Higher Education as Context for Music Pedagogy Research

Angelo, Elin; Knigge, Jens; Sæther, Morten; Waagen, Wenche

doi:10.23865/noasp.119.ch00

Cited by 11 publications

(17 citation statements)

References 33 publications

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“…A common thread in her artistic and pedagogical practice is a pioneering exploration of the possibilities and boundaries of the human voice and of vocal musical expressions. In this article, Endresen's agency is viewed as an example of pedagogical and artistic innovation in relation to general processes of transformation within the field of higher music education in Norway, wherein change concerns genre as well as values ascribed to different arenas of music performance (Angelo et al, 2021;Dyndahl et al, 2016;. As such, Endresen's pedagogical achievement may be understood in relation to its innovative potential, yet also as an indication of modifications in institutional practices, methods, content, and goals.…”

Section: Improvisasjon -Stemme -Uttrykk: Sidsel Endresens Vokalpedago...mentioning

confidence: 99%

“…Endresens praksis kan derfor betraktes som et eksempel på musikkpedagogisk og kunstnerisk innovasjon med bakgrunn i generelle endringsprosesser og sjangermessige forskyvninger i verdihierarkiene i høyere norsk utøvende musikkutdanning (jf. Angelo et al, 2021;Dyndahl et al, 2016;, og hvor praksis kan leses både som et endringspotensial og som en indikasjon på modifikasjoner i rammene for virksomheten, arbeidsmetoder, innhold og målsettinger.…”

Section: Problemstilling -Aktørskap I Høyere Musikkutdanningunclassified

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In the beginning was the organ: On the institutionalisation of professional music education in Norway

Siems

2023

Høyere Musikkutdanning: Historiske Perspektiver

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This article examines the early years of the institutionalisation of professional music education in Norway. Against the background of a social and political debate on the need for a national conservatoire, the central question is why the first Norwegian music conservatoire did not develop out of a nationally motivated initiative but rather from a private organist school. By comparing the Organistskole of Ludvig Mathias and Peter Lindeman with the Musik-Akademi of Otto Winter-Hjelm and Edvard Grieg, different approaches to the realisation of a national conservatoire are outlined. One of the decisive points for the lasting success of the Organistskole was the underlying family pedagogical tradition within the Lindeman family, which had been established over several generations and adapted to local conditions. This tradition was based on a functioning work process, a proven method and public recognition. Winter-Hjelm and Grieg, on the other hand, first had to build these structures by adapting a foreign model (in this case, the Leipzig model) and then attempting to establish a similar network through the founding of the Musik-Akademi itself. If one traces the teaching tradition of the Lindeman family back to the Bach reception of the Berlin School around C. P. E. Bach and J. P. Kirnberger – the so-called ‘golden chain’ – one can speak of an international education transfer in the case of both the Organistskole and the Musik-Akademi, the time frame of which, however, differs considerably. As the example of the present article shows, the longer time frame of cultural transfer in the Lindeman family had a decisive influence on the success of the exchange process.

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Section: Improvisasjon -Stemme -Uttrykk: Sidsel Endresens Vokalpedago...mentioning

confidence: 99%

Section: Problemstilling -Aktørskap I Høyere Musikkutdanningunclassified

In the beginning was the organ: On the institutionalisation of professional music education in Norway

Siems

2023

Høyere Musikkutdanning: Historiske Perspektiver

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Section: Improvisasjon -Stemme -Uttrykk: Sidsel Endresens Vokalpedago...mentioning

confidence: 99%

Section: Problemstilling -Aktørskap I Høyere Musikkutdanningunclassified

«Studenten i front»: Strategisk forhandling av rasjonaliserte myter i høyere musikkutdanning?

Ski-Berg

2023

Høyere Musikkutdanning: Historiske Perspektiver

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The Norwegian Academy of Music is rooted in the European conservatoire tradition where apprenticeship has served as a foundation for the education of the music performer. In recent decades, however, the institutionalised master-apprentice relationship between music performance student and instrumental teacher has been debated in the literature on higher music education (HME). Scholars argue that music graduates need to develop creatively during their studies in ways that sometimes challenge the inherent power imbalance between teacher and student within this teaching model. In this article, I posit that the traditional master-apprentice model serves as a ‘rationalised myth’ within HME. By turning to organisational institutionalism (in which apprenticeship may be conceived of as a formal structure), the article investigates how the notion of student-centredness has affected the ‘myth’ of apprenticeship. Specifically, a document analysis of the Academy’s strategic plans from 1998 to 2025 is presented, and through a selection of citations the article illustrates how the roles of the music student, the instrumental teacher and the Academy itself have transformed over the past 25 years. Consequently, the article questions whether this transformation is the result of strategic work for institutional change or, rather, of institutional pressures put on HME organisations to change. The discussion centres on this organisational landscape, and it is argued that the need for legitimacy is intertwined with strategic work for change in HME. Finally, the article offers some concluding remarks on how strategic plans shape the future of HME, even if members are not aware of this strategic negotiation.

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“…Pr juni 2020 er i alt fem antologier i prosess i denne skriftserien. 2 Fire av disse har utspring i MiU; Music Technology in Education -Channeling and Challenging Perspectives (Eiksund et al, 2020), MusPed: Higher Education as Context for Music Pedagogy Research (Angelo et al, 2021b), Arts Education: Collaboration, Quality and Tensions (Bandlien et al, 2021), Samsang gjennom livsløpet (Strøm & Eiksund, 2022), og én antologi har utspring i forskningsgruppen Reconfiguring Early Modern Performance, (REMP) ved Universitetet i Agder; 3 MusPed: Views on Early Music as Representation -Invitations, Congruity, Performance (Rolfhamre & Angelo, 2021).…”

Section: Forskningsnettverket Miu -Bakgrunn For Skriftserienunclassified

Musikkpedagogisk forskning – en møteplass

Angelo¹

2020

Music Technology in Education

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Higher Education as Context for Music Pedagogy Research

Cited by 11 publications

References 33 publications

In the beginning was the organ: On the institutionalisation of professional music education in Norway

In the beginning was the organ: On the institutionalisation of professional music education in Norway

«Studenten i front»: Strategisk forhandling av rasjonaliserte myter i høyere musikkutdanning?

Musikkpedagogisk forskning – en møteplass

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