Complexity in Global Musical Belongings: Post-human Methodology in Analysis of Marginalized Teenagers in Oslo

Hovde, Sunniva Skjøstad

doi:10.1177/1077800418806618

Cited by 2 publications

(1 citation statement)

References 6 publications

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“…There is now a common understanding that qualitative methods including case study, phenomenology, grounded theory, narrative inquiry, or action research, among others stand alongside or along with quantitative-randomized control trials, other experimental designs, large-scale surveys or measurement or big data studies have been used to examine aspects of music listening, performance, or creation. Other longstanding methodologies such as historical, philosophical, and comparative approaches along with various literature review methodologies help us answer our research questions and more recently neuroimaging studies, machine learning and VR have been used to address our research questions (e.g., Bowman & Frega, 2012;Elliott et al, 2019;González-Moreno, 2012;Hovde, 2019;McPherson & Welch, 2012;Orman et al, 2017;Pando-Naude et al, 2021).…”

Section: Developing Research Designmentioning

confidence: 99%

New Paradigms for Music Research. Art, Society and Technology

2022

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of prestigious professors, scientists, researchers and professionals from the world of music, who, with their relevant vision, enrich this book.Based on these assumptions, the coordinators of this monograph thought of bringing together the most relevant researchers who participated in the International Congress and the result is as follows:In the first chapter, "Soundwalking: Between Art and Non-Art", Marcel Cobussen presents an essay focusing on soundwalking as an art form that has developed for decades on the fringes of the academic art world. He addresses the resolution to the question "are there art forms in which both social and artistic-aesthetic requirements can be fulfilled?" The manuscript glimpses a strong focus on the artistic and aesthetic aspects of a product or process that may converge well with an equally strong focus on knowledge production and social relevance through Soundwalking.In the second chapter, "Towards a New Paradigm for Music Research: Evidence from a Research Assemblage", Pamela Burnard sets the focus on a new paradigm within music research, recognising the importance of exploring different creative processes within the musical field, undertaking new interdisciplinary research more in line with 21st century society and its needs, and encouraging a rethinking and reformulation of emerging processes of music research and innovation.In the third chapter, "Exploring innovations within music Education Research", Ana Lucía Frega and Julia Brook advocate the need to rethink the knowledge of different ways of developing various methods to contribute to the improvement of music education. They suggest how to promote innovation not always from the creation of new resources, but from the reassessment of all those elements we have in order to be able to address systematic, organisational and pedagogical changes within music education.In the fourth chapter, "Narratives on the Musical Instrument. Musical Practice Between Action Theory and Media Theory", Elena Ungeheuer analyses the academic-theoretical considerations on the use of musical instruments and the media-theoretical considerations on media transformations and how they affect the instruments. In the field of media education, she approaches the concept of metaverse linked to musical environments with unlimited connectivity.In the fifth chapter, "Hypermusic: New Musical Practices at the Crooroads of Music, Art and Thought", Paulo de Assis approaches the concept

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Section: Developing Research Designmentioning

confidence: 99%

New Paradigms for Music Research. Art, Society and Technology

2022

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A Sentient Planet as a School; a School as a Community Garden: Toward Eco-Creative Think-Practicing

Rocha-Bravo,

Golovátina-Mora

2024

Qualitative Inquiry

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The article revisits the notion of theory as differential becoming with a diffractive reading of two practices through/with each other: the curricular project of environmental education in Colombian schools and walking through Colombian volcanic selva. The article discusses both experiences as a practice of being-of living knowledge. Such knowledge is not just practical, functional, or instrumental; it is meaningful because it is co-created, emergent from being/becoming-with. The environmental education classroom discussed in the article is seen as an ecosystem. Academic reflexivity and the process of writing are approached as an ecosystem as well. We argue that decolonized/-ing inquiry requires inner decolonization as a person, as a field, and as academia by overcoming any homogeneous tendency toward being creatively and diversely more-than-theory.

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Complexity in Global Musical Belongings: Post-human Methodology in Analysis of Marginalized Teenagers in Oslo

Cited by 2 publications

References 6 publications

New Paradigms for Music Research. Art, Society and Technology

New Paradigms for Music Research. Art, Society and Technology

A Sentient Planet as a School; a School as a Community Garden: Toward Eco-Creative Think-Practicing

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