The project “Music Teacher Education for the Future” will critically explore general teacher education (GTE) music programs in Norway. The basic assumptions underlying the project is that music teacher education must relate to societal needs and challenges, and that educational approaches must cater for versatile musicianship, learning styles, and critical reflection. The project aims to challenge status quo, as well as to develop innovative and collaborative practices that can foster pre-service music teachers’ critical and democratic capacities, as well as future music teacher agency. The project is organized into three work packages (WPs):
(1) Mapping the current situation within music teacher education;
(2) Developing spaces for critical reflexivity and agency within the education;
(3) Developing collaborative, innovative and interactive music education practices within schools
The research design will draw upon action research, and theoretical perspectives combine insights from critical (music)pedagogy, educational philosophy, cultural studies, and public pedagogy. The results will be combined into a comprehensive overview of music teacher education. Other research outcomes will be curriculum development, new assessment methods and exploratory teaching approaches. Outcomes will be communicated to academic and non-academic audiences.
The project group includes the following researchers from Western Norway University of Applied Sciences: Professor Catharina Christophersen (project leader), professor Viv Ellis, associate professor Silje Valde Onsrud, professor Kari Holdhus, Postdoc candidate Tine Grieg Viig and Ph.D. candidate Eyolf Nysæther. Three researchers from Oslo Metropolitan University (Jan Sverre Knudsen, Hanne Rinholm and Bendik Fredriksen), as well as guest researchers (Ailbhe Kenny, Judy Lewis, Jon Helge Sætre and Heidi Partti) are also involved.
Please find more information about the project at the FUTURED webpage.
The article “Playing to learn or learning to play? Playing Rocksmith to learn electric guitar and bass in Nordic music teacher education” was published 16th November 2018 by Sigrid Jordal Havre , Lauri Väkevä , Catharina R. Christophersen and Egil Haugland in British Journal of Music Education.
This article is based on a case study of how the Rocksmith entertainment music video game can be used in the context of studying electric guitar and bass as part of music teacher training. In empirical terms, we were interested in how music teachers’ knowledge becomes articulated in the pedagogical discourse of our participants. As conceptual points of departure, we used play theory, game studies, and the Technological Pedagogical Content Knowledge (TPACK) model of teacher’s knowledge. Four ways of approaching the potential role of Rocksmith in music teacher education stand out as a result. In the discussion, we suggest that music gaming can be conceptualised as an activity that expands the reach of what can be considered as ‘playful’ and ‘serious’ in music teacher studies. Such an approach can guide our thinking about how different areas of music teachers’ knowledge merge into multidimensional competence, paving the way for further discussion about how ‘music educatorship’ can be constructed in the digital era.
See more about the article here: https://www.cambridge.org/core/journals/british-journal-of-music-education/article/playing-to-learn-or-learning-to-play-playing-rocksmith-to-learn-electric-guitar-and-bass-in-nordic-music-teacher-education/0119E77C73FA85167F9185ABD7EFFB43
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.
For more information about the doctoral defence, see https://kmd.uib.no/no/kalender/disputas-for-tine-grieg-viig
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.
Judy Lewis was the keynote speaker with the talk The act of listening: What twenty 10-year olds taught me about social justice.
Felicity Burbridge Rinde presented the paper Music in Primary School and Inclusion of Immigrant Students.
Silje Valde Onsrud was chairing and moderating different sections, in addition to introducing the main topic for the conference, and presenting a paper about heteronormativity as a challenge for musical expressions in school.
The open research group seminar “Social justice, arts education and community arts” is coming up, and Catharina Christophersen and Judy Lewis are offering a few reflections on the topic of social justice in music education.
As the field of social justice has grown, music education scholars have questioned the manner in which social justice is conceptualized, theorized and represented. Social justice is a relational concept that is inseparable from related concepts like democracy, equity and fairness or lack thereof, thus naturally also linking the concept of justice to injustice. Democracy is thus a core value of social justice, and must be conceived of “not as ethos, but as experience” (Gould 2007, p. 238). When perceiving social justice from the perspective of experience, the meaning will inevitably fluctuate depending on context.
The concept of social justice is fluid, contextual and situated. Social justice “resists generalization; meaning, it doesn’t necessarily ‘travel’ well. One person’s or interest group’s social justice may easily become another’s injustice” (Bowman 2007, p. 4). Naming is therefore essential in any social justice enterprise, since concepts like “justice” and “diversity” are euphemisms that may cover up the real issues at stake in certain situations . Hence, the mere concept of social justice may camouflage the complexity, diversity, and nuances of social justice. The call for social justice in education rests upon the imperative to recognize and acknowledge injustice, an “imperative to care” (Shieh and Allsup 2012, p. 48), that is to “perceive and act, and not look away” (ibid.) . However well-intended, un-reflected urges to correct injustice and to “do something” may very well end up as charity, tokenism or exoticism disguised as acts of social justice (Bradley 2007). Further, scholars and educators need to critically reflect on their own positionality and their own implicatedness in injust practices. Such criticality and reflexivity are vital both in order to recognize possible and actual manifestations of “othering” as well as provide spaces in which silenced voices could be heard.
The research group Culture – Criticism – Community invites to an open research seminar: “Social justice, arts education and community arts”
Friday October 19th, 09:00-12:00, room C114 (auditorium 5).
0900-0910: Introduction (Silje Valde Onsrud)
0910-1000: The art of listening: What 20 ten-year-olds taught me about social justice (Judy Lewis)
1010-1100: Contextualizing social justice
– Experience of (in)justice and an imperative to care: Contextualizing social justice within arts education (Judy Lewis and Catharina Christophersen)
– Exploring social justice through artistic research (Tine Grieg Viig)
– Making music and research with children in asylum seeker centres (Ailbhe Kenny)
– How heteronormativity can limit students’ musical expressions (Silje Valde
– Preservice music teachers as agents of change (Catharina Christophersen)
1115-1130: Comment from a perspective of Lived Democracy (Kjellrun Hiis Hauge)
The compilation thesis entitled The Dynamics of Creative Music Making: A sociocultural perspective on learning in creative musicking practices investigates how learning in creative practices can take shape and be facilitated when children and adolescents create music. The dissertation comprises a summary and four blind peer review articles examining creative music making projects from a sociocultural perspective.
The main aim of the thesis is to increase the knowledge and understanding of the learning processes taking place in the shared activities of the community of practice in three different cases taking place in Norway, and how these creative music making practices were facilitated. The research was designed as a qualitative multiple case study, building a combination of interviews and observations of the creative practices as main data collection methods. The empirical data consists of interview transcriptions, musical material, observations and video-recordings.
Through a sociocultural perspective, these practices were analysed as dynamic relationships of musicking, including the use and transformation of mediating tools, and development of aesthetic, artistic and structural reflection-in-musicking. The findings in this study suggest ways of understanding forms of learning in creative musicking practices as social, cultural and situated. First, the facilitator role is discussed in terms of multiple modes of facilitation in an informal learning context. The modes are identified as scaffolding, co-participation and collaboration, and management and distribution of cultural tools. Second, an analysis of adolescents’ development of aesthetic, artistic and structural reflection-in-musicking brings forward an understanding of how learning in musical creative practices can take shape in the process of writing an opera. Third, mediating tools such as different forms of notations, music making actions and interactions, and meaning and transformed experiences are found as crucial in a project involving pupils in a formal learning context.
The results from the analysis point at the complexity of understanding learning in creative music making practices, which builds on dynamic sets of relationships, repertoire and shared participation. Implications for the music education research field includes a discussion of the distinction between learning and experiencing, as well as the roles of the teacher and the artist. The study points further at the importance of understanding learning as a crucial part of creative music making practices.
25th September 2018 Culture, Criticism, Community arranged a seminar in Collaboration with the RETELL research group and the research group for Game, Play and Participatory Learning. The seminar gathered relevant issues for today’s educational contexts – formal and informal – from different points of view. Studies from media sciences, social sciences, language, literature og music education were presented.
The picture shows Synnøve Skarsbø Lindtner (University of Bergen) analyzing democratic aesthetics in the TV-series Skam (Shame). Photo: Silje Valde Onsrud.
Silje Valde Onsrud is associate professor in music education in the Department of Arts Education at Western Norway University of Applied Sciences, campus Bergen. She holds a Ph.D. in music education from the University of Bergen. She teaches and supervises in the music education program and in the Ph.D. program Studies in Bildung and Pedagogical Practices at the Faculty of Education, Arts and Sports, campus Bergen. Her research interests include gender issues and social justice in musical practices and musical content, like song repertoir. She is specialized in gender theory, qualitative research, ethnographic fieldwork, discourse analysis, and narrative inquiry.
Onsrud, Silje Valde 2017. “And the melody still lingers on”: Om danningspotensiale i ein discolåt. Nordic Network for Music Education Research, Yearbook 18 Oslo: NMH-publication
Onsrud, Silje Valde 2015. Gender Performativity through Musicking: Examples from a Norwegian Classroom Study. Nordic Network for Music Education Research, Yearbook 16 Oslo: NMH-publication