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  • 1.
    Alerby, Eva
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Pedagogik språk och Ämnesdidaktik.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Learning music: embodied experience in the life-world2005Inngår i: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 13, nr 2, s. 177-185Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and explained in many different ways. The authors' intention in this article is to make visible and discuss how learning music can be understood and explained from a life-world approach. The authors define "life-world approach" as learning that is constituted by experiences that lead to some kind of change whose utmost purpose is--consciously or unconsciously--to create meaning and make managing the world possible. They contend that by taking the concept of experience and its meaning as being-in-the-world, learning music improves when pupils' experiences of a music lesson are incorporated with their earlier experiences of music.

  • 2.
    Alerby, Eva
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Pedagogik språk och Ämnesdidaktik.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Learning of music from a life: world approach2003Inngår i: International symposium on the philosophy of music education, 2003Konferansepaper (Fagfellevurdert)
  • 3.
    Almqvist, Cecilia Ferm
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Leijonhufvud, Susanna
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    The Music Teacher in the Nexus of Art Origin2017Inngår i: Finnish Journal of Music Education, ISSN 1239-3908, Vol. 20, nr 1, s. 45-58Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Artists are not born – they become. Artists are created by art, art that they have created. This twisted helix is conceptualised as ‘the origin of art’ by Heidegger. If an artist is to originate within musical educational settings, we claim that the musical educator has an inevitable role to play in this art origin. The problem of the investigation at hand are a question of how the educator can relate to this involvement; guiding the student toward the nexus of this origin without standing in the way for the originating of art nor to become a part of the origin of art as a part of the artist’s artistry. The complex phenomenon consisting of relations between art, student(s) and teacher are investigated, and in order to understand how teachers can organize their teaching towards an artistry achievement of their students, we seek to explore a number of phenomenological concepts; Heidegger’s notion of a work of art, the idea of Lifeworlds, musical intersubjectivity, responsibility in asymmetrical relationships and finally, dwelling. The conclusion are that teacher can relate to this situation in three different modes; (i) by enriching the Lifeworld of the student, (ii) by preparing for the unexpected to occur and (iii) direct the intentionality towards the nexus of artness originating instead of the artness itself.

  • 4.
    Andersson, Ninnie
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Bedömning av danskunnande: Uttryck, respons och värdering inom ett estetiskt ämne2015Inngår i: Kunskapande i dans: om estetiskt lärande och kommunikation, Stockholm: Liber utbildning , 2015, s. 171-187Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 5.
    Andersson, Ninnie
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    From a Dualistic Toward a Holistic View of Dance Knowledge: A Phenomenological Analysis of Syllabuses in Upper Secondary Schools in Sweden2015Inngår i: Journal of Dance Education, ISSN 1529-0824, E-ISSN 2158-074X, Vol. 15, nr 1, s. 1-11Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    DANCE AS...BACKGROUNDA PHENOMENOLOGICAL PERSPECTIVEPHENOMENOLOGICAL TEXT ANALYSISDANCE KNOWLEDGE AS EXPRESSED IN LPF94DANCE KNOWLEDGE AS IT APPEARS IN GY11DISCUSSION.This article examines how dance knowledge is seen through syllabuses in Swedish upper secondary schools. A starting point is life-world phenomenology. A phenomenological way of thinking allows that human beings are intersubjective, linked with and within the world, which influences the view of dance knowledge and how research is elaborated. A basic rule and starting point for research within phenomenology is to turn toward the things themselves and to be adherent. Dance knowledge constitutes the phenomenon studied, as revealed in dance syllabus steering documents. Spiegelberg’s philosophical method is used as a base for phenomenological text analysis. The study is limited to syllabuses from two different curricula, labeled by The Swedish National Agency for Education as Lpf94 and Gy11. The analysis results in two images of how the essence of dance knowledge is manifested. Finally, the different constitutions are discussed and related to a life-world phenomenological view of dance knowledge.Summer wind subsides, the freshly cut lawn is replaced with the springiness of the floor of my dance studio, and my books are replaced with lesson plans and syllabuses. It’s time for the term to start. I realize that I am involved in many different courses this year and, in addition, there are new syllabuses with new goals and knowledge requirements, but is dance still dance? I have read the new syllabuses in Gy11, and what I usually do in my teaching can be linked to the syllabuses’ content. So what is new, according to the new syllabuses that my students should face? Does it require anything else of me as a teacher than it did before? As I said, the courses start now and the time to familiarize myself with the documents is limited, so I let the dance conduct me in the jungle of words and letters.This article presents a study with the research focus on assessment within the specialist dance programs in upper secondary schools and specifically how dance knowledge is seen through syllabuses in Swedish upper secondary schools. Teachers in upper secondary schools have to relate to steering documents, which include laws and guidelines for school activity. The steering documents specify what students should learn, for example, in the form of goals and grading criteria. Therefore, formulations in the steering documents have consequences for the content and structure of what is taught. In the higher grades of the Swedish school system, the teacher evaluates the students and must know what knowledge needs to be assessed. The purpose of this study isto analyze and describe dance knowledge as a phenomenon based on how it appears and is seen by the researchers through syllabuses used in upper secondary schools in the period 2011–2012. The documents are studied with a phenomenological method of text analysis, and the results are related to a life-world phenomenological way of thinking about knowledge and learning.One challenge for teachers is to relate to goals and achievement-level criteria that encourage and value holistic learning processes and at the same time encourage feelings of “I can dance” among students. The challenge concerns taking into account different dimensions of dance knowledge and the variety of possible types of dance experience. To be able to relate actively to steering documents requires a prior understanding of how to express performed achievements. We ask ourselves this: How is dance knowledge expressed in current steering documents and what dimensions of dance knowledge are included?

  • 6.
    Andersson, Ninnie
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ferm-Almqvist, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    To offer dance as aesthetic experience and communication among people 65+2017Inngår i: NNMPF 2017, 2017Konferansepaper (Fagfellevurdert)
  • 7.
    Christophersen, Catharina
    et al.
    Bergen University College, Grieg Academy.
    Thorgersen, Cecilia Ferm
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    “I think the arts are as prominent as any subject”: A study of arts education in two Scandinavian schools2015Inngår i: InFormation: Nordic Journal of Art and Research, ISSN 1893-2479, E-ISSN 1893-2479, Vol. 4, nr 1, s. 3-18Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The arts seem to be under pressure in many educational systems, which is demonstrated by a general lack of recognition of aesthetic experience and learning, a lack of emphasis on the arts in education, and often also a lack of fully competent teachers. Despite the challenging situation facing the arts in schools in general, there are exceptions. Some schools do choose to focus on the arts. This article presents a ethnographic double case study that explored arts education practices in two such Scandinavian schools. The purpose was to systematically examine how education in the arts subjects was carried out in the schools, and how the actors perceived, articulated and legitimated the educational practices in the arts subjects. The results show that the educational leadership in the schools were of great importance. Further, the arts are integrated as a natural part of everyday school life, and both schools have taken a holistic approach to education, in which the arts are perceived to involve and contribute to learning in the broadest sense, as well as to the pupils’ social and personal growth. Also, the results show that arts education practices were carried out in a creative, but challenging tension between frames and freedom

  • 8.
    Ferm Almqvist, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Examensarbete inom ramen för ämneslärarprogrammet: ett rundabordssamtal med musik som case2016Konferansepaper (Annet vitenskapelig)
    Abstract [sv]

    I slutet av vårterminen 2016 examinerades de första ämneslärarna i musik inom ramen för de nya lärarutbildningarna som startades hösten 2011. Som avslutande kurs genomför studenterna ett självständigt arbete i musik på avancerad nivå, vilket vid de flesta institutioner med ämneslärarexamen i musik inneburit förändringar vad gäller tillexempel ämnesinriktning, ansvarsfördelning, och krav på handledarkompetens. I Vejbystrandsgruppen, som är ett nätverk med fokus på praktiknära musikpedagogisk forskning, ingår tolv medlemmar varav de flesta arbetar antingen med genomförande och examination av nämnda examensarbeteskurser, eller i (gymnasie- och kulturskole-)praktiken som kollegor till de blivande musiklärarna. Frågor som lyfts i nätverket, och som vi vill lyfta ytterligare med detta rundabordssamtal är: 1) Hur förbereds studenterna genom sin utbildning för att genomföra ett examensarbete på 30hp i musik på avancerad nivå? 2) Vilka kunskaper och erfarenheter har eller bör studenterna ha utvecklat under examensarbeteskursens gång som de tar med sig ut i arbetslivet? Teman som anknyter till dessa frågor är musikpedagogik i UVK- och inriktningkurser, praktiknära forskning, multimodala uttryck, och möjliga sätt att organisera examensarbeteskursen. Vi ser det som värdefullt att diskutera dessa frågor och teman med kollegor engagerade i lärarutbildning, såväl med estetisk ämnesinriktning, men också med fokus på hur estetiska ämnen kan finnas i förberedelser för och genomförandet av examensarbeteskurser. Efter en kort introduktion kommer några av Vejbystrandsgruppens medlemmar dela med sig av erfarenheter från respektive institution och därefter leder Cecilia Ferm Almqvist en diskussion kring bordet och ämnet.

     

  • 9.
    Ferm Almqvist, Cecilia
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Benedict, Cathy
    University of Western Ontario .
    Kanellopoulos, Panagiotis A.
    University of Thessaly.
    Pedagogical encounters in music: Thinking with Hannah Arendt2017Inngår i: European Journal of Philosophy in Arts Education, E-ISSN 2002-4665, Vol. 2, nr 1, s. 6-52Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    This paper employs aspects of Hannah Arendt’s thought to explore different but interrelated questions that haunt contemporary music education. We see the importance of a return to Arendt now more than ever as we find ourselves, three authors in three different countries, trying to contribute to democratic music education practices and to researching the conceptual base of such practices, in countries where technocratic approaches to policy development prevail. More specifically in this article we address the following questions: how can we re-think the political and creative dimensions of music education pedagogies in the face of recent educational policy trends? How can we go beyond linearity in our everyday educational encounters? How can we create forms of music education practice and research that induce a continuous interplay between acting and thinking? We pursue these questions through reference to three specific forms of music education practice: research seminars for PhD-students and senior researchers, pre-service music teacher education, and teaching music improvisation. In the first part of the paper, Cecilia Ferm-Almqvist elaborates upon how Hannah Arendt’s thinking influences our teaching, taking an on-going research seminar in music education as an example of a common place. In the second part, Cathy Benedict writes of ‘meeting’ Arendt and coming to an awareness of how Arendt can help us interrogate practices we have come to assume as ‘the right ones’. Seeking to create together with her students an epistemological space of appearance she challenges common teaching strategies that seem to ‘work’. Working within a teacher preparation program she comes to realize that students must also reflect on these moments so as to name what has occurred; thus they need to engage in acts of performative listening, setting aside their own desire and need to speak and be heard first. Finally, in the third part, Panagiotis (Panos) A. Kanellopoulos raises the complex issue of how we should respond to the current deluge of entrepreneurial approaches to creativity, its use value, and its role in education. Based on the proposition that acts of musical improvisation belong to the realm of action, Kanellopoulos revisits Arendt’s notion of conservatism with the aim of outlining a possible way through which contemporary improvisation pedagogy might be re-thought. Taken together these three sets of reflections serve to offer a framing of Arendt’s thinking for music educators in different contexts, showing how Arendt's ideas might serve as a fertile ground for thinking over our own teaching, our curricular decisions, and the choices we daily make over space and time that connect us through our distinctness.

  • 10.
    Ferm Almqvist, Cecilia
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ekberg, Niclas
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Pedagogik språk och Ämnesdidaktik.
    Leijonhufvud, Susanna
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Evolving musical Bildung in streaming media – Spotify as a case: Reflections upon a pilot study2018Inngår i: Vart är musiken på väg?: Perspektiv från forskning, bransch och politiker, 2018Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Evolving musical Bildung in streaming media – Spotify as a case: Reflections upon a pilot study

    Cecilia Ferm Almqvist, Niclas Ekberg & Susanna Leijonhufvud (Luleå tekniska universitet)

    The presentation will share experiences of and reflections upon a pilot study based on stimulatedrecall interviews aiming to explore the meaning and function of streaming media as a facilitatorof musical Bildung. It can be stated that new technology has the possibility to provideinformation and education for everyone. Today, most people can access the same informationfor "free", which is interesting from a democratic perspective. Access to music in relation to thenew, transformed music industry has been studied from technological and economical 11perspectives. Even listening habits and listening frequencies, have been investigated throughanalyses of Big Data. Hence, we stated a need to reflect upon and discuss the meaning andfunction of streamed music in people's lives, taking as a starting point the affordances andconstraints of the music streaming services. Using Spotify as a case, based on phenomenologicalperspectives of Bildung, a cross disciplinary project was created. In the presentation we want toanswer share preliminary results from a pilot stimulated interview study. A netnographic orientedapproach where chosen, given its focus on distinguishing meanings and human practice in variedcontexts, and combined with shadowing and individual interviews, supported by stimulatedrecall. The participants gathered their user activities that took place during a limited period oftime, and also in what ways these were shared and expressed in varied social media. Thestimulated recall interviews were documented through the use of a web based videoconferenceapplication, transcribed and subjected to qualitative content analysis. The paper presentation aimsto share and discuss the use of methods as well as preliminary results, which hopefully cancontribute with insights when it comes to how streamed music functions, and can be usedconsciously, within the field of music education.

  • 11.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    A living well of experience: teachers' views on their knowledgebase in musikdidaktik2008Inngår i: ECER 2008 Gothenburg: The European Conference on Educational Research in Gothenburg, Sweden : Theme: From Teaching to Learning?, 2008Konferansepaper (Annet vitenskapelig)
  • 12.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Academic growth as Common Sense: braveness, trust, participation and structure in a Music Education text seminar2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Hannah Arendt has influenced the engagements of scholars in every field. Herthinking on issues such as community building, feminist scholarship, anti-Semitism,epistemology, freedom and responsibility have been interpreted and readapted tocontexts much broader than Arendt might have imagined. For those philosophersspecifically grounded in issues of education Arendt has been particularly influentialand even controversial when it comes to education and the conservancy of such. Fromtheoretical contemplation to operationalization, Arendt continues to frame and guideconversations about agency, citizenship and moral and ethical responsibilities.Music educators have not been exempt from the lure and guidance of Arendt. We,however, face different sets of issues as we think through what it would mean tocreate the conditions for an Arendtian framing of action in musicing environments.Certainly one might note the same sets of issues and controversies played out in ourthinking, nonetheless as philosophers and educators we make, in this presentation, acommitment to consider those ways Arendt has influenced our teaching, ourcurricular decisions, and the choices we daily make over space and time that connectus through our distinctness.

  • 13.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Aesthetic communication in higher composition education: dimensions of awareness2008Inngår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 10, s. 167-184Artikkel i tidsskrift (Fagfellevurdert)
  • 14.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Arts subjects in two Scandinavian primary schools: Aspects of inclusion and special education from a life world phenomenological perspective2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This paper will present a part study of a research project, which explores arts education practices in two primary schools, one in Sweden and one in Norway. The large study aims to systematically examine how education in the arts subjects is carried out in the schools, and how the actors perceive, articulate and legitimate the educational practices in the arts subjects. The study was designed as an ethnographic double case study. This allowed for practical variations in the data collection process; while keeping the same object in view, i.e. the description of the schools and the arts education practices, the researchers could go about it differently to adjust to the daily life at each school. The schools were strategically selected based on the following criteria: They should be primary schools (including pupils age 6-13) with a clearly articulated commitment to the arts subjects. Two schools were selected: “Bayview” school in Norway (grades 1-7) and “Parkside” school in Sweden (grades F-6). In both schools, the subjects of music and arts and crafts for the 10-11-year-olds were selected as locus of the study.The methods selected for data collection were observation, individual interviews with teachers and school leaders, group interviews with pupils and teachers, and informal conversations with teachers, pupils, and school leaders, as well as the schools’ local policy and strategy documents. Data was collected during the school year 2013-2014. In addition, artefacts from the arts and crafts lessons were documented. We concentrated on activities in the music and arts and crafts classes, but also included interdisciplinary arts education activities, as well as incidents in everyday school life and community-directed activities. The retrieval of informed consent and the collection of data were carried out in accordance with Swedish and Norwegian official guidelines for research ethics, and have been recommended by the Norwegian Data Protection Official. In the first overarching analysis of the material regarding educational philosophies, aspects of inclusion and special needs showed to be crucial. Ideas related to special education were influenced how arts education was performed and how arts activities were offered and motivated. The schools’ holistic approach to arts education clearly implied an idea of inclusion: the arts are for all pupils. The concept of inclusion in schools is related to the concepts of integration and participation, and it was evident that these concepts impacted arts education in several ways: Both schools recognized that pupils communicate in different ways, and that the traditions of verbal expression associated with formal education do not suit all pupils. It was therefore considered essential in both schools to allow for various media of expression. Furthermore, all of the pupils were expected to participate and be involved. The concepts of integration and participation can thus be contradictory: Individual involvement in aesthetic learning processes - characterized by access, ownership, and belonging - may require small groups of pupils, explicit content and goals in the syllabuses for the current grade, and individual facilitation. Finally, the schools organize special arts activities for pupils with special needs, which imply an almost therapeutic view of arts education. To be able to grasp and explore the holistic holdings towards arts, education and inclusion, life-world-phenomenology, not at least based on the thoughts of Maurice Merleau-Ponty, could be functional and helpful.The paper will include a deeper analysis of the collected material from an inclusive and special needs perspective, where the philosophy of life-world-phenomenology will be used to illuminate relations between human beings, special needs, inclusion, and compulsory arts education.

  • 15.
    Ferm, Cecilia
    Department of Education, Uppsala University.
    Assessment of musical knowledge from a life-world-phenomnological perspective: The challenge of conceptualising and communication2011Inngår i: Hellenic Journal of Music, Education, and Culture, ISSN 1792-2518, Vol. 2, nr 3, s. 38-45Artikkel i tidsskrift (Fagfellevurdert)
  • 16.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Att erbjudas ett formspråk: en studie av hur barn med hörselnedsättning tillägnar sig dans som uttrycksmedel2005Inngår i: Nordisk tidskrift för hörsel- och dövundervisning NTD, ISSN 1651-6036, nr 3, s. 17-20Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 17. Ferm, Cecilia
    Att organisera för musiklärares professionella utveckling: om identitetsformation och olika praxisgemenskaper2012Inngår i: Högre Utbildning, ISSN 2000-7558, E-ISSN 2000-7558, Vol. 2, nr 1, s. 5-18Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    In 2007 the Swedish government decided to put resources in a project that offered active teachers to develop disciplinary and pedagogical competence through doctoral studies. Among ten others the Royal College of Music in Stockholm succeeded with their application and got the chance to educate 10 music teachers from the compulsory school towards a “half” PhD exam, that is called a Licentiate exam in Sweden. The teachers come from all of Sweden and are registered at one of five participating higher music education institutions. At the same time they work for 20 % in their ordinary schools. The common education is organized as courses and in virtual meeting rooms of different kinds. The motive for that is that the teachers are participating in several communities of practice at the same time, aiming to develop as researching practicing teachers in a broad way. In a developing research project the growing of the teachers – eg identity development and professional learning - is followed, guided by the following questions: What becomes the task for higher education when the teachers are taking part in a PhD education at the same time as they work, and are expected to go back to their ordinary work in schools? How can a research school be organized in as a developing learning system where individual experiences have possibility to be shared by others? What are the possibilities for good learning and identity development, and which are the challenges? How can learning trajectories between the research school, the research communities and the everyday practice seen as communities of practice, be encouraged? What authentic questions are engaging the teachers and how do they develop in the social interplay? The methods used are teachers’ continually encouraged written reflections and documented group discussions.

  • 18.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Betydelsen av fenomenets karaktär i fenomenologisk textanalys2006Konferansepaper (Annet vitenskapelig)
  • 19.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Cultural citizenship through musical dialogues: aspects of democracy, inclusion, equality and situated common sense2015Konferansepaper (Fagfellevurdert)
    Abstract [en]

    In the current Swedish society differences regarding who have the right to internalize and use artistic forms of expression are growing. Where a citizen is coming from, socially and geographically, more and more determines her tools for handling life. A variety of steering documents state that all Swedish youngsters should have the right to learn and use artistic forms of expression. At the same time the demands on equal assessment and grading are growing stronger in Sweden, which force teachers to put efforts on documentation and grading, instead of musical learning. The aim of the paper is to present and discuss possibilities for pupils to develop Cultural Citizenship through music in the school situation where different views of equality are competing. Are musical dialogues involving all pupils in Swedish schools? Can the pupils express their thoughts and ideas, and are they heard and listened to, do they all really get the chance to internalize music as a form of expression? The presentation will discuss to what extent it is possible to conduct democratic inclusive music education towards Cultural Citizenship in the current time of increasing documentation, assessment and grading demands. To come close to the phenomena of Cultural Citizenship in the music educational setting, and to offer theoretical tools for understanding and reflection, the philosophies of Hannah Arendt, and Simone de Beauvoir will

  • 20.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Den kulturelle skolesekken: estetiska upplevelser för alla?2013Konferansepaper (Fagfellevurdert)
  • 21.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Den levda kroppen i det musikpedagogiska rummet: två specialpedagogiska studier2005Rapport (Annet vitenskapelig)
    Abstract [sv]

    Tillkomsten av skriftens två musikpedagogiska texter grundar sig i en evig undran över människans förhållande till världen. En undran som här tar sin utgångspunkt i ett specialpedagogiskt förhållningssätt där individen har rätt att mötas och utvecklas utifrån sin förmåga. Texten är skriven i fenomenologisk anda vilket influerar såväl studiernas utgångspunkter, metoder som resultat. Studie 1Att erbjudas ett formspråk - en studie av hur barn med hörselnedsättning tillägnar sig dans som uttrycksmedel. En studie i aktionsforskningsanda.Frågeställningar; Hur kan elever med hörselnedsättning erbjudas dans som formspråk? Vad konstituerar barnens "jag kan"-känsla när det gäller dans? Vilka aspekter är viktiga i denna utvecklingsprocess? Vad blir speciellt i dessa sammanhang när ett av barnens sinnen är begränsat?Studie 2Att erbjudas musikalisk utveckling - erfarenheter av grundskolans musikundervisning bland ungdomar med förmåga och fallenhet för musik. En intervjustudie. Syftet med denna studie är att beskriva och försöka förstå erfarenhet av grundskolans musikundervisning hos några ungdomar med fallenhet och förmåga för musik. I ett längre perspektiv syftar studien till att utgöra en grund för utveckling av grundskolans musikundervisning med fokus på ovan nämnda barn och ungdomar. Texten belyser och diskuterar teman och aspekter av de fenomen studierna fokuserat. Kroppar i musikpedagogiska rum i specialpedagogisk belysning - delaktighet, medvetenhet, möjlighet.

  • 22.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Estetisk kommunikation för inkludering och delaktighet2014Inngår i: Inkludering: möjligheter och utmaningar, Lund: Studentlitteratur AB, 2014, s. 172-194Kapittel i bok, del av antologi (Annet vitenskapelig)
    Abstract [sv]

    Kapitlet kommer att ta allas rätt till estetiska uttryck ur ett holistiskt perspektiv som utgångspunkt. Rätten att delta i kommunikation och att göra skillnad, att höras och bli lyssnad på, oavsett förutsättningar och bakgrund kommer att relateras till möjligheter och utmaningar med estetiska uttrycksmedel. I grunden kommer Hannah Arendts tankar om demokrati samt en syn på inklusion baserad på livsvärldsfenomenologisk filosofi att finnas. Med ett sådant perspektiv som utgångspunkt kommer begreppen delaktighet, tillgänglighet, likvärdighet och gemenskap i fokus. Att delta i estetiska aktiviteter och lärandeprocesser kan med andra ord ses som en demokratisk rättighet. Alla människor har rätt att växa i rollen som utövare, mottagare och skapare av estetiska uttryck. I kommunikationen blir vi tydliga inför varandra och oss själva. Den holistiska approachen gör det möjligt att komma förbi de motsatsförhållanden som ofta dominerar specialpedagogiska sammanhang, till exempel dikotomiska förhållningssätt till inklusion och integration, det sociala kontra det individuella, eller individen kontra miljön. I stället kommer möjligheten att skapa mening genom att samspela och kommunicera i och med världen i dess estetiska form i centrum. Det är individens upplevelser och erfarenheter av musik, dans, bild, drama och andra uttrycksformer som räknas oavsett förutsättningar. Motivation och nyfikenhet, närvaro, tidigare erfarenheter, känslor och reflektion utgör utgångspunkten för vars och ens möjligheter till estetiska erfarenheter och därmed lärandeprocesser. I kapitlet relateras också till styrdokument med relevans för området. Syftet är att öppna för reflektion kring möjligheter för barn i behov av särskilt stöd att göra estetiska erfarenheter och delta i estetisk kommunikation inom ramen för skolan. Del 1 En fenomenologisk syn på demokrati, inklusion och lärandeDel 2 Estetisk kommunikation – allas rätt att delta och att göra skillnadDel 3 Estetisk kommunikation i praktiken – tips o trix i relation till styrdokument

  • 23.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Evolving Bildung in streaming media – Spotify as a case: A border crossing research project within the field of music2015Konferansepaper (Annet vitenskapelig)
    Abstract [en]

    It is clear that new technology has the possibility to provide information and education for everyone. Just a few decades ago only people with the financial means could invest in a good encyclopedia, record or art collection. Today, many people can access the same information for free, which is interesting from a democratic perspective. The new and transformed music industry with which digital distribution sets new preconditions for people’s access to music (and also other forms of art) has been studied from technological and economic perspectives, and also in relation to people’s listening behavior. Research has focused on streaming in relation to the music industry, file following, file distribution and aggregation, human-technology interaction, altered usage, the humanization of technology, broadband infrastructure, click frequency, distribution of specific music, playlists shared through social networks, and peer-to-peer streaming. Even listening habits and listening frequencies, such as causal links between music choice and people’s daily activities, or time of listening during the day, have been studied through analyses of Big Data. Now, however, we need to pose new questions to be able to understand the meaning and function of streamed music and other digital art expressions in people’s lives, and also how technological streaming companies interact with and relate to this. The aim of this project is to investigate possibilities for Bildung, given the current digital media situation, through studies of how Spotify is constructed, ideologically driven, and used.With its 40 million users, dominating the streaming media market, Spotify offers a unique possibility when it comes to Bildung within the Swedish context. In the present project Bildung is defined as a journey from the unknown to the known, in the field of tension between past and future, and between freedom and the unfree. Hence, Bildung can concern the broadening, as well as deepening of knowledge, socialisation, and existential experience. During the 60s, radio and TV media were used to promote Bildung, although directed towards a limited target group. Current technology makes it possible for streaming companies such as Spotify to offer individually adapted distribution through complex interplays between human beings, art, and technology. In a border-crossing project such as this, the breadth, range, and access, in interplay with technology at several levels, make Spotify as a case interesting to study from the perspective of Bildung. Leijonhufuvd holds that other factors than economical and technical influence how the mentioned interplay takes place and develops. The content of music files, for instance, cannot be separated in its relation to Spotify as aggregator, without the relationship with the music business, legal jurisdictions, or to connections between artists and fans, or other companies whose products are connected to the Spotify product. In addition, different ideologies govern what Spotify offers to whom, in what ways, and in which contexts. These ideologies, and also the idea of Bildung, influence how technology has to be used, and what economic resources that are needed. Moreover, there is a risk that human beings become passive receivers of arts expressions through participation in digital technology. From a democratic perspective it is important that the peril of co-dependency as a consequence of over-consumption is thoroughly researched.The present project aims to investigate the described complex interplay, from the overarching perspective of Bildung. In order to achieve this aim, a border-crossing interdisciplinary study is needed to provide access to and understand the multifaceted phenomena that Spotify presents as a case of streaming media in relation to Bildung. Consequently, technicians as well as researchers from both the humanities and social sciences can approach the proposed research problem. This interdisciplinary approach is necessary also in order to form a holistic understanding of the phenomenon being researched, and thus develop expert knowledge of streaming media and their relation to human beings, arts, and technology.The aim of the project is to explore the meaning and function of streaming media as a facilitator of Bildung, using Spotify as a case.

  • 24.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Facilitating for future colleagues: sharing of experiences in the field of music teacher practicum2012Inngår i: Educating music teachers in the new millennium: multiculturalism, professionalism and music teacher education in the contemporary society : a report from a research and development project, Oslo: Norwegian Academy of Music , 2012, s. 207-218Kapittel i bok, del av antologi (Fagfellevurdert)
  • 25.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Grundskolelevers lärande som estetisk kommunikation: aspekter av översättning och delaktighet2015Inngår i: Kunskapande i dans: om estetiskt lärande och kommunikation /, Stockholm: Liber utbildning , 2015, s. 70-88Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
  • 26.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Holistic quality learning in musikdidaktik from a student perspective2012Inngår i: Educating music teachers in the new millennium: multiculturalism, professionalism and music teacher education in the contemporary society : a report from a research and developmen project, Oslo: Norwegian Academy of Music , 2012, s. 163-186Kapittel i bok, del av antologi (Fagfellevurdert)
  • 27.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Learning among critical friends in the instrumental setting2014Inngår i: Update - University of South Carolina. Dept. of Music, ISSN 8755-1233, E-ISSN 1945-0109, Vol. 32, nr 2, s. 60-67Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The article is based on a phenomenological way of thinking about knowledge and learning and will treat the concepts of response and critical friends as ways of sharing experience in higher music education. The problem area I want to illuminate is how teachers, who educate musicians, can use and facilitate development of their students’ skills and abilities, when it comes to encouraging each other toward educational goals. The structure of the article is divided into three themes: the first theme concerns the one-to-one teaching tradition of higher music education; the second one will communicate a definition of what critical friendship is, together with some examples of how critical friendship has been used in musician education; and the third part will focus on the changing role of the teacher as well as suggest some implications for best collaborative and response-based practices.

  • 28.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Life-world-phenomenological ontology and epistemology in relation to music educational settings2006Inngår i: Nordic research in music education: yearbook, Oslo: Norges musikkhøgskole , 2006, s. 91-102Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 29.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Lived music - multi-dimensional musical experience: Implications for music education2013Inngår i: Philosophy Study, ISSN 2159-5313, E-ISSN 2159-5321, Vol. 3, nr 12, s. 1124-1134Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Within the field of music education, there is a need of approaching the holistic view of musical experience from different angles. Therefore, the aim of this article is to investigate the phenomenon of multi-dimensional musical experience from a life-world-phenomenological perspective and indicate its benefits to music education. The analysis is informed by Dufrenne’s philosophical writings regarding the phenomenology of aesthetic experience and also draws on Merleau-Ponty, Heidegger, interpreted by Benson and Ford, together with Schutz. These philosophers provide tools for understanding musical experience from a bodily, existential, and sociological perspective, and their complementary ideas about being and learning can be applied to musical experience in the first case and secondly its influences for music educational praxis. Firstly, the concept of lived music is defined through a discussion of dimensions of musical experience; the phenomenology of aesthetic experience; the use of several senses; the heard and the hear-able; apperception; and musical dwelling. Then, the sharing of experience in musical dwelling and its relevance to the concept of imagination is highlighted. I will also emphasize the importance of the view of human beings as holistic bodily subjects. Finally, the article includes a discussion regarding the implications of a life-world-phenomenological view of musical experience to music education.

  • 30.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Livsvärldsfenomenologi som grund för musikpedagogisk forskning: ontologi och metodologi2003Inngår i: Några nedslag i livsvärlden: teori och praktik i pedagogisk forskning, Luleå: Luleå tekniska universitet, 2003, s. 43-61Kapittel i bok, del av antologi (Annet vitenskapelig)
  • 31.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Lose control, listen to each-other, and create: understanding cooperative music making from a chiasmatic perspective2014Inngår i: Reconstruction: Studies in Contemporary Culture, ISSN 1547-4348, E-ISSN 1547-4348, Vol. 14, nr 2Artikkel i tidsskrift (Fagfellevurdert)
  • 32.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Meaning making in Swedish compulsory schools: What do we know and what do we need to investigate further? SYMPOSIUM2013Konferansepaper (Fagfellevurdert)
    Abstract [en]

    This symposium aims to offer a picture of how and from what perspectives musical meaning making in Swedish compulsory schools, has been and currently is being investigated. The last years two educational reforms with strong influence on the subject music in compulsory school have been launched: A new curriculum with syllabuses and a new grading system, as well as a new teacher education program are currently being implemented. The expectations of what pupils in schools should be able to handle in the subject music, have been more clarified, specified, and subject specific, while at the same time few student are recruited for music teacher training programmes for the years 1-9. Hence, music education research that focus how musical meaning making in this new setting is taking place, what the steering documents could imply, and what the conditions for musical meaning making look like is important to pay attention to. By mapping what we already know, and what is currently investigated, we can also get information about what should and could be investigated in the future. Musical learners experience music as listeners, performers and composers in different styles and contexts. Through meaning making in the musical world pupils should reach a feeling of I can express myself through music, I can compose, I can make music, and I can listen to and experience music. In such processes pupils are expected to experience and learn to handle, for example, form, texture, timbre, pitch, linearity, harmonies, rhythms, and movement, in different styles and contexts. The combination of musical parameters, how they sound as one, constitutes music, or a phenomenon possible to experience as music. Hence, music is not constituted solely by the sum of the musical parameters, but also by the gaps between them; gaps which make meaning-making possible. Through interaction within musical styles and social contexts music show itself as a whole, where acoustic, structural, bodily, tensional, emotional, and existential dimensions of meaning-making are offered.In earlier studies I have investigated how musical meaning making is made possible in Swedish schools from a teachers perspective, and currently I am, together with Olle Zandén, investigating how the implementation of the new grading system influence possibilities for musical learning, as well as to what extent the new syllabuses offers holistic musical experience, partly together with Susanna Leijonhufvud. In the introduction I will briefly mention and attempt to map earlier published research connected to the theme of the symposium by Börje Stålhammar, Ralf Sandberg, Claes Ericsson, and Monica Lindgren, together with more recent studies by Anniqa Lagercrantz, Mikael Persson, Katharina Dahlbäck, Manfred Scheid and Tommy Strandberg. However , the symposium will primarily present recent studies by the researchers themselves that approach musical meaning making in the compulsory schools from different angels and theoretical perspectives . The short presentations will be summarized and discussed by Catharina Christophersen. In the following the focus of the participating researchers’ work is presented.

  • 33.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Musikdidaktik – a central subject in music teacher education!?: A question of reflected profession-directed learning within and between relational communicative arenas. Contribution to Symposium2013Konferansepaper (Fagfellevurdert)
    Abstract [sv]

    Musikdidaktik is a central part of music teacher education and addresses the practical, theoretical and philosophical perspectives that inform music teaching and learning. Its roots are in the classical idea of didactics set out by Rathke and Comenius, and it has been applied to teacher education since it concerns teaching and learning in organized settings, such as schools.In one of the part-projects included in the overarching MUPP-study (Brøske Danielsen & Johansen, ed. 2012), music teacher educators, practicum supervisors, and student music teachers from the Nordic countries were interviewed about educational quality in Musikdidaktik. Specifically, the interviews addressed le¬arning, identity, and choice of content. The interview material were analysed from different perspectives, and different theoretical angels, which three chapters of Educating Music Teachers in the New Millennium (ibid.) written by Ferm Thorgersen and Johansen illustrate. The perceptions of quality among the different groups of agents have been investigated, as well as the relations between the subject musikdidaktik and the practicum field. In my contribution to the symposium I will slightly present the answers to the following questions: When, where and how does holistic quality learning of Musikdidaktik take place?; What constitute the enabling and disabling factors in student music teachers’ learning trajectories between communities of practice within the institution and in the remote practicum?; What function, task, and aim of practicum supervising in music teacher education becomes visible through supervisors’ perceptions and experiences as related to teaching and learning quality? Summing up I will draw some lines from the general answers, mainly concerning reflective profession-directed learning within and between relational and communicative arenas, and indicate some future challenges for music teacher education.

  • 34.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Openness and awareness: a phenomenological study of music teaching and learning interaction2005Inngår i: Proceedings of the Fourth International Research In Music Education Conference (RIME), Exeter: University of Exeter Press, 2005Konferansepaper (Annet vitenskapelig)
  • 35.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Openness and awareness: roles and demands of music teachers2006Inngår i: Music Education Research, ISSN 1461-3808, E-ISSN 1469-9893, Vol. 8, nr 2, s. 237-250Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    The aim of this article is to present and discuss the background to and the result of my thesis Openness and awareness-a phenomenological study of music teaching and learning interaction , which studies music teachers in Swedish ordinary schools teaching pupils aged from 10 to 12. The aim of the study was to describe, analyse and try to understand music teaching and learning interactions between teachers and pupils in music lessons in Years 4-6 of compulsory school. The focus was on the teacher's words, actions and reflections. In what ways do teachers interact with pupils in musical learning processes? What aspects of teaching and learning interactions are important when the aim is to offer the pupils, musical experience? I present the results from my methodological standpoints, which belong to a life-world-phenomenological way of thinking. This implies that the world is around us and in us, we are in the world, but experience it in different ways depending on our earlier experiences. I present my view of learning music, which among other things emphasises that learning is not constituted in a vacuum, but is instead found in a complex context. These presumptions made me choose observation and written reflections as methods to capture the music teaching and learning interactions. The answers to the research questions, themes and aspects of music teaching and learning interactions, are presented in two separate parts. The first part is based on the observations with themes focusing on how the teachers related to the incorporated musical knowledge of the pupils; in which ways were the teachers open to the initiatives of the pupils; how musical experience was made possible; how the acts of the pupils were handled; and finally, which symbols were used in the interactions. The second part is based on the teachers' reflections and is presented in two themes; conditions that influence the quality of the interaction; and balance. I make clear how the themes relate to each other, and describe the phenomenon of teaching and learning interaction as a whole. I also attempt to illuminate the roles and demands of the teachers through a close look at one of the themes: making further musical experience possible .

  • 36.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Peer assessment in higher education: teatchers' perceptions of student involvement2007Inngår i: ECTS and assesment in higher education: Conference proceedings. EM 57 / [ed] Kent Löfgren, Umeå universitet. Enheten för pedagogiska mätningar , 2007, s. 49-58Konferansepaper (Annet vitenskapelig)
  • 37.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Phenomenological ontology and epistemology in relation to music educational settings2006Inngår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 8, s. 91-102Artikkel i tidsskrift (Fagfellevurdert)
  • 38. Ferm, Cecilia
    Playing to teach music: embodiment and identity-making in musikdidaktik2008Inngår i: Music Education Research, ISSN 1461-3808, E-ISSN 1469-9893, Vol. 10, nr 3, s. 361-372Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Musikdidaktik is a central subject within music teacher training in the Nordic countries. In musikdidaktik acts of teaching (music) and learning (musikdidaktik) constitute possibilities for identity formation. The objective of learning is closely connected to their future profession, in which musical and educational competences are blended, combined and used in different ways. The study presented in this article was based on a phenomenological way of thinking about education as an arena for identity development. Students' identity formation in relation to their education in musikdidaktik was investigated. In an interview study where seven musikdidaktik professors and three groups of music teacher trainees participated, the following questions were asked from a phenomenological perspective: How can education in musikdidaktik function as an arena for identity formation? What constitutes processes of music teacher trainees' identity formation? What connections can be seen between ways of teaching musikdidaktik and identity? What competences (are expected to) develop during the processes and how are they connected to employability? The results show that trainee identity formation processes can be communicated. It became evident that awareness of and reflections upon one's own experiences, learning, goals and identity development are important issues in the trainees' identity formation processes. That the trainees had the possibilities to try to act as music teachers proved to be important. When it comes to the challenges for the professor, they are primarily concerned with handling situations in a way that encourages the growth of the trainees, but also challenges them to reflect; and to be a role model, but also to offer them meetings with different role models. The competences that the trainees develop are combined in different ways within the trainees' identity formation. Musikdidaktik constitutes an arena where the students should have the opportunity to be in the world as music teachers through playing to teach music.

  • 39.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Researching dance for hard-of-hearing children from a life world approach2005Inngår i: Researching Different Approaches to Music Education Practice with Young Children, European Network for Music Educators and Researchers of Young Children, MERYC , 2005, s. 26-31Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The aim with this paper is to make clear and discuss the research approach as well as the ontological and methodological perspective of a project which focuses hard of hearing children in a dance educational setting. The goal with the project is to offer the children participation in dance activities, let them use and become aware about their bodies, and furthermore communicate and strengthen their self-esteem. One further thought is that an improved communication skill, in a longer perspective, can inspire to use the spoken language. I put questions as; in what ways do the children participate in the activities? What space does the interest and initiatives of the children in the activities get? How do they move and communicate in the activities? The dance educational setting is constituted by the children, the teachers, the room, the music and the relations between these parts. My starting-point is that you cannot separate any of those parts and the situation is also dependent on time and the participants' arlier experiences. I have a life-world-phenomenological view on research, knowledge as well as communication. This project has an action research approach which includes video observation and written communication. I will make clear and discuss the consequences of this. Finally I take the opportunity to discuss the following points; what aspects are important in a further development of this study? Suggestions for important problems and possibilities in further work with analysis of the material. Consequences of approach, research-method and startingpoints?

  • 40.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    The music classroom – a local place and a public space: Democratic Education Towards Music as a Language of Us All2015Inngår i: Svensk tidskrift för musikforskning, ISSN 1653-9672, Vol. 97, s. 61-73Artikkel i tidsskrift (Fagfellevurdert)
    Abstract [en]

    Several youngsters need and use art-based expressions to communicate their feelings, experiences and ideas. To be able to handle different forms of expressions is a human right. But even if this is something that we all can agree upon, several questions have to be formulated. The aim of the paper is to present the message of democracy in current curricula, and investigate Hannah Arendt’s thoughts about democracy as a guideline for organizing of music education in Swedish schools. What challenges and priorities do music educators achieve from Hannah Arendt’s writings in this respect? Arendt underlines that human beings become clear to them selves and to others through interaction in the social life. In those interactive activities we need different forms of languages to try, modify, and create ideas and insights. Questions that have to be elaborated upon when using Arendt’s view of democracy are for example; Who is expected to make their voices heard, who is seen as a possible participant, and who has access to the specific areas?

  • 41.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    The music classroom: a local place and a public space; Hannah Arendt’s thinking about democracy as a fundament for educational activities that offer music as a language of us all2013Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Several youngsters need and use art-based expressions to communicate their feelings, experiences and ideas. To be able to handle different forms of expressions is a human right. But even if this is something that we all can agree upon, several questions have to be formulated. The aim of the paper is to present the message of democracy in current curricula, and investigate Hannah Arendt’s thoughts about democracy as a guideline for organizing of music education in Swedish schools. What challenges and priorities do music educators achieve from Hannah Arendt’s writings in this respect? A crucial starting point in Arendt’s thinking was the balance between Vita Activa (the action life), consisting of work, production and action, and Vita Contemplativa (the philosophical thinking life) consisting of different forms of thinking. Arendt sought to see and make connections between the two possible. She meant that Vita Activa takes place in the world wherein we are born, through speech and action, where actors and audience depend on each other. In the social context we become clear to our selves and to others through interaction. In those interactive activities we need different forms of languages to try, modify, and create ideas and insights. But to reach common sense, we also need to step back, Arendt says, and think, imagine, value and reflect. In the paper the thoughts are used and connected to contexts, which are constituted by communication in and through music. Questions that have to be elaborated upon when using Arendt’s view of democracy are for example; Who is expected to make their voices heard, who is seen as a possible participant, and who has access to the specific areas? The paper discuss how and to what extent Arendt’s thoughts about democracy can be used to put light on how Swedish schools, based on expressions in the current curricula, can offer Music as a language for all.

  • 42.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    The perils, possibilities and practices of assessment in music education2011Konferansepaper (Fagfellevurdert)
    Abstract [en]

    The tension between assessment and music teaching and learning within formal schooling has been an enduring educational dilemma. The ‘possibilities’ of assessment in music education is further agitated by recent neo-liberalistic accountability movements and standards agendas in the Western world. The question is how assessment impact on classroom practices. We ask ourselves how students' expressed 'creativity' and musical learning can be responded upon and graded, and what practices - including formative feedback processes - that encourage students’ musical learning. The symposium takes a holistic view of musical learning and knowledge as a starting point, and aims at discussing and reflecting upon possibilities and challenges with assessment in schools. Holistic or multi-dimensional musical learning can be defined as structural, tensional, acoustical, bodily, emotional and existential, which in turn can be expressed as skills, analytic knowledge, creativity, expressivity and music making. One issue that will be treated uniformly across the presentations at the symposium is what constitutes the formulation of achievement criteria that are connected to practice, that are possible to communicate and at the same time describe relevant qualities of expressed musical knowledge. Another issue is how teachers use criteria in formative assessment, and how students’ learning and creativity is encouraged, rather than limited. A third one is how achievement criteria can help students to reflect upon and assess their own musical learning and knowledge. Related to those issues are questions about the language used in formulation and communication of achievement criteria, which in turn is connected to imaginations and expectations among teachers. How can collaborative aspects of musical knowledge be taken into account, and in what ways can holistic musical learning be expressed in action by students and assessed by teachers? Last but not least questions of quality and equality relevant to reflect upon, which also will be done. The symposium will be dialogical and interactive in nature with audience insights shared on key thematic issues.   We wish to use ”a whole morning”. First part: Introduction 10 min, presentation 1: 12 min, pres 2: 12 min, pres 3: 12 min, pres 4: 12 min, pres 5: 12 min. First summary, and a couple of questions 10 min. (Coffe break) Second part, pres 6: 12 min, pres 7: 12 min, pres 8: 12 min, pres 9: 12 min, pres 10: 12 min, dialogical summary 10-15 min, discussion the rest of the time.   Each speaker includes questions, or another kind of ”bridge” to the next speaker in his/her presentation to keep the read thread throughout the presentations, which we think also will engage the audience.   Introduction: Assessment of expressed musical learning form a holistic point of view – the weight and danger of conceptualisation. Cecilia Ferm Thorgersen, Associate Professor in Music Education, School of Music in Piteå, Luleå University of Technology, SWEDEN (10 min)   What can various approaches to the assessment of music learning tell us about our values and philosophical strands when seen in a historical perspective? Geir Johansen, Professor in Music Education, Norwegian Academy of Music, Oslo, NORWAY (12min).   Revisioning assessment of music creativities in educational settings: From practice to theory. Pamela Burnard, Associate professor, Cambridge University, GB, (12 min).   Teachers as artists and artists as teachers. Meeting the challenge of artistic assessment in music education program: a pragmatist suggestion. Lauri Väkevä, Professor, Sibelius Academy, Helsinki, FINLAND.   Equal assessment of musical knowledge in relation of creativity and holistic musical learning, Fredrik Påhlsson, PhD-student, Royal College of Music in Stockholm, SWEDEN. (12 min)   Students' use of criterion based, formative assessment in lower secondary schools.  Jon-Helge Sætre, Faculty of Education and International Studies, Oslo University College, Oslo, NORWAY. (12min)   The dimension of Self Concept in assessment of musical learning in primary schools. Joakim Hellgren, PhD-student, School of Music, Luleå University of Technology, SWEDEN (12 min).   Music teachers reflections upon new classroom assessment practices in Norwegian lower secondary school. John Vinge, PhD-student, Norwegian Academy of Music, Oslo/ Hedmark University Collage NORWAY (12 min)   Some reflections upon formulations of achievement criteria for assessment in music within a Swedish national curriculum reform. Annika Falthin, PhD-student, Royal College of Music in Stockholm, SWEDEN: (12 min)   From conceptions of quality to criteria and back again: In search for a professional didactical discourse on qualities in popular music. Olle Zandén, Assistant professor, Stockholm, University, SWEDEN. (12 min).   Summing up – challenges and possibilities in dialogue Cecilia and Pamela (10-15 min)   Discussion 15 min.    

  • 43.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    To learn an aesthetic language: a study of how hard of hearing children internalise dance2007Inngår i: Australian Online Journal of Arts Education, ISSN 1833-1505, Vol. 3, nr 2Artikkel i tidsskrift (Fagfellevurdert)
  • 44.
    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 education2013Konferansepaper (Fagfellevurdert)
    Abstract [en]

    Earlier studies of educational quality in music teacher training 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 students 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 Maruce-Merlau-Ponty. Expressed by the Greek letter χ (chi), chiasm means a crisscrossing of the perceiving and the perceived, self and other, language and meaning. Chiasm also signifies an inter-twining, an intersection, reversibility, or the process of flowing of phenomena one into another. Chiasm is a contextual encounter of individuals and groups who, by taking action together, can change and transform their life-worlds. 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 paper 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 can contribute with knowledge about how individuals and groups embody knowledge about their musical teaching and learning life-worlds, whether and how they exercise the power of self-reflective thinking and apply it to solve problems, to challenge existing assumptions, and to create new spaces and conditions for change, through action.

  • 45.
    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 education2015Inngår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 15, s. 9-24Artikkel i tidsskrift (Fagfellevurdert)
    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

  • 46.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ville och musikundervisingen2011Inngår i: Grundskoletidningen, ISSN 1652-7844, nr 2Artikkel i tidsskrift (Annet (populærvitenskap, debatt, mm))
  • 47.
    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 åldrar2009Inngår i: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 11, s. 161-177Artikkel i tidsskrift (Fagfellevurdert)
    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.

  • 48.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Öppenhet och medvetenhet: en fenomenologisk studie av musikdidaktisk interaktion2004Doktoravhandling, med artikler (Annet vitenskapelig)
    Abstract [en]

    My interest in the problem I have chosen has grown from my practise as a music teacher in Swedish compulsory schools. My ontological and epistemological standpoints belong to a life-world-phenomenological way of thinking. By this I mean that the world is around us and in us, we are in the world, but experience it in different ways from our earlier experiences. An assumption in the study is that method and theory can hardly be separated from each other. When it comes to my view on teaching and learning, I have a holistic perspective. I don’t think you can separate content and methods. I think that the development of an individuals’ music experience and music knowledge needs to be in focus. With that foundation of understanding as a startingpoint, I believe that learning is constituted by our experiences in the world. I will also stress that learning does not arise nor is it formed in a vacuum, it is instead found in a complex context. The aim of the study is to describe, analyse and try to understand music teaching and learning interaction between teachers and pupils at music lessons in years 4-6 of compulsory school. There is a focus on the teacher’s words, actions and reflections. In what ways do teachers interact with pupils in musical learning processes? What aspects of the teaching and learning interaction are important when the aim is to offer the pupils, musical experience? How do the teachers reflect upon the interaction? According to a phenomenological way of looking at the world, the mean is to find a method that makes it possible to understand individuals and social groups from the lived relations they have to their environments, the world they live and participate in. The purpose is not solely to enlighten the things that already exist, but to see new connections between what is already existing. I followed three teachers for one semester, observed them and let them reflect via e-mail on the notes I wrote them every week. The generated written material was analysed by a method inspired by phenomenology. The results are presented in two parts. The first part is based on the observations. It is presented as themes and aspects that through the analysis seemed to be important and represent different sides of the phenomenon. The themes focus the following; How the teachers related to the incorporated musical knowledge of the pupils, in which way the teachers were open to the initiatives of the pupils, how musical experience was made possible, how the acts of the pupils were handled and finally which symbols were used in the interaction. The second part is based on the teachers’ reflections and is presented in two themes; Conditions that influence the quality of the interaction, and balance. Each theme is commented, related to practise and earlier research, and put into a broader context. In the last chapter some pervading characteristics such as inter-subjective creation of meaning, and distribution of responsibility are discussed.

  • 49.
    Ferm, Cecilia
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Alerby, Eva
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Pedagogik språk och Ämnesdidaktik.
    Dance education: a question of embodied knowledge2004Konferansepaper (Annet vitenskapelig)
  • 50.
    Ferm, Cecilia
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Alerby, Eva
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Pedagogik språk och Ämnesdidaktik.
    Konsten att dansa eller dansandets konst: dans som förkroppsligad kunskap2006Inngår i: Lärandets konst: betraktelser av estetiska dimensioner i lärandet, Lund: Studentlitteratur AB, 2006, s. 157-168Kapittel i bok, del av antologi (Annet (populærvitenskap, debatt, mm))
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