Music education – a personal matter? Examining the current discourses of music education in Sweden

Georgii-Hemming, Eva; Westvall, Maria

doi:10.1017/s0265051709990179

Cited by 95 publications

(76 citation statements)

References 4 publications

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“…To address this balance, a growing number of scholars have called for research on blended models of music education that incorporate both formal and informal teaching practices and include students from both formal and informal backgrounds (Feichas;Georgii-Hemming & Westvall, 2010;Green, 2006;Isbell, 2015;McPhail, 2013;O'Flynn, 2006). We recently observed one such blended formal/informal college music ensemble that we suggest holds implications for school music education.…”

Section: Blending Formal and Informalmentioning

confidence: 85%

Bringing the Outside In

West

Cremata

2016

Journal of Research in Music Education

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Through the lens of hospitality, we explored the meanings that members constructed about their experiences within a blended formal/informal college music ensemble. The focus in this ensemble was not on competition and musical excellence but on independent musicianship and praxis. The bandleader had his roots in tradition but his heart in socially relevant pedagogy and favored a less autocratic teaching and learning style. The makeup of the ensemble also included students from both formal and informal backgrounds. Conducting gesture was casual, bandstand formation was loose and free, outfits were expressive of the individual, and tone and balance were more a reflection and celebration of individuals and less of a whole or single sound. Much of the music was performed from standard notation but was chosen collectively, often related to popular contexts, and the overall emphasis was not on uniformity but on individuality and student creativity. Musical decisions often were made democratically, and opinions from within the ensemble were affirmed in the process. The ensemble consisted of a group of approximately 13 members whose experience ranged from beginner to over 30 years and who played everything from violin to iPad. Themes that emerged were inclusivity, autonomy, and affirmation.

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Section: Blending Formal and Informalmentioning

confidence: 85%

Bringing the Outside In

West

Cremata

2016

Journal of Research in Music Education

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“…However, based on the evidence from Sweden , where informal learning has been the norm for many years, it appears that adopting informal learning of popular music in the classroom does not ensure the enhanced motivation and commitment of all students and presents particular problems in relation to progression and the development of musical knowledge and skills (Georgii-Hemming and Westvall, 2012). While the approach clearly has some value, it may have most benefit for students and teachers if it is implemented as part of a more balanced music curriculum.…”

Section: Discussionmentioning

confidence: 99%

“…Some groups of students become disengaged when what is offered does not meet their needs (Bergman, 2009). These limitations have led to considerable debate as to whether music education has become too individualised and informal and whether there should there be a better balance between formal and informal learning (Georgii-Hemming and Westvall, 2012).…”

Section: Introductionmentioning

confidence: 99%

What impact does teaching music informally in the classroom have on teachers, and their pedagogy?

Hallam

Creech

McQueen

2016

Music Education Research

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“…Nowadays the Swedish music education context is dominated by the pop and rock genres, and instruction is mostly organized in the form of rock bands; autonomous groups play and make music together with the help of a teacher who serves as a facilitator. Since the 1980s, western classical music, jazz, folk music and music from other cultures have only marginally been represented in the music classroom (Bergman 2009;Ericsson and Lindgren 2011;Georgii-Hemming and Westvall 2010).…”

Section: Reason For Adopting a Critical Perspectivementioning

confidence: 99%

Studying El Sistema as a Swedish community music project from a critical perspective

Bergman¹,

Lindgren²

2014

International Journal of Community Music

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Sweden has a long tradition of implementing cultural activities in community-based organizations, even though the concept of community music is rarely used. One project in line with this tradition is El Sistema, a global movement that reached Sweden a few years ago. This article aims to discuss to what extent and in what ways El Sistema in Sweden can be regarded as an example of community music practice and further to argue for a critical approach when analysing this particular music education venture. By using discursive tools we try to move beyond preconceptions based on educational and cultural beliefs. In addition, a critical perspective also makes it possible to pay attention to what is at stake in a specific music education context.

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Music education – a personal matter? Examining the current discourses of music education in Sweden

Abstract: E v a G e o r g i i -H e m m i n g a n d M a r i a W e s t v a l l

Cited by 95 publications

References 4 publications

Bringing the Outside In

Bringing the Outside In

What impact does teaching music informally in the classroom have on teachers, and their pedagogy?

Studying El Sistema as a Swedish community music project from a critical perspective

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