Culture, Criticism, Community well represented at RIME 2019

Members of the CCC research group were well represented at RIME 2019, a conference for research in music education hosted by Bath Spa University 23rd – 26th April 2019 in England.

Tine Grieg Viig presented her completed doctoral thesis “The Dynamics of Creative Music Making: a sociocultural perspective on learning in creative musicking practices”.

Judy Lewis presented a paper called “Networks of musical meaning: exploring multimodal musical listening and its implications for musical teaching and learning”

Felicity Burbridge Rinde presented a poster of her Ph.D. project Music in primary schools and social inclusion of immigrant pupils.

Kari Holdhus participated in a panel discussion named “Expending the space for improvisation pedagogy in music. What can we learn from a transdisciplinary approach?”

Photo: Felicity Burbridge Rinde, Tine Grieg Viig, Kari Holdhus, Judy Lewis and Catharina Christophersen at the RIME conference 2019 in Bath.

For more information about the conference, have a look at this website: https://www.bathspalive.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=RiME2019&BOparam::WScontent::loadArticle::context_id=

Tine Grieg Viig defended her doctoral thesis

 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

The Dynamics of Creative Music Making: A sociocultural perspective on learning in creative musicking practices

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.

Tine Grieg Viig

Tine Grieg Viig is an Associate professor in music education at the Department of Arts Education; Faculty of Education, Arts and Sports, at the Western Norway University of Applied Sciences. She holds a PhD in music education from the Grieg Academy, The Faculty of Fine Art, Music and Design at the University of Bergen, and is currently working as a postdoctoral fellow in the Music Teacher Education for the Future (FUTURED) project.

Grieg Viig’s background is from the field of music education, and she has in addition to her employment in higher education worked as a composer and choir conductor. She departs from a background influenced by jazz storytelling, seeking to explore sonic spaces both tight and open, harmonic and dissonant, experimental and conform, delving into how timbre, polyphonic and homogeneous lines can take shape in a continuously evolving soundscape. As a researcher and teacher, she is in particular interested in creative music making, critical music pedagogy approaches, and exploring how digital tools can provide new access points for music education in the 21st century.