Felicity Burbridge Rinde, Catharina Christophersen
The purpose of this article is to achieve greater clarification of the meaning of the word ‘intercultural’ when used in Nordic music education research, by means of a literature review. The findings suggest that ‘intercultural’ is used in different ways, sometimes without definition. A central theme that emerges is developing student teachers’ intercultural competence through disturbance. There is little research into pupils’ intercultural competence, or intercultural music education at primary level. The findings are merged with international scholarship to envisage how different understandings of ‘intercultural’ might affect music in schools. We suggest placing intercultural music education along a continuum from intercultural approaches to music education to intercultural education through inclusive music pedagogy.
{"title":"Developing an understanding of intercultural music education in a Nordic setting","authors":"Felicity Burbridge Rinde, Catharina Christophersen","doi":"10.23865/nrme.v2.2772","DOIUrl":"https://doi.org/10.23865/nrme.v2.2772","url":null,"abstract":"The purpose of this article is to achieve greater clarification of the meaning of the word ‘intercultural’ when used in Nordic music education research, by means of a literature review. The findings suggest that ‘intercultural’ is used in different ways, sometimes without definition. A central theme that emerges is developing student teachers’ intercultural competence through disturbance. There is little research into pupils’ intercultural competence, or intercultural music education at primary level. The findings are merged with international scholarship to envisage how different understandings of ‘intercultural’ might affect music in schools. We suggest placing intercultural music education along a continuum from intercultural approaches to music education to intercultural education through inclusive music pedagogy.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"333 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121685930","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Boken Verden inn i musikkutdanningen av Sidsel Karlsen og Siw Graabæk Nielsen (red.) blir anmeldt av Silje Valde Onsrud.
Silje Valde Onsrud 对 Sidsel Karlsen 和 Siw Graabæk Nielsen（编著）的《Verden inn i musikkutdanningen》一书进行了评论。
{"title":"Bokanmeldelse: Verden inn i musikkutdanningene","authors":"S. Onsrud","doi":"10.23865/nrme.v2.3525","DOIUrl":"https://doi.org/10.23865/nrme.v2.3525","url":null,"abstract":"Boken Verden inn i musikkutdanningen av Sidsel Karlsen og Siw Graabæk Nielsen (red.) blir anmeldt av Silje Valde Onsrud.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128082681","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
I denne artikkelen argumenteres det for at sjanger ikke bare utgjør et kunnskapsinnhold i musikkfaget i grunnskolen, men også fungerer som en kunnskapsproduserende diskursiv praksis. For å forstå hvordan, og på bakgrunn av tidligere teorier om sjangeres vesen og verdi, skriver forfatteren frem sjanger som handling: å sjangre. Artikkelen undersøker hvordan lærere som underviser i musikk i norsk grunnskole sjangrer musikk og musikkaktiviteter når de beskriver undervisningen sin. Analysene viser at lærernes sjangring tjener praktisk-didaktiske formål ved å ordne et innholdstilfang og tilrettelegge det for læring. I dette arbeidet operasjonaliserer sjangringen bestemte musikkhistoriske narrativ og etablerer likheter og forskjeller mellom musikk, folk og kulturer, tider og steder. Samtidig virker sjangringen diskursivt regulerende på selve tilfanget, ved å ta for gitt et utvalg den allerede har produsert. Dette gir seg blant annet utslag i et vektet og kanonisert innhold hva angår musikken og artistene/komponistene som er representert i skolen.
{"title":"Sjangring som musikkdidaktisk praksis","authors":"L. Ellefsen","doi":"10.23865/nrme.v2.2811","DOIUrl":"https://doi.org/10.23865/nrme.v2.2811","url":null,"abstract":"I denne artikkelen argumenteres det for at sjanger ikke bare utgjør et kunnskapsinnhold i musikkfaget i grunnskolen, men også fungerer som en kunnskapsproduserende diskursiv praksis. For å forstå hvordan, og på bakgrunn av tidligere teorier om sjangeres vesen og verdi, skriver forfatteren frem sjanger som handling: å sjangre. Artikkelen undersøker hvordan lærere som underviser i musikk i norsk grunnskole sjangrer musikk og musikkaktiviteter når de beskriver undervisningen sin. Analysene viser at lærernes sjangring tjener praktisk-didaktiske formål ved å ordne et innholdstilfang og tilrettelegge det for læring. I dette arbeidet operasjonaliserer sjangringen bestemte musikkhistoriske narrativ og etablerer likheter og forskjeller mellom musikk, folk og kulturer, tider og steder. Samtidig virker sjangringen diskursivt regulerende på selve tilfanget, ved å ta for gitt et utvalg den allerede har produsert. Dette gir seg blant annet utslag i et vektet og kanonisert innhold hva angår musikken og artistene/komponistene som er representert i skolen.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133859033","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Eyolf Thovsen Nysæther, Catharina Christophersen, Jon Helge Sætre
This study is based on data from a national survey of generalist student teachers specialising in music in the new five-year primary and lower secondary school teacher education programme in Norway. The study aims to map students’ backgrounds, experiences of the educational programme and visions for their future practice as generalist music teachers in schools. The theoretical perspective is cultural-historical activity theory (CHAT). The findings suggest that generalist teacher education music programmes reproduce patterns of inequality. These patterns should be addressed in the future development of the programmes; however, the current lack of diversity may inhibit conditions for transformation and change.
{"title":"Who are the music student teachers in Norwegian generalist teacher education?","authors":"Eyolf Thovsen Nysæther, Catharina Christophersen, Jon Helge Sætre","doi":"10.23865/nrme.v2.2988","DOIUrl":"https://doi.org/10.23865/nrme.v2.2988","url":null,"abstract":"This study is based on data from a national survey of generalist student teachers specialising in music in the new five-year primary and lower secondary school teacher education programme in Norway. The study aims to map students’ backgrounds, experiences of the educational programme and visions for their future practice as generalist music teachers in schools. The theoretical perspective is cultural-historical activity theory (CHAT). The findings suggest that generalist teacher education music programmes reproduce patterns of inequality. These patterns should be addressed in the future development of the programmes; however, the current lack of diversity may inhibit conditions for transformation and change.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115399932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study suggests that the pedagogy of music history for the professional training of musicians – including opera singers and future opera composers – could benefit from applying narratology to operatic analysis and acknowledging the “operatic of opera” in the organization of the artistic materials as one possible pedagogical approach. By breaking with the canonized forms of music history pedagogy, the subject content of opera history can be explored for instance through the architecture of temporal narrativization, as made possible by the multiple media types incorporated into opera. The study demonstrates this temporal narrativization through examples grouped into three main categories: “temporal sameness”, “temporal incongruence” and “non-linear temporality”. While most of the examples are drawn from the classical-romantic repertoire, the analysis also shows that new pluri-medial ways of dealing with temporality and narration have been emerged in contemporary opera. The study argues that by analyzing and illustrating the architecture of temporal narrativization as one form of the “operatic of opera” in Western operatic practice, students will gain a better understanding of the special nature of the pluri-medial nature of opera.
{"title":"The “operatic of opera” in music history pedagogy – exploring the temporal narrativization of opera1","authors":"Liisamaija Hautsalo","doi":"10.23865/NRME.V2.3024","DOIUrl":"https://doi.org/10.23865/NRME.V2.3024","url":null,"abstract":"This study suggests that the pedagogy of music history for the professional training of musicians – including opera singers and future opera composers – could benefit from applying narratology to operatic analysis and acknowledging the “operatic of opera” in the organization of the artistic materials as one possible pedagogical approach. By breaking with the canonized forms of music history pedagogy, the subject content of opera history can be explored for instance through the architecture of temporal narrativization, as made possible by the multiple media types incorporated into opera. The study demonstrates this temporal narrativization through examples grouped into three main categories: “temporal sameness”, “temporal incongruence” and “non-linear temporality”. While most of the examples are drawn from the classical-romantic repertoire, the analysis also shows that new pluri-medial ways of dealing with temporality and narration have been emerged in contemporary opera. The study argues that by analyzing and illustrating the architecture of temporal narrativization as one form of the “operatic of opera” in Western operatic practice, students will gain a better understanding of the special nature of the pluri-medial nature of opera.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"86 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124958792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This participatory action research aims to contribute to a better understanding of the advantages and complications involved in intercultural educational development work in the field of music education. The inquiry focuses on Finnish and Nepali music educators’ collaborative activities in the period 2013–2016 aimed at establishing a music teacher education program in Nepal. The collaboration is examined through the theoretical concept of a professional learning community (PLC). Particular interest is placed on illustrating the nature of the professional learning that took place for the participating teachers during the development of the intercultural PLC. The findings point towards recognizing the importance of supporting systematic collaborative operational models within and between institutions, as they hold the potential for constructing reflective, ethically engaged, and diversity-aware music education – the kind of education that is needed in these rapidly changing times.
{"title":"Co-constructing an intercultural professional learning community in music education","authors":"Vilma Timonen","doi":"10.23865/NRME.V2.3028","DOIUrl":"https://doi.org/10.23865/NRME.V2.3028","url":null,"abstract":"This participatory action research aims to contribute to a better understanding of the advantages and complications involved in intercultural educational development work in the field of music education. The inquiry focuses on Finnish and Nepali music educators’ collaborative activities in the period 2013–2016 aimed at establishing a music teacher education program in Nepal. The collaboration is examined through the theoretical concept of a professional learning community (PLC). Particular interest is placed on illustrating the nature of the professional learning that took place for the participating teachers during the development of the intercultural PLC. The findings point towards recognizing the importance of supporting systematic collaborative operational models within and between institutions, as they hold the potential for constructing reflective, ethically engaged, and diversity-aware music education – the kind of education that is needed in these rapidly changing times.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"62 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127042473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cecilia Ferm Almqvist, Niclas Ekberg, Susanna Leijonhufuvd
This article explores the meaning and function of streaming media as a potential facilitator of musical Bildung. Taking the affordances of streaming media technologies as a starting point, the article thus focuses on the formative and cultivating dimensions a music streaming service such as Spotify might offer. The specific aim of this article is to describe and analyse how musical Bildung may evolve within a Spotify context from a user perspective. To address the aim from the point of view of music education, Spotify users’ activities and experiences of streaming media interactions were accessed, inspired by internet-related ethnography. Stimulated recall interviews, focusing on the participants’ experiences as well as their actual use of Spotify’s streaming service, were conducted, recorded, and transcribed. The generated material was subjected to co-operative hermeneutic content analysis. The results illuminate how Bildung evolves in users’ encounters with the service and with art mediated via Spotify. Relevant topics occurring in the human-art-technology relationship of Bildung from a Heideggerian perspective were Being-possible, the ability-to-be, and Spotify as the Other. In sum, it can be stated that Bildung evolves when Spotify exceeds the thingness of the Other, becoming a work of art in itself, throwing the user into Being.
{"title":"Spotify as a case of musical Bildung","authors":"Cecilia Ferm Almqvist, Niclas Ekberg, Susanna Leijonhufuvd","doi":"10.23865/NRME.V2.3023","DOIUrl":"https://doi.org/10.23865/NRME.V2.3023","url":null,"abstract":"This article explores the meaning and function of streaming media as a potential facilitator of musical Bildung. Taking the affordances of streaming media technologies as a starting point, the article thus focuses on the formative and cultivating dimensions a music streaming service such as Spotify might offer. The specific aim of this article is to describe and analyse how musical Bildung may evolve within a Spotify context from a user perspective. To address the aim from the point of view of music education, Spotify users’ activities and experiences of streaming media interactions were accessed, inspired by internet-related ethnography. Stimulated recall interviews, focusing on the participants’ experiences as well as their actual use of Spotify’s streaming service, were conducted, recorded, and transcribed. The generated material was subjected to co-operative hermeneutic content analysis. The results illuminate how Bildung evolves in users’ encounters with the service and with art mediated via Spotify. Relevant topics occurring in the human-art-technology relationship of Bildung from a Heideggerian perspective were Being-possible, the ability-to-be, and Spotify as the Other. In sum, it can be stated that Bildung evolves when Spotify exceeds the thingness of the Other, becoming a work of art in itself, throwing the user into Being.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"78 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124537854","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Recent studies of female guitar students in upper secondary school ensemble education suggest that girls behave, and are encouraged to behave, in more immanent ways than boys. They seem to receive less encouragement to stretch their bodies and become full musical human beings. Instead they become the second musical sex. During the course of my work with the problem of how to create space for girls playing the electric guitar in educational settings, I have continually found myself wondering how to create educational spaces and relations in ways that let all pupils, independent of sex, realize ideas, transcend as musical bodies, and become what they already are. If teachers and pupils are interrelated bodies, teachers must be aware of how they use their bodies when it comes to creating space for all pupils to develop and stretch out their bodies. The actions of the music teacher, as a musical body, must be balanced in relation to the other musical bodies in the room, as well as to physical preconditions, goals, visions, and expectations of the students. In this article, I want to delve into the subject of bodily interaction, teachers’ responsibilities, and questions of intentional educational bodily relations. The aim is to share my close reading of Young’s philosophical thinking regarding gender structures and especially female comportment, motility, and spatiality, and develop a set of prerequisites for intentional bodily (music) educational relations. With a starting point in research-based inspiration and motivation for conducting the current philosophical investigation, I share my close reading of Young’s theories regarding female situated bodies. Continually I relate to excerpts from two interviews with female guitar students, exemplifying musical body-relational experiences. Finally I share and reflect upon a developed thinking about mindful bodily (music) educational relations.
{"title":"Towards the attainment of mindful bodily relations in music education","authors":"Cecilia Ferm Almqvist","doi":"10.23865/NRME.V2.3022","DOIUrl":"https://doi.org/10.23865/NRME.V2.3022","url":null,"abstract":"Recent studies of female guitar students in upper secondary school ensemble education suggest that girls behave, and are encouraged to behave, in more immanent ways than boys. They seem to receive less encouragement to stretch their bodies and become full musical human beings. Instead they become the second musical sex. During the course of my work with the problem of how to create space for girls playing the electric guitar in educational settings, I have continually found myself wondering how to create educational spaces and relations in ways that let all pupils, independent of sex, realize ideas, transcend as musical bodies, and become what they already are. If teachers and pupils are interrelated bodies, teachers must be aware of how they use their bodies when it comes to creating space for all pupils to develop and stretch out their bodies. The actions of the music teacher, as a musical body, must be balanced in relation to the other musical bodies in the room, as well as to physical preconditions, goals, visions, and expectations of the students. In this article, I want to delve into the subject of bodily interaction, teachers’ responsibilities, and questions of intentional educational bodily relations. The aim is to share my close reading of Young’s philosophical thinking regarding gender structures and especially female comportment, motility, and spatiality, and develop a set of prerequisites for intentional bodily (music) educational relations. With a starting point in research-based inspiration and motivation for conducting the current philosophical investigation, I share my close reading of Young’s theories regarding female situated bodies. Continually I relate to excerpts from two interviews with female guitar students, exemplifying musical body-relational experiences. Finally I share and reflect upon a developed thinking about mindful bodily (music) educational relations.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132680762","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The increasing participation rate in higher education has raised its own issues, such as how to fund the growth while retaining the quality of education. In Finland, it has been argued that the tuition-free higher education policy increases equality. On the other hand, in the United Kingdom, establishing a system of tuition fees supported by an income-contingent loan system for students has also been argued to increase equality. In Australia, students also face high tuition fees for higher education, as well as a support system focused on domestic students. In addition to tuition fees, entrance examinations also play a crucial part in higher education systems. In order to examine inequalities in higher education from the students’ point of view, tuition fees are scrutinised in connection with equality, and entrance examinations in relation to cultural reproduction. Comparing examples of higher music education institutions in Finland, the United Kingdom, and Australia shows that there are large differences between the tuition fees charged for domestic and international students, as well as between countries. Entrance examinations in higher music education are similar in these countries, but may include inequalities based on long traditions in the field of music, especially in classical music. By revealing misconceptions about equity in higher education, it is possible to have a critical debate about the role of tuition fee systems as they are connected with the economics of higher education, and about entrance examinations as reproducing social class inequalities. This discussion may contribute to the redefinition and reformation of more equitable and just education systems, and promote equality in general in society.
{"title":"Tuition fees, entrance examinations and misconceptions about equity in higher music education","authors":"Tuula Jääskeläinen","doi":"10.23865/NRME.V2.2803","DOIUrl":"https://doi.org/10.23865/NRME.V2.2803","url":null,"abstract":"The increasing participation rate in higher education has raised its own issues, such as how to fund the growth while retaining the quality of education. In Finland, it has been argued that the tuition-free higher education policy increases equality. On the other hand, in the United Kingdom, establishing a system of tuition fees supported by an income-contingent loan system for students has also been argued to increase equality. In Australia, students also face high tuition fees for higher education, as well as a support system focused on domestic students. In addition to tuition fees, entrance examinations also play a crucial part in higher education systems. In order to examine inequalities in higher education from the students’ point of view, tuition fees are scrutinised in connection with equality, and entrance examinations in relation to cultural reproduction. Comparing examples of higher music education institutions in Finland, the United Kingdom, and Australia shows that there are large differences between the tuition fees charged for domestic and international students, as well as between countries. Entrance examinations in higher music education are similar in these countries, but may include inequalities based on long traditions in the field of music, especially in classical music. By revealing misconceptions about equity in higher education, it is possible to have a critical debate about the role of tuition fee systems as they are connected with the economics of higher education, and about entrance examinations as reproducing social class inequalities. This discussion may contribute to the redefinition and reformation of more equitable and just education systems, and promote equality in general in society.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"441 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129411556","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The purpose of this article is to discuss the use of discourse analysis in order to understand music teachers’ professional identities. This is done by elaborating on the theory and methodology of a study on professional identities of music teachers within the Norwegian municipal school of music and performing arts. Theoretical and methodological perspectives, including research design, analysis, results, validity and ethics, are discussed in the article. An argument in favour of discourse analysis is put forward: that it offers focus on the context, complexity and power relations of the field, as well as providing an understanding of how identities are constructed and negotiated. The use of discourse analysis in the study provided analytical tools which challenged taken-for-granted knowledge, discovered binary discursive oppositions, and unmasked power relations. The study found that teachers construct their identities within a contested discursive field where meanings are attached to the work they perform, as well as to the institutions they represent.
{"title":"Using discourse analysis to understand professional music teacher identity","authors":"Anne Jordhus-Lier","doi":"10.23865/NRME.V2.3025","DOIUrl":"https://doi.org/10.23865/NRME.V2.3025","url":null,"abstract":"The purpose of this article is to discuss the use of discourse analysis in order to understand music teachers’ professional identities. This is done by elaborating on the theory and methodology of a study on professional identities of music teachers within the Norwegian municipal school of music and performing arts. Theoretical and methodological perspectives, including research design, analysis, results, validity and ethics, are discussed in the article. An argument in favour of discourse analysis is put forward: that it offers focus on the context, complexity and power relations of the field, as well as providing an understanding of how identities are constructed and negotiated. The use of discourse analysis in the study provided analytical tools which challenged taken-for-granted knowledge, discovered binary discursive oppositions, and unmasked power relations. The study found that teachers construct their identities within a contested discursive field where meanings are attached to the work they perform, as well as to the institutions they represent.","PeriodicalId":322234,"journal":{"name":"Nordic Research in Music Education","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117113357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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