Processes of academisation in higher music education: the case of Sweden

Johansson, Karin; Georgii-Hemming, Eva

doi:10.1017/s0265051720000339

Cited by 22 publications

(14 citation statements)

References 17 publications

(12 reference statements)

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“…The fact that reflective practices and collaborative dialogues are considered to contribute to, improve and secure students' learning (Johansson, 2013;Barton and Ryan, 2014;Carey et al, 2016;Esslin-Peard et al, 2016;Hakkarainen, 2016;Lebler, 2016;Georgii-Hemming et al, 2020;Johansson and Georgii-Hemming, 2021) reinforces the importance of encouraging students to independently reflect on their own learning processes and development opportunities as well as on musical interpretations, problem solving, exploration, and new discoveries. Such competencies is needed to increase teacher students' opportunities, in their future work as teachers in elementary, secondary, and upper secondary schools, to realize curriculum goals regarding their students' reflections on their own experiences, as described by the Swedish National Agency for Education (2013).…”

Section: Discussionmentioning

confidence: 99%

“…Even though critical reflection is not considered particularly evident in higher music education institutions, competence in critical thinking and reflection are still emphasized in order for students to become lifelong learners (Johansson and Georgii-Hemming, 2021). Reflective practices in higher music education are considered to have potential to enhance students' ability to take responsibility for their own learning (Carey et al, 2016), create opportunities for deeper understanding of learning practices (Esslin-Peard et al, 2016), contribute to artistic knowledge development, and secure professional musical success (Georgii-Hemming et al, 2020).…”

Section: Feedback and Reflection In Teachingmentioning

confidence: 99%

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Creating Space for Reflection: Meaning-Making Feedback in Instrumental/Vocal Lessons

Sandberg-Jurström

2022

Front. Educ.

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In higher music education, problems have been reported regarding students’ lack of independence in one-to-one instrumental/vocal lessons, little space for reflection, and education based on a hierarchical master–apprentice tradition, regulating and restricting students’ opportunities to learn and reflect. This article concerns video-recorded feedback activities in one-to-one instrumental/vocal lessons in specialist music teacher education, paying special attention to the space offered for student self-reflection and independence. The data comprise video-recorded one-to-one instrumental/vocal lessons between students and teachers. A social semiotic perspective is used to study representations of feedback meaning-making in the interaction between students and teachers as well as the understandings and approaches related to traditions and norms in music education. The findings indicate that feedback is constructed through two contrasting discourses, resulting in various ways of realizing feedback related to reflection opportunities. The negotiating discourse emphasizes opportunities for student self-reflections, drawing on current institutional curricula and government requirements regarding reflection abilities. In contrast, the controlling discourse emphasizes constraints on such opportunities, connected to the hierarchical master–apprentice music tradition. The feedback approaches realizing these discourses are described in terms of space for conversation or exploration as well as a call for attention or re-creation, evident in all studied lessons. The discussion addresses some didactic issues regarding the findings.

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Section: Discussionmentioning

confidence: 99%

Section: Feedback and Reflection In Teachingmentioning

confidence: 99%

Creating Space for Reflection: Meaning-Making Feedback in Instrumental/Vocal Lessons

Sandberg-Jurström

2022

Front. Educ.

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“…Med utgångspunkt i Bolognadeklarationen (1999) genomfördes en akademisering av de tidigare relativt hantverksfokuserade musikutbildningarna vilket bland annat studerats ur ett europeiskt perspektiv inom projektet Discourses of Academization and the Music Profession (DAPHME) 2016-2020 (t.ex. Angelo et al, 2019;Georgii-Hemming et al, 2020;Johansson & Georgii-Hemming, 2021). Den bild som framträder är att akademiseringen av högre musikutbildning betraktas som ett kvalitetsutvecklingsprojekt (Johansson & Georgii-Hemming, 2021) där den reflektion som förekommer rättfärdigas utifrån ett marknadsperspektiv snarare än som ett bidrag till musikerskap betraktat som ett professionellt fält med eget mandat och expertis (Georgii-Hemming et al, 2020, s. 253).…”

Section: Inledningunclassified

Att öppna för ett annat musikaliskt varande: Kultivering av klassiska musikerstudenters professionella omdöme

Holmgren,

Ferm Almqvist

2024

Högre utbildning

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Musikerstudenter inom klassisk västerländsk musik utbildas i ett europeiskt perspektiv vid musikhögskolor, sprungna ur den konservatorietradition som uppstod under 1800-talet inom vilken hantverksmässiga färdigheter betonades. I och med Bologna- anpassningen av musikerutbildningarna fick reflektion ökad betydelse vilket har aktualiserat relationen och spänningen mellan praktik och teori i undervisningen. Dock har vare sig vilka aspekter av musikerprofessionen som dylik reflektion omfattar eller hur utbildningarna förbereder studenter för att kunna agera med gott omdöme i sin yrkespraktik hitintills beforskats i någon högre grad. Vår avsikt är att i denna resonerande artikel söka skissera och problematisera ett förslag på vad ett professionellt omdöme skulle kunna innebära för klassiska musiker och hur det kan kultiveras inom högre musikutbildning. Med utgångspunkt i ett exempel från en av författarnas konstnärliga praktik, Hannah Arendts omdömesfilosofi, samt författarnas tidigare och pågående forskning inom området resonerar vi om vad undervisning och lärande av ett professionellt omdöme bland klassiska musikerstudenter kan och skulle kunna innebära i en konstnärlig akademisk professionsutbildning. ENGLISH ABSTRACT Opening for a different musical being: Cultivating classical music students’ professional judgment From a European perspective, musicians in Western classical music are educated at conservatories, stemming from the conservatory tradition that arose in the 19th century, emphasising craftsmanship. With the Bologna adaptation of higher musician education, the significance of reflection has increased, which has brought attention to the relationship and tension between practice and theory in conservatory teaching. However, neither the aspects of the musician’s profession that such reflection encompasses nor how the educational programs prepare students to act with good judgment in their professional practice have previously been researched to any greater degree. Our intention in this reflective article is to outline and problematise a proposal for what professional judgment could entail for classical musicians and how it can be cultivated within higher music education. Drawing on an example from one of the authors’ artistic practice, Hannah Arendt’s philosophy of judgment, as well as the authors’ previous and ongoing research, we highlight what teaching and learning of professional judgment among classical musicians can and could mean in an artistic, academic, professional education.

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“…Professional music education includes training in instrument playing methods, vocal singing methods, and other specialized activities. This educational approach aims to train professional musicians, 5 and requires professional venues, appropriate facilities, and high levels of music expert guidance. 6 It is often undertaken in professional music education institutions and music schools, 7 benefiting only a small percentage of students.…”

Section: Introductionmentioning

confidence: 99%

The Influence of General Music Education on the Perception of Soundscape

Song,

Zhang,

et al. 2024

The International Journal of Acoustics and Vibration

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Music is closely related to soundscape. The present study employs methods and tools for assessing soundscape perception to compare the evaluation of soundscape perception between students who had not been taught general music courses (n=80, equal into N1, N2) with that of students who had been taught general music courses (n=40, MU) in four distinct audio-visual environments. According to the results of the questionnaire in four scenes and eight perceptual dimensions, there are significant differences between MU and N1 N2 (4-5 items), whereas there is only a slight difference between N1 and N2 (1 item). The difference in soundscape perception is reflected in those students who had been taught general music courses having a higher evaluation of the diversity of soundscape elements (as eventful), and different emotional judgments of the sound environment (as calm). These differences are visualized using the soundscape analysis tool, Soundscapy. Overall, the findings suggest that taking a general music course promotes richer sound perceptions and clearer affective associations with sound and that these enhancements could be presented using the soundscape perception measurement method. The findings also presented could inform the effectiveness of teaching in a general music course.

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Processes of academisation in higher music education: the case of Sweden

Cited by 22 publications

References 17 publications

Creating Space for Reflection: Meaning-Making Feedback in Instrumental/Vocal Lessons

Creating Space for Reflection: Meaning-Making Feedback in Instrumental/Vocal Lessons

Att öppna för ett annat musikaliskt varande: Kultivering av klassiska musikerstudenters professionella omdöme

The Influence of General Music Education on the Perception of Soundscape

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