite freely.

The conversations were recorded and transcribed, and constituted material that communicated stories about learning among music student teachers within the field of the practicum in Norway and Sweden. These stories communicate a variety of values concerning teaching, learning and music that were connected to and developed in different music education cultures.

I tried to be open enough to allow the text to speak to me so that aspects of learning processes, learning context and content became visible. A theme is a thread musikklee meaning that penetrates parts of a text in the process of conveying the essential meaning of lived experience.

In order to capture this meaning of lived experience I have formulated the themes, not as abstract concepts, but rather as condensed descriptions in a way that discloses meaning.

I then used processes of condensation, sorting and rereading, after which constructions of themes and subthemes could take place. The process was finished when benestsd themes validated the naive reading.

Comprehensive understanding interpreted whole The main themes and sub-themes were summarized and reflected upon in relation to the research question and the context of the study, which is to say the field of the practicum. I have tried to use my imagination to think of associations. The focus was not mainly on what the text said but on the possibilities of living in benesfad world that the interview material opened up. The results of this phase were living descriptions of situations based on the experiences of the participants.

Formulating the results in a phenomenological hermeneutical way The results were then formulated in everyday language, guided by the theory of chiasm, and as close to lived experience as possible. Everyday language emanated from the elemental lived experience of the content of a practicum as embodied knowledge amongst the student music teachers. So when I have tried to express the meaning of lived experiences of the practicum I have used everyday language in combination with concepts from chiasm theory, primarily as verbs rather than nouns.

This phase of the analysis aims to resituate the findings as close 14 Traversing the chiasm of lived teaching and learning experience to practice as possible. Result The result shows that the phenomenon of embodied learning among music student teachers in a practicum, seen from a chiasm perspective, is constituted by the following themes: