Syftet med studien var att belysa hur förskollärare beskriver hur barn ges möjlighet att möta musik i förskolan. Semistrukturerade intervjuer med åtta förskollärare har genomförts på sex olika förskolor, för att fördjupa kunskapen om musikens funktion för förskolebarns utveckling samt förskollärares förhållningssätt kring barns spontana musikintressen. Resultatet visar att samtliga förskollärare i grunden hade en positiv relation till musik och var medvetna om musikens betydelse för barns utveckling. Å andra sidan visade det sig att flera av förskollärarna saknade medvetenhet om barns spontana musicerande och i stället lade fokus på den inplanerade verksamheten.
This paper describes the effect on the listeners' experience of headphone listening to a music composition including inner-city sound while being in an inner-city environment, using a research through design approach. The study focuses on the listeners' described experiences through the lens of Berleant's aesthetic sensibility and Bull's phenomenon of the auditory bubble. We produce a composition which participants listen to in an urban context and discuss the two main themes found, soundtrack and awareness, together with the indications of the possibility to direct listeners' attention and level of immersion by including inner-city ambience and sound in music when listening with headphones in an urban environment.
The aim was to investigate whether vocalists and instrumentalists (N = 108) would differ in personality traits, such as the Big five dimensions, competence-based self-esteem, and musical self-perceptions. The design involved both global and domain-specific features to more closely map similarities and differences between the groups. Results indicated that vocalists reported significantly higher levels of extraversion, agreeableness, and openness than the control group (p < .01–.05) but not musicians. The musical self-perceptions were explored using a qualitative method by asking the students to, in their own words, describe aspects of two categories of musical self-perceptions. For self-perceptions related to musical development, goal-orientation, personality, and expressivity were of most importance for both vocalists and instrumentalists, although personality ranked first among vocalists and third for instrumentalists. For self-perceptions related to musical expression in a performance, vocalists assigned most value to timbre, emotions, and musical ideas, whereas instrumentalists indicated dynamics, musical ideas, and timbre. In sum, global and objective measurements failed to discriminate well between vocalists and instrumentalists, whereas the qualitative study aimed at tapping domain-specific features was successful in embracing a large variety of musically related items and to differentiate between vocalists and instrumentalists.
The present study investigates whether past and present instrumental practices differ across musicalgenres (jazz, folk music, classical music) and vocalists in relation to instrumentalists (N = 108). Newfindings were that vocalists and instrumentalists differed significantly in all practice experiences (p< .05–.001), whereas fewer differences were found across genres. In line with previous research,classical musicians engaged more in solitary practice than folk music and jazz musicians did (p <.001), yet jazz and folk music students practiced more in ensemble compared to classical musicians(p < .05). In addition, the results contrasted with the general view of solitary practice as a demandingand unpleasant activity, as all groups of music students found solitary practice to be a more positivethan negative experience. Future studies are warranted to more closely and empirically investigatevocalists’ practice habits, and to examine how emotions are related to instrumental practicing inmusic education.
This article provides a detailed discussion of the pedagogy and legacy of Ernst Friedrich Richter (1808–79). A theory teacher at the Leipzig Conservatory since its founding in 1843, Richter is most famous for authoring one of the most enduring harmony manuals—the Lehrbuch der Harmonie (1853)—which, among other things, was instrumental in popularizing the use of Roman numeral analysis in harmony pedagogy. Gaining a hegemonic position in the Western music theory discourse of the late nineteenth century, he played a key role in shaping the common practice of modern music theory pedagogy. Richter’s legacy has been tainted by critiques from several later theorists. Applying a Foucauldian discourse-theoretical lens, this article attempts to look beyond this historically negative assessment by asking what enabled Richter’s work to become so influential. The article is structured in six sections. Following the introduction and a brief overview of E. F. Richter’s life and works, two sections discuss what characterizes “Richterian” pedagogy. As source material, these sections draw on Richter’s writings as well as the exercises of one of his most famous students, Edvard Grieg (1843–1907). The last section before the conclusion investigates Richter’s legacy, considering both his initial broad international success and later critiques of his influence on modern music theory pedagogy.
A project in which all piano students in the class and their piano teacher participated. No constellation for the four-hand ensembles was the same but the students constantly changed partners, something that challenged their flexibility as chamber musicians. Here, the students' capacity to take on, study and perform a program which on the surface consisted of "easy" repertoire was tested. Many people play Bach inventions already as children, and the Bizet work consists of children's games, which can lead the thought to easy-to-play music. Before the pause, the program consisted of all of Bach's 15 2-part inventions and Bizet's Jeux d'enfants op. 22 for four-handed piano, and after the pause all of Bach's 15 symphonies (3-part inventions). Performed at the Academy of Music and Opera, University of Mälardalen, Västerås Castle 2018-02-28.
Chronos minnesbank är en experimentell opera i vilken besökarna behandlas som spelare istället för publik. Genom verket introducerades uppdragsinstruktioner för rollspelande operabesökare och den modulbaserade formen gav utrymme för dynamiskt sammansatta och varierade upplevelser utifrån ett och samma grundmaterial. Syftet med det konstnärliga arbetet var att pröva operabesökares benägenhet till interaktion med begränsade krav på improvisation och operaartisters förmåga till responsiv och immersiv gestaltning. Genom att författa, komponera, designa och sätta upp Chronos minnesbank har en omfattande samling scener med olika möjligheter till besökarinteraktion kunnat konceptualiseras och gestaltas. Den konceptuella utformningen resulterade i en saga, ett libretto, ett partitur, en scendesign och offentliga uppföranden som dokumenterades genom fotografering, ljud- och videoinspelning.
The project tested a pianist's ability to perform a very demanding and strongly cohesive program, cohesive both from a thematic and practical aspect, without intermission. The title alludes to the Clair Obscur method used in painting with the use of strong contrast, here instead a program for a piano recital was created based on works with an apparent or underlying dark artistic content. The audience was informed at the beginning of the concert that applaudes should be saved to the end of the recital. Program: J. S. Bach: from Das wohltemperierte Klavier: Prelude and Fugue in B minor Book II F. Liszt: from Transcendental Etudes: no. 12 B minor 'Chasse-neige' E. Satie: from Gnossiennes, no. 7 and no. 3 M. Ravel: Pavane pour une enfante défunte M. Ravel: Gaspard de la nuit – Ondine/Le Gibet/Scarbo Performed at Vietnam National Academy of Music in Hanoi 2019-04-18.
The Prophecies is an AI-based chamber opera with interactive features in which the visitors are immersed in a ritualistic and temple-like setting where they can meet a singing oracle who instead of appearing to be connected to ancient divinities receives messages from the digital realm. The underlying theme of the opera is the eternal human search for guidance and our hope for help from external and mythological forces. Through the work, a playful approach to the subject is suggested while the concept also makes room for critical reflection on the topic and the exposed mechanisms of human nature. Developed from the creators' earlier work with the prototypical opera The Oracle, the concept design encompasses elaborated verbal, audial, and visual material, including an AI-agent trained to respond in the style of the Delphic oracle while still being compatible with the contemporary music composition at hand. By offering personalized prophecies to each individual visitor facing the oracle alone through the dynamics achieved by human-machine interaction, articulate subjective experiences are made possible through the opera.
Tysta leken är en konceptuellt utforskande sång som utgår från ett ifrågasättande av den ritualiserade konsertformen inom konstmusiken. Syftet med det konstnärliga arbetet var att gestalta de sociala konventioner som återfinns i själva konsertsituationen. Genom att författa, komponera och framföra verket kunde temat artikuleras och bli föremål för kritisk diskussion. Arbetet resulterade i ett noterat verk med offentligt uppförande som dokumenterades genom videoinspelning.