This chapter conceptualises exploration through narrative examples of children and teachers in music activities in kindergarten. First, the distinction between music exploration and musical exploration must be articulated. We argue that music exploration is the process of examining and being curious about sounds, rhythms and instruments, while musical exploration refers to musicality and the embodiment and sensitivity that happens when music becomes meaningful on a deep level. Christopher Small's concept of musicking (Small, 1998) is vital to our understanding of exploration within a context in which music instruments and the doing play an essential role. The concept of musicking underscores that music is a signifying practice that unites human beings; that is, it is relational in its doing. The relationship created when people do music is at the core of what musicking represents. To music is musicking: 'To music is to take part, in any capacity, in a musical performance, whether by performing, by listening, by rehearsing or practicing, by providing material for performance (what is called composing), or by dancing.' (Small, 1998, p. 9). Children are curious explorers of sounds and artefacts. From a child's perspective, sound can be created from artefacts that a teacher would not consider music instruments. These artefacts could be anything from stones, wooden pieces and water in a bowl to electronic devices and multimedia artefacts. The instruments might even be imaginary. If the teacher's perspective is that music instruments are only the traditional ones, like voice, guitar, piano, flute and drums, there is a

In this study, the use of the term movement in the Framework Plan for the Content and Tasks of Kindergartens (hereinafter, the “framework plan”) was investigated. Movement is understood as crucial for the core values in the framework plan, as it creates the base for children’s play, exploration, learning, care, and formative development. Through a document analysis, this enquiry examined whether the use of the term movement in the framework plan supports the steering document’s focus on the intrinsic value of childhood. This enquiry was guided by the research question, “How is the term movement outlined and used in the Framework Plan for the Content and Tasks of Kindergartens?” The analysis consisted of a word search, identifying how often, when, and in relation to what the term was used. Furthermore, this article discusses the implications of the use of the term for the underlying understanding of movement in children’s lives. We postulated that providing a clearer rationale for meeting, celebrating, and working with different approaches to movement in the framework plan could create a more substantial base for didactic designs and further research focusing on movement not only as motor skills but also as exploration, participation, communication, and a kinesthetic way of understanding oneself and one’s surroundings.

This article explores ‘community music’ in Norway, where the term is currently being introduced into higher education. The Norwegian context is outlined, and community music practices are traced back to inclusive music education practices in the 1990s. The authors discuss whether community music is a useful concept in a Norwegian setting. Three case studies are presented, exemplifying musicmaking activities with paramusical aims beyond teaching, rehearsing and performance. Conceptualizing community music as open-access musical participation with paramusical objectives represents a contribution to a pluralistic understanding of community music in the Nordic region. As the term community music becomes an educational subject in Norway, based on local practice, the need for a common theoretical basis uniting a diversity of practices becomes salient. The authors argue that, as awareness of community music as a distinct musical discourse grows, benefits might emerge if practitioners and institutions worked to develop a common professional identity, adopting the common label ‘community music’.

Produktiv friksjon» presenterer bakgrunnen for boka Kunstskapte fellesskap, den tverrfaglige metodikken som anvendes, og redegjør for hvordan sosiale praksiser og publikumsdeltagelse i kunsten har bidratt til nye forbindelseslinjer mellom kunst, hverdagsliv og samfunn. Friksjonsfylte fellesskap introduseres her som begrep, og det argumenteres for at kunstskapte fellesskap har en viktig demokratisk funksjon ved å skape rom for uenighet. Til sist presenteres artiklene i boka, som er delt inn i tre deler: Fellesskap som ambisjon, Fellesskap som praksis og Fellesskap under forhandling.

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