This article aims to explore and discuss how, on many
levels and in many ways, polyphonic dialogues can fluctuate among participants in a multidisciplinary didactic art project
im- plemented in schools, namely, School and Concert – From Transmission to Dialogue (DiSko). DiSko is an innovation project
that aims to try different
ways to address the significant lack of school ownership to professional visiting concerts in
The project method, educational design research, is a
combination of approaches that are usually applied to well-known research-based
problems. Empirically, researchers and partici- pants carry out successive
iterations of experiential case interventions based on ongoing analysis. A
central aim of the method is to suggest concrete research-based solutions or
new ways of addressing a problem, which is instrumental outside specific case contexts.
Dialogue is a major epistemological grounding for DiSko and its descriptive cases, and throughout the article, the project design and activities are viewed in terms of Bakhtin’s concepts chronotope, carnival and polyphony. Through discussions about aspects of the methodology as well as by providing an empirical case example, this article describes how elements of educa- tional design research may be composed in order to maintain an epistemology of dialogue and polyphony.
This is an article written by Kari Holdhus and published in Qualitative Inquiry in 2018.
In this article, Kari Holdhus shares a journey of research on student teacher reports regarding creativity pedagogies. The empirical material comprises student reports on teaching for creativity. The text draws on the literatures of creativities, creativity pedagogies, and professional improvisation, inspired by a backdrop of literature on narrativity and narrative writing. The text aims to discuss how creativity pedagogies can take place in different practical surroundings and to provide an example of how teaching in higher education can both contribute to research and be research-based. The following research question is asked: What characterizes student teachers’ reports on designs and choices when facilitating creative learning processes, and which interpretations and reflections do these reports evoke within their teacher? In comparing student papers, Holdhus has conceptualized their common features into the following concepts: context, skills, design, and trust. Within the text, each of these concepts is addressed through example narratives extracted from the student reports. Holdhus concludes that a combination of aspects from each of the four concepts can be said to construct a liminal room of immersion.
DiSko is an innovation
project intending to innovate school concert practices produced and
implemented nationally by Arts for Young Audiences Norway (AYAN) and
regional partners in Norway. The project will innovate an established practice
through research based innovation procedures in order to respond to challenges
connected to school ownership and school integration. This research-based
innovation work will be carried out over four years with a selection of
schools and groups of musicians and producers from NCA within a budget of 7.4
mill NOK. The DiSko project will develop and try out alternative concert forms,
which to a greater degree can be experienced and shared by pupils, teachers as
well as musicians. Our research questions are:
How can dialogue based concert practices be
produced in order to be integrated as meaningful and professional elements in
school´s everyday life?
How can schools facilitate such integration in
their work with teaching, learning and Bildung?
DiSko´s point of departure
is that shared ownership emerges through equity-based relations, and our
practical innovation processes will be grounded in this belief. From the
practical iterations of concert productions, researchers will develop analysis
and research reports, and parallel to the concert production activities, a
continuous implementation and discussion will take place. An interactive
website will be a central component in the communication between researchers,
musicians, teachers and users, other interested persons and
Norwegian Research council (NFR)
Project owner: Arts for Young Audiences Norway (AYAN)
partner: CASE center, at Stord/Haugesund University
Jonas is lecturer in music education and community music and researcher at Western Norway University College of Applied Sciences, campus Stord. Since
2016 he has been central in the development of Scandinavia’s first bachelor
program in Community Music.
Jonas is active as a researcher in
“School and concert – from transmission to dialogue” – an innovation
project on Norwegian professional visiting concerts in partnership with
Kulturtanken, founded by the Norwegian Research Council (www.diskoprosjektet.no).
This project runs for four years from 2017.
He holds a master’s degree in Creative Subjects and Learning Processes from 2015. The thesis is named “My Music Performance is Changing!” – Perspectives on “The Aesthetic Talk” in Ensemble Teaching in Upper Secondary School.
Teaching subjects: Arranging/Composing,
popular music and jazz music history, ensemble playing, how to workshop, ear
training, music theory, community music philosophy, history and central
concepts, supervision of bachelor candidates.
He has a background as a music teacher in Norwegian upper secondary school (“Musikklinja”), in municipal culture schools, as music reviewer, arranger for choir and big band, and is currently conducting/leading and arranging for a local big band.
Jonas’s research interests are creativity, learning processes, inclusion, democracy and sustainability, the potential of community music praxis in Scandinavian music pedagogy, music philosophies and their relationship to quality conceptions.
an open research seminar with the research group Culture – Criticism –
Community in Fyrrommet at HVL campus Kronstad, February 20th 2019 at
About the seminar:
education projects and creative partnerships are included in children’s arts
education within schools. Such
collaborations between artists and schools are often encouraged by politicians,
and by many viewed as excellent opportunities for inspiring artistic
experiences and encounters. However, as research tells us, such collaborations could
also be very challenging and problematic from the perspectives of teachers and
of arts education.
of the seminar is to explore multi-professional collaborations in schools, and
connect this topic to teacher education: What
are the challenges and possibilities surrounding such collaborations, and how
can pre-service arts teachers be prepared to participate in such
1300-1415: What does research say about the possibilities
and challenges of artist-teacher collaborations in school contexts?
Catharina Christophersen: Introduction
Ailbhe Kenny: Teacher-Artist Partnerships as a model of continual professional development in Ireland.
Kari Holdhus & Jonas Romme: Functioning partnerships between schools and artists in dialogical art productions (The DiSko project)
Ingvild Digranes: Professional dilemmas in the Cultural Rucksack
Ailbhe Kenny & Catharina Christophersen: Pathways and possibilities for Collaborations in Schools
1415-1500: What could a functioning
artist-teacher partnership look like, and how could pre-service teachers be
prepared to participate in future partnerships?
discussion will include researchers, teacher educators, arts teachers and
preservice arts teachers. Moderator: Silje Valde Onsrud.
Members of the Culture, Criticism, Community-research group have received funding from the Norwegian Research Council to start up the project Music Teacher Education for the Future (FUTURED) autumn 2019 till autumn 2022. Catharina Christophersen (picture) is the manager of the whole project, while Silje Valde Onsrud, Kari Holdhus, Judy Lewis and Ailbhe Kenny participate in the different work packages. Collaborating partners are Viv Ellis from HVL/King’s College London, Jan Sverre Knudsen, Hanne Fossum and Bendik Fredriksen from OsloMet, Jon Helge Sætre from the Norwegian Music Academy, Heidi Partti from University of the Arts Helsinki. Here you can read more about the project: https://www.hvl.no/nyhende/12-mill-til-futured–forsking-pa-musikklararutdanning/
The 7th December 2018 Tine Grieg Viig defended her doctoral thesis at the University of Bergen. The thesis is named The Dynamics of Creative Music Making: A socio-cultural perspective on learning in creative musical practices, and explores how learning is shaped and facilitated in creative musical practices. The study is designed as a multiple case-study, where interviews and video-observations have been the main source for empirical material.
The thesis consists of four articles and a synopsis. The first article is a literature-review of relevant research from the last ten years published in selected music education journals. The next three articles present results from the analysis of the study’s empirical data. The study contributes to a discussion about how to understand different forms of learning and the facilitator’s role in creative musical practices from a socio-cultural perspective.
At the Norwegian Network Conference for Music Teacher Education 22.-23. October 2018 at North University in Bodø, 3 memebers from the CCC research group contributed to the topic Inclusive Music Education.