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  • 101.
    Ericsson, Hans-Ola
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    The Övertorneå project: the revival of the organ of the German Church of Stockholm1998Ingår i: Orgel international : Zeitschrift für Orgelbau und Orgelmusik, ISSN 1433-6464, nr 4, s. 38-44Artikel i tidskrift (Övrigt vetenskapligt)
  • 102.
    Ericsson, Hans-Ola
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Tyska kyrkans orgel återuppstår1995Ingår i: Tidig Musik, ISSN 1400-5123, nr 2, s. 22-26Artikel i tidskrift (Övrigt vetenskapligt)
  • 103.
    Ericsson, Hans-Ola
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Övertorneåprojektet: en komplex idé tar form1992Ingår i: Kulturmiljövård, ISSN 1100-4800, nr 6, s. 44-48Artikel i tidskrift (Övrigt vetenskapligt)
  • 104.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Bångstyrig Bach i Berlin1996Ingår i: Tidig Musik, ISSN 1400-5123, nr 1, s. 12-17Artikel i tidskrift (Övrigt vetenskapligt)
  • 105.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    En musikalisk lärprocess på 1700-talet: en studie av J H Romans ornamentskisser till en violinsonat av A Corelli2010Ingår i: Music, education and innovation: Festschrift for Sture Brändström, Luleå: Luleå tekniska universitet, 2010, s. 225-241Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 106.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Hur många var de egentligen1997Ingår i: Tidig Musik, ISSN 1400-5123, nr 2, s. 24-26Artikel i tidskrift (Övrigt vetenskapligt)
  • 107.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Kirnbergers harmonilära: kan de va nåt?1996Ingår i: Tidig Musik, ISSN 1400-5123, nr 4, s. 15-19Artikel i tidskrift (Övrigt vetenskapligt)
  • 108.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Körtonsättaren Jan Sandström - ett samtal kring röst, klang och ärlighet2007Ingår i: "… kunn’ I dock så wackert låta …": Uppsala Akademiska Kammarkör 50 år, Uppsala: Uppsala universitet, 2007Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 109.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Never before heard: Unexplored sounds in time and space2011Konferensbidrag (Refereegranskat)
    Abstract [en]

    This project as a whole focuses around the construction of a new innovative organ in a concert hall in the very north of Sweden, in Piteå. The concert hall in itself is a kind of laboratory with it its adjustable acoustics through the ceiling that as a whole can be adjusted up or down approximately 8 meters. In its highest position the reverb of the hall is approximately 2,8 seconds – which can be considered rather perfect for a huge concert organ with 89 sounding registers but with 215 stops.The research project seeks to explore, through artistic practice and reflection, the tonal world with its possibilities and limitations of the organ. The research is conducted along three parallel tracks: 1. Explorative studies of the harmonics division. 2. Explorative studies of the influence and use of latency when playing the instrument over Internet. 3. Musical responses to the voicing refinement process. The project will move from an exploration of individual elements within each of the research tracks, towards more integrative approaches within the tracks and, finally, a synthesis covering all three tracks. The synthesis will be achieved through in-depth systematic work with compositions and improvisation. This part of the project will bring the innovative aspects in tune with the more traditional parts of the organ, producing genuine artistic results from the entire research project. Research results will be published in sounding and written formats

  • 110.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Nya och gamla arenor2002Ingår i: Musikbiblioteksnytt, ISSN 0283-104X, nr 1, s. 3-6Artikel i tidskrift (Övrigt vetenskapligt)
  • 111.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Tönu Puu1997Ingår i: Tidig Musik, ISSN 1400-5123, nr 1, s. 8-10Artikel i tidskrift (Övrigt vetenskapligt)
  • 112.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    "...världens skridskotystnad före Bach": historiskt informerad uppförandepraxis ur ett kontextuellt musikontologiskt perspektiv, belyst genom en fallstudie av Sonat i E-dur, BWV 1035, av J S Bach2008Doktorsavhandling, sammanläggning (Övrigt vetenskapligt)
    Abstract [sv]

    Syftet med föreliggande studie är att studera så kallad historiskt informerad uppförandepraxis, och därmed även min egen musikaliska inriktning, ur ett generellt musikfilosofiskt perspektiv. De olika begrepp och frågeställningar som kan sägas dominera diskussionerna kring denna framförandetradition är verk, autenticitet, intention och interpretation. I fokus för studien befinner sig musik inom den västerländska konstmusiktraditionen inom vilken framförandet av musik, den klingande realiseringen av ett noterat verk, är central. Därför står framförandet, i relation till ovan nämnda begrepp, i fokus. Detta mer övergripande tema leder fram till följande frågeställningar: Vilka faktorer kan betraktas som avgörande för att ett framförande kan betraktas som ett historiskt informerat framförande? Hur kan dessa faktorer identifieras? Innebär det att det finns instruktioner i musiken som jag som musiker måste följa? Hur ser min konstnärliga frihet ut? Var finner jag den? Vägen till tentativa svar på dessa frågor har gått via teoretiska resonemang, och applicering av teorin i såväl metod och analys som interpretation. Studiens teoretiska perspektiv och överbyggnad baseras på kontextuell musikontologi. Det vetenskapsteoretiska ramverket, utifrån denna ontologiska grund, formuleras inom ramen för den socialkonstruktionistiska tanketraditionen. Genom detta perspektiv kan framförandet av verket identifieras som en omistlig del av verket, vilket också innebär att enbart notationen inte är tillräcklig för att definiera verket. Vidare innebär teorins betoning av kontextens betydelse att ett framförande för att vara ett framförande av verket, medvetet måste förhålla sig till verkets kontext. Detta perspektiv fördjupas i studien genom att betona den socio-kulturella kontextens betydelse i ett större perspektiv, såväl den historiska som den nutida, för framförandet. För verket innebär det att dess identitet är föränderlig, då de olika framföranden som är en del av verket inte kan vara identiska. Denna syn baseras på socialkonstruktivistiska teorier om kunskapsbyggande. Med utgångspunkt i kontextuell musikontologi formuleras också en strategi för att analysera och undersöka ett verk utifrån notationen, instrumentationen och uppförandepraktiska konventioner, tre delar av verket som griper in i varandra och som konstateras vara omistliga att förhålla sig till vid ett framförande. Studiens teoretiska del åtföljs av en fallstudie där en sonat av Johann Sebastian Bach studeras utifrån det teoretiska perspektivet. Fallstudien består av en undersökande del och en tillämpande interpretativ del. För den undersökande, och i viss mån deskriptiva delen står verkets notation hela tiden i fokus, med tyngdpunkt på notationens socio-kulturella kontext. Det avslutande kapitlet resulterar, genom de klingande gestaltningarna av sonaten, i en sammanfattning av studien som helhet. Avhandlingens slutkapitel utgörs även av en CD. Den kan beställas genom registrator på Institutionen för musik och medier vid Luleå tekniska universitet. E-post: muh-registrator(at)ltu.se

  • 113.
    Ericsson, Lena Weman
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Övertorneåprojektet: om dokumentationen av orgeln i Övertorneå och rekonstruktionen av 1684 års orgel i Tyska kyrkan1997Samlingsverk (redaktörskap) (Övrigt vetenskapligt)
  • 114.
    Ericsson, Lena Weman
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Bergkvist, Margaretha
    Tidigt i Malmö1995Ingår i: Tidig Musik, ISSN 1400-5123, nr 3, s. 21-23Artikel i tidskrift (Övrigt vetenskapligt)
  • 115.
    Ericsson, Lena Weman
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ericsson, Hans-Ola
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Anrik orgel i ny tappning: Övertorneåprojektet1998Ingår i: Kyrkomusikernas Tidning, ISSN 0281-286X, Vol. 64, nr 2, s. 8-9, 12-14Artikel i tidskrift (Övrigt vetenskapligt)
  • 116.
    Ericsson, Lena Weman
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ericsson, Hans-Ola
    Övertorneåprojektet1998Ingår i: Ad Familiares, ISSN 1400-3899, nr 2, s. 31-40Artikel i tidskrift (Övrigt vetenskapligt)
  • 117.
    Ericsson, Lena Weman
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ericsson, Hans-Ola
    Övertorneåprojektet, del 3: restaureringen av orgeln i Övertorneå1999Ingår i: Orgelforum, ISSN 0280-0047, Vol. 21, nr 3, s. 106-113Artikel i tidskrift (Övrigt vetenskapligt)
  • 118.
    Ericsson, Lena Weman
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Ericsson, Hans-Ola
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Övertorneåprojektet: orgeln i Tyska kyrkan återuppstår1997Ingår i: Orgelforum, ISSN 0280-0047, Vol. 19, nr 4, s. 5-22Artikel i tidskrift (Refereegranskat)
  • 119.
    Eriksson, Jan-Olof
    et al.
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Johansson, Kjell-Gunnar
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Norén, Anders
    Gitarr.nu: del 22012Bok (Övrig (populärvetenskap, debatt, mm))
    Abstract [sv]

    Gitarr.nu : del 2 - Ett modernt läromedel med musik från olika genrer; noter, TAB (tabulatur) och CD-skiva med samtliga låtar.På hemsidan www.gitarr.nu finns tips och kompletteringar till boken

  • 120.
    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 case2016Konferensbidrag (Övrigt vetenskapligt)
    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.

     

  • 121.
    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 Arendt2017Ingår i: European Journal of Philosophy in Arts Education, E-ISSN 2002-4665, Vol. 2, nr 1, s. 6-52Artikel i tidskrift (Refereegranskat)
    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.

  • 122.
    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 study2018Ingår i: Vart är musiken på väg?: Perspektiv från forskning, bransch och politiker, 2018Konferensbidrag (Refereegranskat)
    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.

  • 123.
    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 musikdidaktik2008Ingår i: ECER 2008 Gothenburg: The European Conference on Educational Research in Gothenburg, Sweden : Theme: From Teaching to Learning?, 2008Konferensbidrag (Övrigt vetenskapligt)
  • 124.
    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 seminar2015Konferensbidrag (Refereegranskat)
    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.

  • 125.
    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)
  • 126.
    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 perspective2015Konferensbidrag (Refereegranskat)
    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.

  • 127.
    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 uttrycksmedel2005Ingår i: Nordisk tidskrift för hörsel- och dövundervisning NTD, ISSN 1651-6036, nr 3, s. 17-20Artikel i tidskrift (Övrig (populärvetenskap, debatt, mm))
  • 128.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Betydelsen av fenomenets karaktär i fenomenologisk textanalys2006Konferensbidrag (Övrigt vetenskapligt)
  • 129.
    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 sense2015Konferensbidrag (Refereegranskat)
    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

  • 130.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Den kulturelle skolesekken: estetiska upplevelser för alla?2013Konferensbidrag (Refereegranskat)
  • 131.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Den levda kroppen i det musikpedagogiska rummet: två specialpedagogiska studier2005Rapport (Övrigt vetenskapligt)
    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.

  • 132.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Estetisk kommunikation för inkludering och delaktighet2014Ingår i: Inkludering: möjligheter och utmaningar, Lund: Studentlitteratur AB, 2014, s. 172-194Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    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

  • 133.
    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 music2015Konferensbidrag (Övrigt vetenskapligt)
    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.

  • 134.
    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 practicum2012Ingår 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. 207-218Kapitel i bok, del av antologi (Refereegranskat)
  • 135.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Grundskolelevers lärande som estetisk kommunikation: aspekter av översättning och delaktighet2015Ingår i: Kunskapande i dans: om estetiskt lärande och kommunikation /, Stockholm: Liber utbildning , 2015, s. 70-88Kapitel i bok, del av antologi (Övrig (populärvetenskap, debatt, mm))
  • 136.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Holistic quality learning in musikdidaktik from a student perspective2012Ingår 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. 163-186Kapitel i bok, del av antologi (Refereegranskat)
  • 137.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Learning among critical friends in the instrumental setting2014Ingår i: Update - University of South Carolina. Dept. of Music, ISSN 8755-1233, E-ISSN 1945-0109, Vol. 32, nr 2, s. 60-67Artikel i tidskrift (Refereegranskat)
    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.

  • 138.
    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 settings2006Ingår i: Nordic research in music education: yearbook, Oslo: Norges musikkhøgskole , 2006, s. 91-102Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 139.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Lived music - multi-dimensional musical experience: Implications for music education2013Ingår i: Philosophy Study, ISSN 2159-5313, E-ISSN 2159-5321, Vol. 3, nr 12, s. 1124-1134Artikel i tidskrift (Refereegranskat)
    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.

  • 140.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Livsvärldsfenomenologi som grund för musikpedagogisk forskning: ontologi och metodologi2003Ingår i: Några nedslag i livsvärlden: teori och praktik i pedagogisk forskning, Luleå: Luleå tekniska universitet, 2003, s. 43-61Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 141.
    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 perspective2014Ingår i: Reconstruction: Studies in Contemporary Culture, ISSN 1547-4348, E-ISSN 1547-4348, Vol. 14, nr 2Artikel i tidskrift (Refereegranskat)
  • 142.
    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? SYMPOSIUM2013Konferensbidrag (Refereegranskat)
    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.

  • 143.
    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 Symposium2013Konferensbidrag (Refereegranskat)
    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.

  • 144.
    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 interaction2005Ingår i: Proceedings of the Fourth International Research In Music Education Conference (RIME), Exeter: University of Exeter Press, 2005Konferensbidrag (Övrigt vetenskapligt)
  • 145.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Openness and awareness: roles and demands of music teachers2006Ingår i: Music Education Research, ISSN 1461-3808, E-ISSN 1469-9893, Vol. 8, nr 2, s. 237-250Artikel i tidskrift (Refereegranskat)
    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 .

  • 146.
    Ferm, Cecilia
    Luleå tekniska universitet, Institutionen för konst, kommunikation och lärande, Musik och dans.
    Peer assessment in higher education: teatchers' perceptions of student involvement2007Ingår i: ECTS and assesment in higher education: Conference proceedings. EM 57 / [ed] Kent Löfgren, Umeå universitet. Enheten för pedagogiska mätningar , 2007, s. 49-58Konferensbidrag (Övrigt vetenskapligt)
  • 147.
    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)
  • 148.
    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 approach2005Ingår i: Researching Different Approaches to Music Education Practice with Young Children, European Network for Music Educators and Researchers of Young Children, MERYC , 2005, s. 26-31Konferensbidrag (Refereegranskat)
    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?

  • 149.
    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 All2015Ingår i: Svensk tidskrift för musikforskning, ISSN 1653-9672, Vol. 97, s. 61-73Artikel i tidskrift (Refereegranskat)
    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?

  • 150.
    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 all2013Konferensbidrag (Refereegranskat)
    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.

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