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  • 1.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Experience, inclusion and exclusion: an attempt to grasp adolescents' musicking2007Conference paper (Refereed)
  • 2.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Music between us: Orders of identity in adolescents' musicking2013Conference paper (Refereed)
  • 3.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Musik oss emellan: identitetsdimensioner i ungdomars musikaliska deltagande2012Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis considers ordinary Swedish teenagers and their everyday use of,and views on, music. The aim of the study is to analyse the relationship between identity and adolescents’ use of music in their daily lives. Theories are employed that hold identity to be a process, and that comprise the social as well as the psychological aspects of the individual (Giddens,1991; 1997; Jenkins, 2008). Since for both Giddens and Jenkins the reflexive identity process takes place in everyday life, it is a concept that is essential to this study. The idea that people are active, not passive, in their day-to-day use of cultural products ultimately leads to Small’s (1998) definition of musicking. The empirical part of the study was carried out among fifteen eighthgraders (14–15 years) in two schools in two Swedish cities. An initial questionnaire provided outlines of the adolescents’ musical preferences, and were followed by focus group conversations centred on six music examples. Later, interviews were carried out to chart the informants’ individual relationships with music and their personal use of it. The material is analysed thematically in three chapters on music and ‘them’, music and ‘us’, and music and ‘me’. In the final chapter, a competent musicking agency is held to be a combinationof individual and social factors. Whether these aspects can coexist boils down to the question of authenticity: much like Giddens’s competent agent, the competent musicking agent moves between life sectors, maintaining balance between uniqueness and normality, and is therefore perceived as authentic by both herself and others. In school, pupils tend to choose music that promotes their public image. Instead of yielding to a tussle between self-image and public image, it is suggested that music education should become a free zone where the well known is looked at in newways, and where one could get to know the unknown.

  • 4.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Secondary school students' views on musical competence inside, and outside, school2011Conference paper (Refereed)
    Abstract [en]

    This study investigates the tension between normalizing discourses and the personal use of music in teenagers’ identity formation. The point of departure is a doctoral thesis in progress about music’s social and personal meanings, where the methods used are focus groups and in-depth interviews conducted with 15 Swedish teenagers (14-15 years old). The focus of this paper is on teenagers’ views of their own and others’ musical competence. I take a broad view on music education, which includes both formal and informal learning. Public instances like the school as well as the TV show Swedish Idol  have a clear normalizing effect on how the teenagers perceive musical competence. Both the jury in the TV show and music teachers are regarded as authorities, but in different ways. The members of the jury are referred to as “those who know”. Watching the show, the teenagers themselves are allied with the experts. When it comes to music education in school, it is described as being concerned with teaching “what they think we need to learn”, but the teenagers often don’t see how the musical skills can be useful in real life. In a way, this creates distance and insecurity. However, the teenagers’ descriptions of their personal use of music and media reveal quite a lot of self-confidence and empowerment. One preliminary result is that the teenagers’ talk about their own music is characterized by familiarity skills and know-how. At the same time, when it comes to music within the school context, the focus tends to be on a perceived shortage, or lack, of capacity.

  • 5.
    Danielsson, Annika
    Örebro University, School of Music, Theatre and Art.
    Synen på musik i Lpo94 och dess föregångare2008In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 10, p. 215-228Article in journal (Refereed)
    Abstract [en]

    The purpose of this article is to discuss the main ideas about music and music education in the Swedish compulsory school, as presented in the Swedish curriculum and the music syllabus. Music is there portrayed as 'a social and general cultural instrument', 'a part of cultural heritage' and 'a language that transcends boundaries'. These views on music are interesting to analyse more in detail, and therefore this article will focus particularly on four areas of music. These are

    • Music as a social and cultural phenomenon
    • Music as a part of cultural heritage
    • Music as a language
    • Music as a means for transcending boundaries

    In order to illuminate and analyse these particular areas, previous Swedish curricula and relevant literature within the areas of music education, sociology, ethnology and philosophy will be reviewed.

  • 6.
    Danielsson, Annika
    et al.
    Örebro University, School of Music, Theatre and Art.
    Westvall, Maria
    Örebro University, School of Music, Theatre and Art.
    Democracy, equality and participation - issues for the context of music education2013Conference paper (Refereed)
1 - 6 of 6
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