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  • 1.
    Brändström, Sture
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Framväxten av musikpedagogiska ideal vid en folkhögskola: rekrytering och studiemiljö2007Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 9, s. 83-93Artikel i tidskrift (Refereegranskat)
  • 2.
    Brändström, Sture
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    I spänningsfältet mellan folkbildning och konservatorietradition: en studie an Framnäs folkhögskola 1952-19572009Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 11Artikel i tidskrift (Refereegranskat)
  • 3.
    Brändström, Sture
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Musikaliskt lärande som social aktivitet: en kommentar till Hermann J. Kaisers artikel Filosofiska grunder för musiklärarutbildning1999Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, nr 3, s. 23-30Artikel i tidskrift (Övrigt vetenskapligt)
  • 4.
    Brändström, Sture
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Liljas, Juvas Marianne
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Wachenfeldt, Thomas von
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Manifesta och latenta ideologier om lärande inom svensk spelmansrörelse på 1920-talet2012Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 13, s. 115-130Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The purpose of this article was to illuminate aspects of learning in the Swedish fiddler movement (Spelmansrörelsen) 1923-1927. This was a period characterized by the organization and to some extent institutionalization of Swedish folk music. The empirical data is taken from the journal Hembygden, which was a magazine for scholars, enthusiasts and practitioners of folk music. Theoretically, the study is based on a concept of ideology developed by Sven-Eric Liedman: in every time there are two basic forms of identifiable ideology, manifest and latent. From the empirical material as a whole (around 900 articles), a selection was made to find articles dealing with aspects of learning among the fiddlers (33 articles). The following themes were generated: Fiddlers’ repertoire, Fiddlers’ masters, Rooms for learning, Learning formation. The writers in Hembygden often emphasized autodidactic aspect of learning and especially the importance of learning by ear. This manifest ideology came into an interesting tension in relation to the fiddlers themselves, who in many cases were more positive to notes and formal training.

  • 5.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Aesthetic communication in higher composition education: dimensions of awareness2008Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 10, s. 167-184Artikel i tidskrift (Refereegranskat)
  • 6.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Phenomenological ontology and epistemology in relation to music educational settings2006Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 8, s. 91-102Artikel i tidskrift (Refereegranskat)
  • 7.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Traversing the chiasm of lived teaching and learning experience: embodied practicum in music teacher education2015Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 15, s. 9-24Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Earlier studies of educational quality in music teacher education have valued practicum as one of the most important parts of music teacher education. Not a least have those experiences in the field been appreciated by students. In order to develop high quality music teacher education, we have to understand what happens in practicum contexts: in the meeting between, teacher students, practicum supervisors, students, steering documents, culture, and music, when student teachers perceive that they learn how to teach music in adequate ways. This paper tries to understand such meetings and learning situations from a phenomenological perspective, namely based on the concept ”chiasm” as developed by Maurice Merlau-Ponty. Expressed by the Greek letter χ (chi), chiasm means a crisscrossing of the perceiving and the perceived, self and other, and language and meaning. Chiasm also signifies an inter-twining, an intersection, reversibility, or the process of flowing of phenomena one into another. By that, chiasm can symbolically represent practicum as an intertwining of theory and practice. Like the crosspiece, practicum within music teacher education can become an endless journey and the meeting place of a student teacher’s self with the world of different and unique music teaching and learning experiences, unpredictable turns, challenges and wonders. This article attempts to communicate a glimpse of such a journey, expressed through five music teacher students’ stories. The stories were produced through individual and group interviews performed within a larger Norwegian-Swedish research project focusing educational quality in music teacher education. Hopefully the analysed stories contribute with knowledge about how individuals and groups embody knowledge about their musical teaching and learning life-worlds. Key-words; music teacher education, practicum, educational quality, chiasm, flesh

  • 8.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ömsesidig nyfikenhet och respekt: fenomenologisk didaktik som utgångspunkt för musikundervisning i grundskolans lägre åldrar2009Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 11, s. 161-177Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    In music educational discussions of today, the engagement regarding youngsters' musical everyday culture, identity and knowledge is prominent. So is what status these musical features get in the schools' music lessons. Arguments are put forward that adolescents of today experience music in school, and music in their lives as separate entities, although playing of popular music is the most common activity within music classes at school. A question is what can be said to constitute adolescents' everyday culture, and what it implies to develop musical knowledge within school-frames. Such discussions steered my curiosity towards young children's experiences of music within and outside school. The specific aim for the article was to illuminate and discuss what consequences life-world-phenomenological Didaktik might have for music education in the early stages of compulsory school. The results of the philosophical investigation imply that a life-world-phenomenological way of thinking about teaching and learning music can facilitate teachers in how to offer pupils to develop their embodied experiences and knowledge. Phenomenological Didaktik encourage teachers to take care of children's musical cultures, and to challenge them in common learning situations through mutual curiosity and respect. How children's musical knowledge and experience can be related to teaching content is also illuminated in the article.

  • 9.
    Karlsen, Sidsel
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Festival audience's strong emotional experiences with music2007Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 9, s. 153-167Artikel i tidskrift (Refereegranskat)
  • 10. Liljas, Juvas Marianne
    Vad månde blifva af dessa barnen?: En studie av David Björlings pedagogik och dess bakgrund i äldre sångundervisningstraditioner.2008Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 10, s. 261-269Artikel i tidskrift (Refereegranskat)
  • 11.
    Nyberg, Johan
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    The majorest third ever played: music education as an adventure of knowledge2015Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 15, s. 181-206Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The point of departure for this article is a research study (Nyberg 2011), with the purpose to investigate how students in Swedish upper secondary school’s Arts programme conceptualize and communicate musical knowledge and learning. Based on pragmatist philosophy and narrative inquiry, a qualitative study was undertaken. The empirical data was analysed using narrative analysis (Kohler Riessman 2005; Bowman 2006; Clandinin et al. 2007, 2009), and categorised in relation to pragmatist key concepts. The results showed that regardless of school, form and type of programme, none of the informants stated that they had been asked to reflect upon these matters before. Musical knowledge is conceptualized by the participating students as a three-part combination of theory, practice and expression/emotion that cannot be fully separable; knowledge that is manifested through action and valued differently depending on surroundings—hence contextualized. In turn, musical learning in school is seen as dependent upon action, and is made possible through the will to practice and thereby develop innate abilities. In this, curricula and teacher experience are seen as key factors. In accordance with what Deweyean pragmatism asserts, for music students’ voices to be heard in music education it is crucial that the teacher is the one who takes responsibility for making a dialogue with the students possible. Through their professionalism, teachers will be able to learn, teach, guide and form the education in accordance and balance with students’ experiences, interests and the demands of musicianship as well as curricula. This way, education may become an adventure of knowledge for students as well as teachers

  • 12.
    Thorgersen, Ketil
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Teachers reflecting on aesthetics2007Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 9, s. 189-210Artikel i tidskrift (Refereegranskat)
  • 13.
    Wachenfeldt, Thomas von
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Liljas, Juvas Marianne
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Brändström, Sture
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Folkmusikundervisning på fiol och gitarr och dess bakgrund i den tidiga svenska spelmansrörelsen och andra folkmusikaliska traditioner2012Ingår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 14, s. 73-89Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    Folk music teaching on violin and guitar in relation to the early Swedish fiddler movement and other folk music traditionsHow folk musicians of today learn to play their instruments is an over-all question in this article. One violin lesson and one guitar lesson have been observed at Framnäs folk high school. Three research questions were formulated. What do the two lessons have in common? What are the differences? How could the folk music education of today be related to the Swedish fiddler movement in the 1920s and other folk music traditions? Theoretically, the interpretation of the results was based on the mimesis theory of Ricoeur. Two teachers and three students participated in the study. The results showed that the lessons were structured in a similar way and dominated by master apprenticeship teaching. The violin teacher showed a more respectful attitude towards the tradition compared to the guitar teacher. Great parts of the manifest ideology of the fiddler movement seems to have become concealed into a latent or frozen ideology in the formal folk music education of today. There seems to be no big differences between learning the music by way of visiting an older fiddler hundred years ago compared to the study of music today at a formal institution.

1 - 13 av 13
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  • de-DE
  • en-GB
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  • nn-NO
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  • html
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