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  • 1. Brandström, Sture
    et al.
    Söderman, Johan
    Thorgersen, Ketil
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    The double feature of musical folkbildning: three Swedish examples2012In: British Journal of Music Education, ISSN 0265-0517, E-ISSN 1469-2104, Vol. 29, no 1, p. 65-74Article in journal (Refereed)
    Abstract [en]

    The purpose of this article is to analyse three case study examples of musical folkbildning in Sweden. The first case study is from the establishment of the state-funded Framnas Folk High Music School in the middle of the last century The second case study, Hagstrom's music education, is from the same time but describes a music school run by a private company The third case study concerns a contemporary expression of folkbildning, namely hip-hop. The theoretical framework that inspired this article stems from the work of Pierre Bourdieu. The double feature of folkbildning appears in terms of elitist and democratic tendencies, high and low taste agendas, control and freedom.

  • 2.
    Brändström, Sture
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Söderman, Johan
    Malmö University.
    Thorgersen, Ketil
    Stockholm University.
    The double feature of musical folkbildning: three Swedish examples2012In: British Journal of Music Education, ISSN 0265-0517, E-ISSN 1469-2104, Vol. 29, no 1, p. 65-74Article in journal (Refereed)
    Abstract [en]

    The purpose of this article is to analyse three examples of musical folkbildning in Sweden. The first case is from the establishment of the state funded Framnäs Folk High Music School in the middle of the last century. The second case, Hagström’s music education, is from the same time but describes a music school run by a private company. The third case study concerns a contemporary expression of folkbildning, namely hip-hop. The theoretical framework that inspired this article stems from Pierre Bourdieu and his education sociology. The double feature of folkbildning appears in terms of: elitist and democratic tendencies, high and low taste agendas, control and freedom.

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  • 3.
    Cedervall, Sofia
    et al.
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    Widén, Anna
    Lydiga kliv och subversiva samarbeten2022In: Book of abstracts – Cutting Edge 2021 (2022), Kristiansand: Universitetet i Agder , 2022, p. 4-5Conference paper (Other academic)
    Abstract [sv]

    Kulturskoleklivet är en statlig satsning på kompetensförsörjning till kulturskolor. Målgruppen är dels konstnärer som vill ha en pedagogisk påbyggnadsutbildning och som erbjuds utbildningspaket över tre terminer, dels pedagoger i kulturskola som erbjuds kortare fortbildningskurser. Satsningen är koncentrerad till fyra storstadsregioner i Sverige; Malmö, Göteborg, Stockholm och Umeå och utförs av sex utbildningsanordnare; Lunds universitet (LU), Göteborgs universitet (GU), Stockholmsuniversitet (GU), Stockholms konstnärliga högskola (SKH), Stockholms musikpedagogiska institut (SMI) och Umeå universitet (UU). Kulturskoleklivet sjösattes höstterminen 2018, men merparten av utbildningarna kom igång under 2019.

    När de berörda vid de sex aktuella lärosäten fick beskedet om att de hade fått beviljat att bedriva utbildning inom Kulturskoleklivet uppstod ett behov av att synkronisera utbildningarna och dela med sig av tankar och idéer. Initiativ till möten där alla berörda lärosäten var inbjudna mottogs med entusiasm och har genomförts med kontinuitet. I Stockholm tog SU, SKH och SMI kontakt med varandra redan under ansökansförfarandet och anförde där ett samarbete om ett bra utbud i regionen som argument för att just dessa institutioner skulle få utbildningarna. I synnerhet har SKH och SU utvecklat ett tätt samarbete där studerande inom kurspaketet studerar vid båda lärosäten. SMI anordnar också en kurs som riktar sig mot alla som studerar inom Kulturskoleklivet: Konstarter i samverkan. Umeå universitet har i sin tur flera samarbeten med Stockholmsregionen inom ramarna för Kulturskoleklivet, dels genomutbyte av lärare med SMI och SU, dels genom ansökan om utvecklingsmedel tillsammans med SU och publicering av en rapport (Tilde, 2020). Lärosätena har även gjort ett antal gemensamma presentationer av satsningen och kursutbudet, t.ex. vid informationsträffar, konferenser och kompetensdialoger.

    En oförutsedd bieffekt av Kulturskoleklivet är med andra ord en mängd samarbeten på nationell och regional nivå; på såväl praktiska som på mer ideologiska och principiella plan. Det vi kommer att presentera i detta paper är en analys av hur dessa samarbeten kan förstås utifrån de minnesanteckningar, presentationer, rapporter och korrespondens som genererats genom dessa tre år. Trots den geografiska spridningen på materialet är det endast ett tiotal aktiva deltagare som utgör kärnan i samarbetet. Analysen görs utifrån Gert Biestas teorier om neoliberalistiska och demokratiska lärandeorganisationer (2010, 2017) samt Jonna Bornemarks teorier om förpappringssamhället (2018). Vi vill se hur samarbeten kan förstås dels som pragmatiska initiativ för att lösa problem utifrån den ekonomiska realitet som uppstått, dels som ett subversivt motstånd mot neoliberala värden genom en gräsrotsrörelse av enskilda individer som hittar vägar runt de utstakade för att skapa en utbildning som håller måttet

  • 4. Ferm Almqvist, Cecilia
    et al.
    Thor Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning. Stockholms musikpedagogiska institut, Sverige.
    Att möjliggöra estetiska erfarenheter i lärarutbildning2022In: I rörelse: Estetiska erfarenheter ipedagogiska sammanhang / [ed] Anders Burman; Petra Lundberg Bouquelon, Huddinge: Södertörns högskola, 2022, p. 35-58Chapter in book (Refereed)
    Abstract [sv]

    Texten tar utgångspunkt i och diskuterar estetisk kommunikationsom ett didaktiskt förhållningssätt till estetiska erfarenheter inomutbildning generellt, och lärarutbildning specifikt. Genom atterbjuda estetisk kommunikation som ett didaktiskt tankeverktygför att förstå och planera för, genomföra och värdera utbildningavser vi att öppna för en diskussion om vilken plats estetiskaerfarenheter har och kan ha i lärarutbildningar. Estetisk kommunikation kan således förstås som ett erbjudande till lärare inomlärarutbildningar om ett förhållningssätt till estetik och lärandesom kan fungera som ett tankeverktyg för att analysera och utfor-ma utbildningar där estetiska erfarenheter står i centrum. Textenpresenterar och definierar begreppet med grund i filosofiska tanke-traditioner, relaterar det till specifika lärandesituationer, didak-tiska handlingar och kompetenser, pedagogiska relationer, samttill utbildningsstrukturer och politiska värderingar.

  • 5. Ferm Almqvist, Cecilia
    et al.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education. Stockholms musikpedagogiska institut (SMI), Sverige.
    Estetisk kommunikation - tolv år senare2019In: NEÄL 2019: Aesthetic Experiences In Education, 2019Conference paper (Other academic)
    Abstract [sv]

    2007 presenterade vi paperet Aesthetic Communication - Students’ Awareness på konferensen International Society of Philosophy in Music Education (Ferm-Thorgersen & Thorgersen 2007). I paperet föreslog vi att begreppet “estetisk kommunikation” kunde vara användbart för lärare och lärarutbildare för att tänka kring utveckling av estetisk verksamhet som kommunikation. Med utgångspunkt i en kombination av fenomenologi och pragmatism argumenterade vi för att en konstruktivistiskt syn på lärande innebär att kunskap blir till i möten mellan människor och i möten med världen. Konstuttryck blir således både mediator i dessa möten och samtidigt något människor möter. Det estetiska blir till i mötena och det blir således en uppgift för skolan att lägga tillrätta för elevers medvetna deltagande i sådana estetiska praktiker. I detta första paper lyfte vi fyra centrala medvetandedimensioner som vi ansåg att det var viktigt att fokusera i skolans konstnärliga och estetiska verksamheter: 1)Medvetande sig själv, 2) Medvetenhet om andra, 3) Medvetenhet om uttrycksmöjligheter, 4) Medveten om roller och ansvar i kommunikationen.

    I ett uppföljande paper året efter skrev vi om fantasins, delning av erfarenheter och drivkrafters roll i estetisk kommunikation som en utveckling av hur och varför skolan skulle kunna arbeta med de fyra medvetenhetsformerna.

    Efter detta skildes våra vägar och vi har sedan på varsitt håll utvecklat varsin gren gällande teorin om estetisk kommunikation, den ena primärt med Arendt, Dufrenne & Heidegger, den andra med hjälp av Dewey, Spinoza, Næss och Deleuze. I denna dialogiska presentationen söker vi att visa på och analysera hur dessa två grenar av estetisk kommunikation ömsesidigt kan berika varandra och tillsammans kan bidra med i förståelsen av vilken roll estetisk erfarenhet och upplevelse kan spela i utbildning och lärande.

  • 6.
    Ferm Almqvist, Cecilia
    et al.
    Södertörn University, Teacher Education, Education.
    Thorgersen, Ketil Thor
    Stockholms musikpedagogiska institut, Sverige; Stockholms universitet, Sverige.
    Att möjliggöra estetiska erfarenheter i lärarutbildning2022In: I rörelse: Estetiska erfarenheter i pedagogiska sammanhang / [ed] Anders Burman; Petra Lundberg Bouquelon, Huddinge: Södertörns högskola, 2022, p. 35-58Chapter in book (Refereed)
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    Att möjliggöra estetiska erfarenheter i lärarutbildning
  • 7.
    Ferm, Cecilia
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Thorgersen, Ketil
    Aesthetic communication in music education: student's awareness2007In: International Society for the Philosophy of Music Education Symposium, 2007Conference paper (Refereed)
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    FULLTEXT01
  • 8.
    Männikkö-Barbutiu, Sirkku
    et al.
    Stockholm University, Faculty of Social Sciences, Department of Computer and Systems Sciences.
    Thorgersen, Ketil
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    Zackrisson, Katarina Sipos
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    International Collaboration – New Form of Colonialism?: A study of the construction of similarities amongst participants in an action research project2011Conference paper (Refereed)
  • 9.
    Thorgersen, Cecilia Ferm
    et al.
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Thorgersen, Ketil
    Brinck, Lars
    Rhythmic Music Conservatory.
    Kvaal, Camilla
    Hedmark University College.
    Musical activism towards equality among youths in Scandinavia2015In: Finnish Journal of Music Education, ISSN 1239-3908, Vol. 18, no 2, p. 88-101Article in journal (Refereed)
  • 10.
    Thorgersen, Ketil
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    A draft for a raft of reflection: Critical discourse analysis from a pragmatic point of view as a method to understand teachers' reflections on aesthetics2005In: Reflective practice conference, 2005Conference paper (Other academic)
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  • 11.
    Thorgersen, Ketil
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Communication from a pragmatic perspective2005In: A Nordic dimension in education and research - myth or reality?: NFPF/NERA 33rd congress, Nordic educational research association, NERA , 2005, p. 93-Conference paper (Other academic)
    Abstract [en]

    Communication helps defining our identity, acknowledges us and helps us situate ourself in the social space we live in. It is difficult to imagine being a human being and not being able to communicate in some way or another. Communication is the tool we have for exchanging thoughts and feelings, but what demarcates communication? Is communication always between communicating parties directed towards each other, reciprocally exchanging ideas, or is it still communication if one person talks and another one is in the same room not paying attention. A part of the same problem is if it is possible to communicate across time. Can Beethoven communicate something to me - or is it possible to imagine that Beethoven and I actually communicate interactively in some way or another. Does communication require reciprocal interaction or does one-way communication exist? Is both monologue and dialogue parts of communication? Other questions in this respect is whether communication can have different quality, and to what extent it is possible to transfer our intended meaning in communication. These questions will be elaborated on from a pragmatic point of view and discussed in the light of education and aesthetics.

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    fulltext
  • 12.
    Thorgersen, Ketil
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    Democracy, open source and music education?: A Deweyan investigation of music education in digital domains.2010Conference paper (Refereed)
    Abstract [en]

    Democracy, open source and music education?

    A Deweyan investigation of music education in digital domains.

     

    Music has not been solely temporal for more than a century, and musical performance has not been created exclusively in real time by humans since the piano roll entered the stage in the late 19th century.  The mechanical, and later the digital, music industry has changed music as a social phenomena, increasing the availability of music to listen to, tools to create music with as well as distributional and communicational aspects of music. Music consummation happens either through live music as it always has, or through a recordings which today is mostly digital.

    Digital tools for creation, evaluation, distribution and consummation imply particular challenges regarding ownership and intellectual property which influence and have consequences for music education both as practice and philosophically. The purpose of this paper is to discuss how licensing of music software and music can be understood in relation to democracy in music education. A deweyan pragmatism will be used as a lens through which to discuss this purpose. In this paper, the focus is on software licensing, only slightly touching upon the similar discussions regarding music licensing and availability of research.

    In Dewey's writings, democracy is more than a political system. Democracy is a desirable way of social interaction in “conjoint communicated experience”[1]. Experience is seen as shared, and education is seen in the light of a pragmatist meaning of truth, where meaning is created and recreated through social interaction. For education to be good in a Deweyan democratic sense, it would have to facilitate free speech, respect, free access to knowledge and multiple ways of accessing and producing knowledge.

    Digital tools have, despite the overall increased accessibility to knowledge, forums for expressions and expressional tools, brought new challenges into the music educational domain. How to deal with music available in the digital domain, and as such being eternally reproducible without any degradation of sonic quality is one such challenge. On the one hand, music from everywhere and anytime can be reached by a mouse click, but on the other hand, music is usually distributed as intellectual property and as such it is illegal to redistribute the music even in an educational setting. Another related challenge concerns the software used in music classrooms.

    Software on the two major operative systems, Microsoft Windows and Apple OsX is usually close sourced and having end user agreements which prohibit any modification of the software. If these softwares are compared to other musical instruments, the software are not owned solely by the musician, since the software, unlike other instruments, cannot be modified, repaired or improved. Lately there has been a reaction against the lack of democracy in the software industry through the open source movement. Open source music software are not backed by any large company, but instead developed by groups of developers releasing the code for anyone to improve and change. However, the software might not have the same level of stability and general usability for beginners. The possible educational implications of choosing a proprietary solution versus open source alternatives will be discussed.

    [1]    Dewey, John (1999[1916]). Democracy and education: an introduction to the philosophy of education. [New ed.] New York: Free Press p. 130.

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  • 13.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Den kulturskoledidaktiska bron [The Art-School Didactic Bridge]2019In: Nofa7 Abstracts, Stockholm: Stockholm University, 2019, p. 212-212Conference paper (Refereed)
    Abstract [sv]

    Denna presentation tar sin utgångspunkt i de didaktiska utmaningar som kan identifieras när frivillig musikundervisning möter didaktiska teorier. Presentationen använder sig av Frede V. Nilsens analyser av musikundervisningens didaktik såsom den framstår i Almen Musikdidaktik. Detta kombineras med teorier om relationell pedagogik, relationell estetik, social estetik samt estetisk kommunikation, för att lyfta frågor och dryfta vad som särskiljer och kännetecknar musikundervisning och musikaliskt lärande utanför den mål-, innehålls-, och läroplanstyrda skolan, samt vilka möjligheter och utmaningar sådan undervisning medför.

    Vid mina två arbetsplatser, bedrivs utbildningar som utbildar studenter som förväntas undervisa i kulturskolor, studieförbund, folkhögskolor och andra utbildningsverksamheter som baserar sig på frivillighet och där det i liten grad finns centraliserad styrning. I arbetet med detta har frågor om vilken förståelse av didaktik som kan öka förståelsen för den verksamhet vi utbildar för växt sig allt starkare. Detta paper är en del i en process att skriva fram ett sådant underlag för en didaktik för (musik)undervisning på frivillig grund.

    Sveriges kommunala musikskolor växte fram från och med 1940-talet som en del av den nordiska folkbildningsrörelsen. Fokus låg främst på individuell undervisning i sång, samt spel av instrument inom den konstmusikaliska traditionen. Mot slutet av 1900-talet började andra konstarter utgöra en del av denna verksamhet och det har blivit vanligt att tala om kulturskolor. Trots att det inte finns något regelverk som föreskriver att alla kommuner måste erbjuda kommunala kulturskolor, finns det kommunalt finansierade kulturskolor i 283 av 290 kommuner och mer än 550 000 barn och unga deltar i verksamheten.

    Merparten av offentliga skolformer är målstyrda. I svensk kulturskola, liksom i många (ut)bildningsverksamheter som försiggår på fritiden, finns ingen statlig styrning och inga styrdokument (även om det kan finnas lokala sådana). Innehåll, metoder, mål, ramar, bedömning och utvärdering blir således beslutade på annat sätt än genom centraliserad styrning: Läraren, eleven och den lokala verksamheten utformar i samspel löpande en dynamisk, informell läroplan utifrån kvalificerade gissningar kring utbildningens uppdrag, elevens behov, samhällets behov och lärarens behov, samt utifrån analyser av förutsättningar, ramfaktorer och handlingsutrymme. Detta kan beskrivas som att en läroplan förhandlas fram i mötet mellan varje elev och lärare, och omförhandlas vid varje möte. Den klassiska didaktiska triangeln där undervisning kan förstås som ett samspel mellan tre parter; elev, lärare och innehåll blir därför utmanad i och med att innehållet inte är definierat.

    Detta paper är således ett försök att skissa på en teori för en relationell didaktik där innehållet blir till i mötet mellan eleven och läraren – i en kulturdidaktisk bro. Hur dessa val kan göras kan förstås med hjälp av Handal och Lauvås och deras teorier om hur didaktiska val görs baserat på en kombination etiska värden och erfarenhetsbaserad förståelse av verksamheten. En teori om en kulturskoledidaktisk relationell bro kan utmana målstyrningen som präglar västvärldens skolsystem och kan ses som ett inlägg i debatten om utbildning som nyttig i en neoliberalistisk mening, eller utbildning som nyttig genom bildning.

  • 14.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Den kulturskoledidaktiska bron/The Art-School Didactic Bridge: Abstract for Senior research paper NNMPF 20192019Conference paper (Refereed)
  • 15.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Editorial: Eighth issue of the European Journal ofPhilosophy in Arts Education2021In: European Journal of Philosophy in Arts Education, ISSN 2002-4665, Vol. 6, no 1, p. 4-6Article in journal (Other academic)
    Abstract [en]

    EJPAE is proud to be able to present another issue with important thoughts in the intersection between the arts, education and philosophy. In this issue we have only been able to get two articles ready for publication. This is not because of lack of important and high quality articles submitted to EJPAE, but because of problems in the review and editorial processes. So while I am happy to present these two articles, I am also sad that I have not been able to get other articles ready for publication yet. To be an editor is a really interesting task where the meetings with interesting scholars and texts from different areas is the reward for the work you put in. In these trying times other work has had to be prioritised over the editorial work, and even if I have tried to get reviews to happen, several reviewers have obviously also had pressing times and I have experienced several reviewers withdrawing or even stop answering mail. This does not give me an excuse for all the articles waiting for a review, but at least it is one explanation – and for you I apologise and hope you will still be with us in the times to come.

    That being said I present to you two interesting articles – both from Norway this time. The north part of Norway is perhaps more knows for snow and ice than for philosophy and art, but that is about to change with this issue of EJPAE. The first article is by Ola Buan Øien who has explored how concepts developed by Daniel Lanois can be useful in performances through arts based research. The concept investigated are sonic ambience, master station, operating by limitation, locations, preparing and black dubs. In this exploration he has turned inwards and analysed his own compositional process. Theoretically the study draws on the constructionist epistemological roots of Crotty combined with Gadamer’s more hermeneutic theories. The article gives sonic and visual examples of the process and takes the reader on a journey to show how these concepts operate in an actual creative process, while we simultaneously take part in Øien’s reflections on the process. The usefulness for educational practices in applying such approaches as demonstrated in the article, is discussed towards the end of the article, while at the same time discussing the academisation of artistic practices. The article is a thought provoking and useful read for teachers, teacher educators and artistic researchers from different disciplines even if the terminology is most recognisable for those involved with music.

    The second article discusses the relationship between art and science and is written by Thomas Dillern. By using Leonardo da Vinci as an example, he shows that art and science as human endeavours share some common traits. Da Vinci is what we today call a renaissance-man – someone who were active and accomplished in what we today consider separate disciplines such as art, architecture, science, medicine etc. In the essay Dillern questions the ideals of objectivity and claims that human creativity is needed as much in scientific processes as in the arts. The scientific process is then compared to artistic processes in order to show the similarities between them and how both activities generate human understanding. In this Dillern builds on several philosophers such as Heidegger, Gadamer, Dewey, Polanyi and Beavington, but also the old cult author Robert Pirzig and his seminal novel The Art of Motorcycle Maintenance. Extrospection and instrosepction are parts of the same precess and needed in making sense of the world, Dillern argues, and therefore artistic approaches to science and scientific approaches to artistic creation are needed in education.

    I hope this issue will bring hours of interesting thinking and if you feel inspired to follow up on something written here, or if you are provoked to write a reply, EJPAE will be happy to be a platform for such professional discussions.

    As I finish this text, spring is about to break free of the cold arms of winter and I wish all of you a warmer and closer time ahead than the last year of social distancing.

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    fulltext
  • 16.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Editorial: Fourth issue of the European Journal of Philosophy in Arts Education2018In: European Journal of Philosophy in Arts Education, ISSN 2002-4665, Vol. 3, no 1, p. 4-6Article in journal (Other academic)
    Abstract [en]

    It’s been almost a year since the last issue, but finally it is here. And what an issue! Four very interesting articles fill this issue with thought provoking and valuable insights about arts – or in fact music – education. This issue contains articles about improvisation, relational perspectives, emotionally expressive singing, and interpretation.

    The article about poetry is the first article ever in EJPAE to answer the call for alternative formats in EJPAE – and is an interesting challenge to how articles usually are written in academia. Carl Holmgren uses different forms of poetry to tweak aspects of the research process from different angles. This article is an interesting take on an arts-based research process, that is a meta text in that is both researching through poetry as well as discussing how poetry can be used for interpretation in the research process. It can also be seen as a meta-meta text in that it investigates interpretation in music through poetry as interpretation in the research process, through poetry. This multilayered text opens up for a whole new range of ways of thinking about the research process and will provoke thoughts on how we construct meaning in academia.

    Following this text Shawn Michael Condon presents a more empirical article about how expressivity can be worked with for singers at university level. Through taking into account different modalities and a combination of skill acquisition and the a development of the individual’s personal wish for expression, a model for preparing a musical expression is outlined – a model that could inform music teachers in different kinds of teaching leading up to a performance.

    The last two articles are both co-written by two authors. The third article, written by Christina Larsson and Johan Öhman, discusses improvisation in education from a pragmatist transactional perspective informed by Dewey. As in the arts-based article by Holmgren, the focus here is meaning making – but here through/in improvisational events in music education. The authors suggest a practical epistemology analysis through analysing an improvisations event though the concepts purpose, encounter, stand fast, gap, relation and re-actualisation , and thereby provides teachers with an intellectual tool for thinking about how and why they do improvisation in music classrooms.

    Last, but not least, in the article by Torill Vist and Kari Holdhus, write an important argument about relational aesthetics in music education. They use Bourriaud’s theories to provide teachers with important questions about how methods and content in music education invites the students into dialogue. Since art is relational construction of meaning, musical learning that is relevant to the student should invite her into dialogue about different aspects of the musical practice.

    In sum these four articles shows the span of EJPAE. All articles develop theories and relate to philosophical ideas in different ways, but the forms and the scopes of the articles are very different; from arts-based poetry, via more traditional philosophical rhetoric to a text that draws heavily on an analysis of empirical material. Since EJPAE started in 2016, we have reached out, and we can now say that we are a respected journal where more and more articles are submitted every month. So enjoy this fantastic issue, but look out for the coming ones: Great insight is in the works.

  • 17.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Editorial: Third issue of the European Journal of Philosophy in Arts Education2017In: The European Journal of Philosophy in Arts Education, E-ISSN 2002-4665, Vol. 2, no 2, p. 4-5Article in journal (Other academic)
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  • 18.
    Thorgersen, Ketil
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Estetik i svenska grundskolans styrdokument2006In: Lärandets konst: betraktelser av estetiska dimensioner i lärandet, Lund: Studentlitteratur AB, 2006, p. 15-30Chapter in book (Other (popular science, discussion, etc.))
  • 19.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Estetiska lärprocesser som estetisk kommunikation2015Conference paper (Refereed)
    Abstract [sv]

    Estetiska lärprocesser är ett begrepp som har fått fäste i svenska pedagogiska diskurser utan att det har fått någon klart definierad betydelse varken i dagligt användande eller i forskningen. I detta konferenspaper utreder jag hur begreppet estetisk kommunikation kan introduceras som ett didaktiskt klargörande i arbetet med estetiska lärprocesser. Detta utredande sker i linje med John Deweys' förståelse av lärande som ”delande av erfarenheter så att de blir gemensamma erfarenheter”. Utgångspunkten för didaktisk teori om estetisk kommunikation utarbetades initialt i min lic (2007). Sedan dess har begreppet utvecklats och bearbetats i såväl egna publikationer som sampublikationer. Estetisk kommunikation tar sin utgångspunkt i en förståelse av att människan ständigt rekonstruerar sin värld genom interaktion med andra människor, vilket sker genom en mängd olika modaliteter som kompletterar, och samverkar med varandra. En didaktisk konsekvens av detta är att uppmärksamhet bör riktas mot utveckling av förståelse, medvetenhet och kunskap om de olika modaliteternas egenskaper, styrkor och svagheter, samt vilka roller som finns till hands i den estetiska kommunikationen. Det estetiska i estetisk kommunikation förstås i relation till tilllblivandet av de meningsskapande mellanrum vars blivande inte enbart kan förklaras genom logiskt rationellt verbalspråk. I enlighet med såväl Dewey som Deleuze och Guattari är en del av konstens uppgift att (re)konstruera oväntade och nya förståelser av världen i dessa meningsskapande mellanrum. Estetisk kommunikation som didaktisk teori behandlar följande aspekter:

    • Medvetande om dig själv som subjekt – dina (potentiella) roller och estetiska kompetenser
    • Medvetande och uppmärksamhet mot andras roller och estetiska uttryck
    • Medvetande om sammanhanget där kommunikationen sker
    • Medvetande om intenderade och uppfattade funktioner av estetisk mediering och dess potentiella variationer

    Dessa är sammanvävda och måste förstås i relation till andra krafter i kommunikationen så som:

    • Förväntningarna till alla involverade i kommunikationen
    • Drivkrafter som driver och motverkar kommunikationen
    • Varje involverad individ och grupps partikulära erfarenheter
    • Diskursiva maktstrukturer, historier och doxa

    Presentationen bjuder in till en diskussion kring hur lärande kan förstås som demokratisk holistisk praxis i ett samhälle där skolan inte längre har kunskapsmonopol.

  • 20.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Freedom to create in the cloud or in the open?: A discussion of two options for music creation with digital tools at no cost2012In: Journal of Music, Technology and Education, ISSN 1752-7066, E-ISSN 1752-7074, Vol. 5, no 2, p. 133-144Article in journal (Refereed)
    Abstract [en]

    A challenge for teaching and learning in compulsory school music education, is how to make pupils learn music even between school lessons: To let processes of musical creativity and learning exist in a continuum in the pupils' lives rather than just disparate moments in the few music lessons offered. The advance of digital technology combined with the availability of computers for the majority of pupils could present some solutions to this problem, but each solution have their own flip sides too. In this article two possible solutions are presented from a pragmatist perspective: One solution consists of a memory stick with a complete open source operating system complete with software for musical and media learning, production and composition, while the other solution is concerned with Web 2.0 solutions with software running via the web browser. The two solutions have pros and cons regarding didactical impolication, ethical and philosophical implications and legal implications that are important for any music teacher to take into account.

  • 21.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Implications of expectations in music education2013Conference paper (Refereed)
    Abstract [en]

    Expectations play a vital role in any part of life, not at least in educational practices. This paper discusses expectation in formal music education from a post-pragmatist, deleuzian perspective where expectation is considered neither solely social nor personal, but rather discursive. Music is considered a kind of aesthetic communication in the paper and different aspects of expectation are discussed in relation to music education. The term “possibilism”, borrowed from the Norwegian philosopher Næss plays an important role in understanding how music education should be concerned with training imagination and facilitate for a wider and richer set of expectations in order to help learners become interesting, aware, critical and happy affiliates of music.

  • 22.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education. University College of Music Education in Stockholm (SMI), Sweden.
    Inaugural Issue of EJPAE: Editorial2016In: The European journal of philosophy in arts education, E-ISSN 2002-4665, Vol. 1, no 1, p. 3p. 3-5Article in journal (Other academic)
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  • 23.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Music as aesthetic communication in the Swedish curriculum?2013Conference paper (Refereed)
    Abstract [en]

    As of autumn 2011, Sweden has had a new curriculum for the compulsory school system. The syllabuses as well as the general curriculum (Lgr11) have been revised thoroughly in order to make them more concrete and the education more easily assessed through the distinct distinction between educational content and methods. Teaching methods are seen as tools through which the teacher communicate content knowledge. The syllabus for Music has been revised within a curriculum where the term “aesthetic” appears frequently and where music is described as belonging to a communicative set of practices along with other modalities. This paper analyses the syllabus for music within Lgr11 from a pragmatist perspective inspired by Deleuze, Dewey and Spinoza, with the aim of understanding how music is being (re)constructed as school subject as well as what discourses of Music that are hegemonic. The syllabus will also be analysed in relation to the previous syllabus from 1994. The paper will also speculate upon what consequences the views on music and Music mightl have in a school where teachers are considered qualified to teach music with no more than half a year of studying music.

    Music is a complex phenomenon, and the learning of music even more so. Learning of music takes on an amazing variety of forms in different cultures and practices, whilst in the western school tradition of music teaching, music education seems to be mostly about developing skills in music and knowledge about music strictly within the borders of the music classrooms. This is particularly true for older students. Aesthetic experience and communication, which in this presentation is considered the core of music, are often neglected or assumed to come as side effects of the teaching of skills and knowledge. Studies show that some pupils feel an alienation of the school subject music – that there is a gap between school music and the music that is of existential value to them outside school, and also a gap between music and other forms of communication, knowing and learning: Outside of the school context music is being used for personal fulfilment, social interaction, identity creation and personal and social reflection where the borders of music towards other forms of expression and communication is of no inherit importance.

    The primary empirical material for the analysis is a comparison between the two latest curricula for the Swedish compulsory school. Aesthetic communication is often understood as multimodal communication where multiliteracy is needed to be able to be an active citizen and participant in your own life. However, in addition to the multimodal and multilitacy aspects, the term aesthetic communication implies aspects of existential opportunities and possibilities. In a formalised educational setting that means facilitating for learning that involves presence, representation and imagination, reflection and emotions, and where knowledge and skills are being treated in particular context with bearing for the individual in their social contexts. In the current Swedish curriculum such teaching practices could be possible because of the absence of methods in the curriculum in favour of learning outcomes, and the frequent reference to aesthetic values in the formulations.

  • 24.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Music Education as Manipulation: A Proposal for Playing2015Conference paper (Refereed)
    Abstract [en]

    An important feature of music and the arts is the ability to affect people in unpredictable and deep ways. Music has therefore been used by for oppression by dictatorships, religious leaders and supermarkets amongst others, to help lure people into acting in ways that are beneficial for the manipulators. Musical manipulation in such examples are ethically problematic for several reasons but still happen because of the sublime potential of music to do something to people. This is the same reason why people seek out aesthetic experiences – for the unforeseen affects and effects in the encounter with the arts. Building on a theory of aesthetic communication and seeking support form Deleuze and Guattary, Dewey and Spinoza, the aim of this paper is to play with an idea of manipulation as an important educational vehicle in music education. I will argue that manipulation is a necessary component of all art and aesthetic communication, that manipulation is an act that can be used for good or bad purposes and that music education has a duty to educate pupils in artistic manipulation. Manipulation, like music, is considered action and as such value neutral outside of the intentions and effects it causes. The paper invites a discussion of possible ways of building a music education that revolves around tinkering with aesthetic communication where desirable manipulation plays a vital role, and where outcomes based curricula are replaced with something else more compatible with the arts.

  • 25.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education. Stockholms musikpedagogiska institut, Sweden.
    Music education as manipulation - a proposal for playing2020In: Nordic Research in Music Education, E-ISSN 2703-8041, Vol. 1, no 1, p. 151-166Article in journal (Refereed)
    Abstract [en]

    An important feature of music is its ability to affect people in unpredictable and deep ways. Music has therefore been used to oppress and (mis)lead people by dictatorships, religious leaders and supermarkets amongst others, and to help lure people into acting in ways that are beneficial for the manipulators. Such forms of ethically dubious musical manipulation happen because of the sublime potential of music to do something to people, and in such a way that they have few ways to defend themselves against it. Thus, the power of music is also the reason people seek out the unforeseen affects and effects in their encounters with the arts. Building on a theory of aesthetic communication, and seeking support from Deleuze and Guattari (1994), Dewey (2005) and Spinoza (Spinoza & Lagerberg, 2001), the aim of this article is to propose the term manipulation as a tool in music education or as a vehicle for teachers and researchers to help frame activities in music education as meaningful for aesthetic communication. I argue that manipulation is a necessary component of all art and aesthetic communication, that, despite its usual negative connotations, manipulation is an act that can be used for good or bad purposes, and that music education has a duty to educate pupils in artistic manipulation. Manipulation is considered action, and as such, it is argued that it can take on any value from good to bad depending on the intentions and effects it causes. This article invites a discussion of possible ways of designing music education that revolve around tinkering with aesthetic communication, and wherein desirable manipulation plays a vital role, and outcomes-based curricula are replaced with an alternative more compatible with the arts.

  • 26.
    Thorgersen, Ketil
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    Music education with ears wide open – some new sounds for some old ways of thinking?: About open access and licensing of artistic and intellectual property and possible implications for music education2010In: Music, education and innovation: Festschrift for Sture Brändström / [ed] Cecilia Ferm Thorgersen & Sidsel Karlsen, Luleå: Luleå University of Technology , 2010, p. 67-87Chapter in book (Other academic)
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  • 27.
    Thorgersen, Ketil
    Luleå tekniska universitet, Institutionen för musik och medier.
    Music from the Backyard: Hagström's Music Education2009Doctoral thesis, monograph (Other academic)
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  • 28.
    Thorgersen, Ketil
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    "Music from the backyard": Hagström's music education2009Doctoral thesis, comprehensive summary (Other academic)
    Abstract [en]

    "Music from the backyard": Hagström's music education, is a PhD thesis that investigates the music education that the company Hagström ran from 1946 to 1983. The aim of the thesis is to investigate and recreate Hagström's music educational history from a Deweyan pragmatist point of departure. The study searched for answers to the following questions: What were the societal and educational settings in which Hagström's music education took place? How did Hagström's music education develop, and what led to its rise and fall? What educational content and pedagogical ideas constituted Hagström's music education? How can Hagström's educational enterprise be understood with the help of Bourdieu's theories of symbolic capital? Because of the historical nature of the study, the availability of empirical material was limited. Hagström had some archived material which I was given access to, and there were a great deal of periodicals from the time with articles about music education on people's spare time. Additionally, the Hagström course books were important documents, since they were the only centralized document to govern the directions for Hagström's music education. The pragmatist perspective of the study led to a desire to highlight parts of the human experience that constituted the history. Based on a snowball-sampling strategy, I traced down eleven persons from Sweden and Norway which were interviewed.The results of the analysis became a story about Hagström in the society - a story that revealed an entrepreneur whose company grew quickly and represented other values than the better parts of the cultural establishment in Sweden. The company rested on several pillars: The production of accordions, and later on even guitars, basses, organs and amplification systems, import of music merchandise, as well as the largest chain of music retail shops in the Nordic countries. The music education started in 1945 in Växjö, and in 1946, the rest of the country. In the beginning they taught accordion and guitar, but later developed to include electric bass, organ and keyboard as well. The courses were organised as group education with a duration of ten weeks in a semester. Geographically they were spread all over Sweden as well as around Oslo, Bergen and Copenhagen. All in all there were close to 100 000 pupils attending Hagström's music education. Hagström's music education was, despite new ideas such as group education and that the student should be able to play a melody as quickly as possible, a fairly traditional master-apprentice kind of education. The teacher demonstrated what he considered to be the correct technique and musical performance, and the student imitated. The pupil had little or no opportunities to influence the content of the education. On a macro level however, Hagström's music school was important in the process towards a more democratic music education in Sweden. Hagström helped to increase the availability of music education through their geographical dispersion as well as the affordability of attending the courses. An important difference from the other agents on the market that aimed to refine the students' musical preferences, was that Hagström had no musical agenda. Hagström might have contributed to Sweden's strong position on the global popular music scene.

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  • 29.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education. University College of Music Education, Sweden.
    Musical (Dis)Empowerment in the Digital Age?2020In: The Oxford Handbook of Social Media and Music Learning / [ed] Janice L. Waldron, Stephanie Horsley, Kari K. Veblen, Oxford University Press, 2020Chapter in book (Refereed)
    Abstract [en]

    Can the use of social media help music education empower students? This chapter takes a critical view of common myths regarding social media and discusses their implications for music education. The chapter argues that great caution should be taken in formal music education to avoid paying for access to this technology with students’ privacy. In an age where everyone with a smartphone who does not take precautions is monitored 24/7 by app makers and makers of operating systems, it is important that music education takes an ethical stand regarding how such tools should be used. The chapter ends on a hopeful tone, recommending that we employ the Swedish concept of lagom to make wise choices in the matter and let students learn and share while, at the same time, be empowered by technology.

  • 30.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Musik som estetisk kommunikation i fritidshemmet2013In: Meningsskapande fritidshem: studio som arena för multimodalt lärande / [ed] Malin Rohlin, Lund: Studentlitteratur, 2013, p. 53-81Chapter in book (Other (popular science, discussion, etc.))
  • 31.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Outcomes Based - Aesthetics?: Reflections over aesthetic communication and outcomes based learning based on a study of six syllabi2014In: English Teaching: Practice and Critique, E-ISSN 1175-8708, Vol. 13, no 2, p. 19-34Article in journal (Refereed)
    Abstract [en]

    Outcomes-based curricula have become the global norm in the last decennia. School authorities have more or less left behind their old habits of either forcing upon teachers a set of content to teach and methods to use, or leaving teachers alone because they trust their professional knowledge to choose what is best for their learners. The current gospel is different – to preach to teachers what the learner is supposed to have learned after a certain amount of schooling. The teacher is responsible for leading the student to this predefined set of knowledge or skills, whilst students and their parents have become the customers, and the teacher the waiter who facilitates the desired learning prepared by the chef – Mr Jurisdiction.

    In their last book, What is Philosophy, Deleuze and Guattari discuss how science, philosophy and art have different tasks in the construction of knowledge. Whilst the three are considered complimentary to the human quest to develop knowledge, what is most important is that knowledge is not something that is, but something that becomes – just as human beings are in a condition of constant becoming. The way knowledge or insight becomes is different for science, philosophy and art. Science’ role is to;demarcate, pull apart, test and reconstruct current knowledge and phenomena in order to develop new knowledge. Philosophy’s role, on the other hand, is to question truths and invent and present new terms in order to create new possibilities for the human imagination to understand their being in the world, whilst art’s role is to construct the world anew. The arts present a new holistic version of (or at least parts of) the world so as to help us understand our being in unforeseen ways through their appeal to the complete set of human faculties for perception, processing and possibly bypassing narrow expectations.

    So what does this ontological backdrop have to do with outcomes-based curricula? Educational science has not considered knowledge to comprise a set of objects for a very long time. Rather, in all theories of teaching and learning, knowledge is considered to be a series of socially or psychologically developed constructs. The idea that the knowledge outcomes of an education should be predefined so as to ensure maximum quality can consequently be considered to be the antithesis of an education based on educational science. This article questions outcomes-based learning as a viable system for formal education through the study of the syllabi for English as a second language and that earning the mother tongue in the three Nordic countries, Denmark, Norway and Sweden, which have all introduced new syllabi in the last ten years following the introduction of outcomes-based logic. These syllabi will be analysed from the theoretical framework of aesthetic communication developed by Ketil Thorgersen and Cecilia Ferm Thorgersen. Aesthetic communication is an attempt to transcend the division between sender and receiver that theories of multimodality and multiliteracy suffer from, and also to take into account the existential aspects of the arts.

  • 32.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education. University College of Music Education in Stockholm (SMI), Sweden.
    Possibilism and Expectations in Arts Education2016In: The European Journal of Philosophy in Arts Education, E-ISSN 2002-4665, Vol. 1, no 1, p. 96-108Article in journal (Refereed)
    Abstract [en]

    This article is an attempt to explore some thoughts regarding how different kinds and levels of expectation might (re)construct being in music education. The philosophical lenses through which this is analysed consist of a combination of a Deweyan pragmatism, the possibilistic parts of the philosophy of the Norwegian philosopher Arne Næss who draws on Spinoza and finally parts of the philosophy of Deleuze & Guettari. A claim made in the article is that it is important in arts educationto challenge the expected and for the world to be created in an eternally wide, and at the same time claustrophobically narrow set of pathways to experience. To learn a communicative art could in other words imply to learn how to consciously adapt to conventions and expectations of musical parameters and at the same time break with them in ways which are functional in aesthetic communication. An important task in arts education must therefore be to train and develop the skill to imagine as rich a web of possible outcomes to any musical situation at the same time as being aware of the conventions that are at stake and their expected uses in order to understand as well as to play with them. That way music education can help pupils become interesting musicians, composers and listeners who are also critical, creative and happy. As an added benefit, these kinds of possibilistic skills, attitudes and modes might actually be beneficial for both learner and society in most parts of life.

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  • 33.
    Thorgersen, Ketil
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Pragmatiske perspektiver på «lärande»2006In: På kurs mot lärande: betraktelser av lärande ur några olika perspektiv, Luleå: Luleå tekniska universitet, 2006, p. 71-81Chapter in book (Other academic)
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  • 34.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Relationell estetisk kommunikation och kulturskoledidaktik2019In: Abstracts Cutting Edge, 2019Conference paper (Refereed)
    Abstract [sv]

    Denna presentation tar sin utgångspunkt i de didaktiska utmaningar som kan identifieras när frivillig musikundervisning möter didaktiska teorier. Presentationen använder sig av Frede V. Nilsens analyser av musikundervisningens didaktik såsom den framstår i Almen Musikdidaktik. Detta kombineras med teorier om relationell pedagogik, relationell estetik, social estetik samt estetisk kommunikation – kopplat till det sublima, för att lyfta frågor och dryfta vad som särskiljer och kännetecknar musikundervisning och musikaliskt lärande utanför den mål-, innehålls-, och läroplanstyrda skolan, samt vilka möjligheter och utmaningar sådan undervisning medför. Texten är en del av KIL-forsk och kommer ingå som en del av en antologi i deras regi.

    Vid mina två arbetsplatser, SMI och Stockholms universitet bedrivs kandidatprogram och andra utbildningar som utbildar studenter som förväntas undervisa i kulturskolor, studieförbund, folkhögskolor och andra utbildningsverksamheter som baserar sig på frivillighet och där det i liten grad finns centraliserad styrning. Båda lärosätena är också med i en satsning på snabbutbildning av pedagoger till kulturskola där totalt sex lärosäten (Göteborgs universitet, Lunds universitet, Stockholms konstnärliga högskola, Stockholms musikpedagogiska institut (SMI), Stockholms universitet och Umeå universitet) har fått uppdrag; Kulturskoleklivet. I arbetet med detta har frågor om vilken förståelse av didaktik som kan öka förståelsen för den verksamhet vi utbildar för växt sig allt starkare. Detta paper är en del i en process att skriva fram ett sådant underlag för en didaktik för (musik)undervisning på frivillig grund.

    Sveriges kommunala musikskolor växte fram från och med 1940-talet som en del av den nordiska folkbildningsrörelsen. Fokus låg främst på individuell undervisning i sång, samt spel av instrument inom den konstmusikaliska traditionen. Mot slutet av 1900-talet började andra konstarter utgöra en del av denna verksamhet och det har blivit alltmer vanligt att tala om kulturskolor. Vad en kulturskola defacto är, är dock inte klart, men en vanlig definition är att det är en verksamhet som utbildar i tre konstarter eller mer. Musikundervisning är fortfarande den klart dominerande konstarten. I motsättning till i Sveriges grannländer finns inget regelverk som föreskriver att alla kommuner måste erbjuda kommunala kulturskolor. Trots detta finns det kommunalt finansierade kulturskolor i 283 av 290 kommuner och mer än 550 000 barn och unga deltar i verksamheten.

    Merparten av offentliga skolformer är målstyrda. I svensk kulturskola, liksom i många (ut)bildningsverksamheter som försiggår på fritiden, finns ingen statlig styrning och inga styrdokument (även om det kan finnas lokala sådana). Innehåll, metoder, mål, ramar, bedömning och utvärdering blir således beslutade på annat sätt än genom centraliserad styrning: Läraren, eleven och den lokala verksamheten utformar i samspel löpande en dynamisk, informell läroplan utifrån kvalificerade gissningar kring utbildningens uppdrag, elevens behov, samhällets behov och lärarens behov, samt utifrån analyser av förutsättningar, ramfaktorer och handlingsutrymme. Detta kan beskrivas som att en läroplan förhandlas fram i mötet mellan varje elev och lärare, och omförhandlas vid varje möte. Den klassiska didaktiska triangeln där undervisning kan förstås som ett samspel mellan tre parter; elev, lärare och innehåll blir därför utmanad i och med att innehållet inte är definierat. Detta paper är således ett försök att skissa på en teori för en relationell didaktik där innehållet blir till i mötet mellan eleven och läraren – i en kulturdidaktisk bro. Hur dessa val kan göras kan förstås med hjälp av Handal och Lauvås och deras teorier om hur didaktiska val görs baserat på en kombination etiska värden och erfarenhetsbaserad förståelse av verksamheten.

    En teori om en kulturskoledidaktisk relationell bro kan utmana målstyrningen som präglar västvärldens skolsystem och kan ses som ett inlägg i debatten om utbildning som nyttig i en neoliberalistisk mening, eller utbildning som nyttig genom bildning.

  • 35.
    Thorgersen, Ketil
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Teachers reflecting on aesthetics2007In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 9, p. 189-210Article in journal (Refereed)
  • 36.
    Thorgersen, Ketil
    Luleå University of Technology, Department of Arts, Communication and Education, Media, audio technology and experience production and theater.
    Unspoken truths: about aesthetics in Swedish schools2007Licentiate thesis, comprehensive summary (Other academic)
    Abstract [en]

    Unspoken truths - about aesthetics in Swedish compulsory schools is a licentiate level thesis which investigates aesthetics in the Swedish compulsory school. The aim of the thesis is to recreate aesthetics as expressed in current curricula as well as in teachers' reflections. This is being done by use of a combination of interviews of teachers and studies of theories and curricular texts. Theoretically the study is based in John Dewey's pragmatist heritage supported by theories from Wittgenstein's theories concerning text, critical discourse analysis method and Bourdieu's theories about art and society.The results show that the term aesthetics, which is frequently used in both juridical documents as well as in daily speech, is being used in a variety of ways. The word aesthetics is being used in thirteen out of the 23 syllabuses for the Swedish compulsory schools as well as in the general curriculum (Lpo94). The first part of the study consisted of an investigation of syllabuses and the curriculum. Eight different meanings of aesthetics were identified: Aesthetics as a tool for value and judgment, aesthetics as a skill, aesthetics as experience, aesthetics as a way of expressing oneself, aesthetics as a certain kind of knowledge, aesthetics as a secondary tool for learning other skills/subjects, aesthetics as a way to describe a subject and aesthetics as existentialistic value for human beings. The conclusion was that curriculum and syllabuses provided little guidance in how to interpret aesthetics for teachers. Consequently the next phase became an investigation into how teachers reflect upon aesthetics.In the second part of the study teachers were interviewed about aesthetics in school, both in a group and individually. Six teachers from six different subjects and three different schools were interviewed. To open up for the teachers own reflections a fairly inductive group interview was performed. This was later on complemented by individual interviews. The interviews showed that the teachers wanted to work more aesthetically. They expressed frustration over the fact that it was difficult to apply teaching methods to facilitate aesthetics. Despite this they were not able to define aesthetics. However they were eager to discuss and reflect upon different aspect of aesthetics in school and when the material is seen as a whole, they actually show a versatile understanding of aesthetics as being a constantly changing phenomenon which is fundamental for human existence.The thesis ends with speculations regarding consequences of this study. One way forwards is to view learning as communication and change from a view of language as verbal to a multimodal and multiliterate view of communication.

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  • 37.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    WHOA.nu: 13 years of (re)constructing Swedish hip-hop2014Conference paper (Refereed)
    Abstract [en]

    Whoa.nu started in 2000 as a community where the members could discuss all aspects of Hip-hop.The community became the most important place not only for discussions among members, but alsofor releasing free albums and songs to the public and for arranging events. The core of Whoa.nuwas still the community – the communicating environment of members developing as artists,audience and critics. Whoa.nu has not only been a place for individual's learning processes anddevelopment, but as much a place where Swedish Hip-hop has evolved and changed its regionalframes and by that its own identity. The aim of this paper is to present a beginnig analysis of thedevelopment of Whoa.nu as learning platform for hip-hop in Sweden based on interviews with thetwo administrators of the site as well as some news clips from when Whoa.nu stopped.. Twoquestions will be discussed: 1)How do the the interviewees describe the internal views of therelation between how Whoa.nu and Swedish hip-hop has changed through these 13 years presented,and 2) How are developments in what kind of educational communication that has been importantin Whoa.nu through the years presented? The paper is the first stage in a bigger project aboutWhoa.nu. The analysis will depart from a combination of a Deluezian and a Deweyan theoreticalperspectives. The methodology will be a nethnographically inspired approach where the primarysources will be texts from the forums, supplemented with interviews with participants. The researchwill bring insights into how musical learning can happen outside of institutions and also howSwedish hip-hop has grown from subculture to main stream.

  • 38.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Whoa.Nu: (Re)Constructing and Learning Swedish Hip-Hop Online2020In: Education Sciences, ISSN 2227-7102, Vol. 10, no 12, article id 381Article in journal (Refereed)
    Abstract [en]

    Whoa.nu started in 2000 as a community where members discussed all aspects of hip-hop in Sweden. The community became the most important place not only for discussions among members but also for releasing free albums and songs to the public and for arranging events. Moreover, the site was an educational hub for members to learn about hip-hop. The core of Whoa.nu was the community, wherein the communicating environment of members developed as artists, audience, and critics. Whoa.nu was not only a place for individuals’ learning processes and development but a place where Swedish hip-hop evolved and changed its regional frames, forming its own identity. The aim of this article was to present an analysis of the development of Whoa.nu as a learning platform for hip-hop in Sweden based on interviews with the two administrators of the site. Further, we wanted to use this as a steppingstone to discuss how listeners learned about popular music online during different eras. Two questions were at the forefront of this research: (1) How do the interviewees describe the internal views of the relation between how Whoa.nu and Swedish hip-hop changed over 13 years? and (2) how can Whoa.nu be understood as a learning environment? I henceforth present insights into how musical learning can happen outside of institutions and how Swedish hip-hop has grown from subculture to mainstream, which is how Whoa.nu outgrew itself. Hip-hop education is currently institutionalized in the same way that jazz and rock once were institutionalized. It went from being rebellious and subversive to being embraced by the larger society and integrated into academia. The results herein present a story of one example where musical learning in a subculture occurred. The insights presented, then, can help educators prepare for similar transformations of learning arenas in future musical subcultures. These insights could aid teachers and educators to assist students involved in music subcultures not discussed in schools. Hopefully, this article inspires additional ways of learning music. 

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  • 39.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Wrecking a musical life2013In: The 8th International Conference for Research in Music Education: Summaries & Abstracts, Exeter, UK: University of Exeter , 2013Conference paper (Refereed)
    Abstract [en]

    When I introduce myself to new people as a researcher in music education, a frequently encountered response is “oh - I wish I could play an instrument” or “I really cannot sing, but I wish I could” or something along those lines. There are obviously a lot of people, at least in the Nordic countries, who crave for being able to express themselves musically, but despite years of musical training in school assume that they are depraved of the possibility to do so for some reason. Some people consider themselves music illiterates and trace this back to one or more music teachers. In this paper I investigate some of these narratives from how the grown up pupils remember meetings with music educators in retrospect, and the perceived consequences for what they characterize as fatal meetings for their musical self esteem. The study is based on in depth interviews with 6 grown ups who have volunteered to talk about how this has infected their lives. A pragmatist base in the heritage of John Dewey, combined with perspectives from Spinoza and Deleuze makes a foundation to understand these stories. The results will focus the narratives in relation to democracy, happiness and meaningfulness and possible implications for the music teacher profession.

  • 40.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Mars, Anette
    A pandemic as the mother of invention? Collegial online collaboration to cope with the COVID-19 pandemic2021In: Music Education Research, ISSN 1461-3808, E-ISSN 1469-9893, Vol. 23, no 2, p. 225-240Article in journal (Refereed)
    Abstract [en]

    This article aims to present how music teachers in Sweden used the facebook group Musiklärarna in the first two months of the COVID-19 pandemic (March and April, 2020) to cope with challenges related to teaching music. The study is based on Biesta’s perspective on the teacher profession. With the consent of the participants, we have analysed the 303 posts (and their comments) that directly addressed the COVID-19 situation during that period. We found that the group works as an important collegial forum and that the teachers pragmatically use the group to solve educational problems; further, the posts concerning work-conditions get the most engagement. The most frequent types of posts concerned how to design teaching situations under the new conditions. Specifically, asking questions, sharing material, asking for material and letting off steam were the most common types. Music teachers seem to be loyal, collegial and intent on solving any challenge to facilitate students’ learning as regulated in the syllabus. We hope this article can motivate other researchers to perform similar studies or build on our results. We conclude by speculating about what the new normal will be for music teachers when the pandemic is over.

  • 41.
    Thorgersen, Ketil
    et al.
    Stockholm University.
    Mars, Annette
    Malmö University, Faculty of Education and Society (LS), Department of Culture, Languages and Media (KSM).
    A pandemic as the mother of invention?: Collegial online collaboration to cope with the COVID-19 pandemic2021In: Music Education Research, ISSN 1461-3808, E-ISSN 1469-9893, Vol. 23, no 2, p. 225-240Article in journal (Refereed)
    Abstract [en]

    This article discusses a study that took place in a giant staffroom filled with almost 7,000 teachers – namely a Facebook group for Swedish music teachers.  It aims to present how music teachers in Sweden used this group in the first two months of the COVID-19 pandemic (March and April of 2020) to cope with challenges related to teaching music. The study is based on Gert Biesta’s perspective on the teacher profession. With the consent of the participants, we have analysed the 303 posts (and their comments) that directly addressed the COVID-19 situation during that period. We found that the group works as an important collegial forum and that the teachers pragmatically use the group to solve educational problems; further, the posts concerning work-conditions get the most engagement. The most frequent types of posts concerned how to design teaching situations under the new conditions. Specifically, asking questions, sharing material, asking for material and letting off steam were the most common types. Music teachers seem to be loyal, collegial and intent on solving any challenge to facilitate students’ learning as regulated in the syllabus. We hope this article can motivate other researchers to perform similar studies or build on our results. We conclude by speculating about what the new normal will be for music teachers when the pandemic is over. 

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  • 42.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Mars, Annette
    Malmö University, Sweden.
    Dal Segna al Corona: Collegial collaboration to cope with corona online?2021Conference paper (Refereed)
    Abstract [en]

    The study takes place in a giant staffroom filled with music teachers - a Swedish Facebook-group for music teachers. The group has 7016 members by the 9’th of November 2020. An estimate is that this Facebook group reaches around 1/3 of the music teachers in Sweden. 

    The purpose of the study is to present how teachers use this Facebook group in the first two months of the COVID-19 pandemic, to cope with challenges related to teaching music. The activity in the Facebook group increased significantly during March and April before sinking again towards the summer. We have, with the consent of the participants, analysed the 303 posts plus their comments, that directly addressed the corona situation. The first corona-relevant post was made on March 5th and the study analysed all data from March 5th and two months ahead to May 5th. The analysis is both qualitative and quantitative, although the quantitative parts are the most developed.

    The Swedish approach on handling the Corona has been quite different compared to the surrounding Nordic countries, and also from most European countries. In spring 2020 the Swedish preschools and compulsory schools kept open while upper secondary and universities transitioned to digital, distance teaching (Pierre, 2020). When Sweden decided to close down parts of society, they decided to only shut down schools for older students from upper secondary [gymnasium] (16-19 year olds) and universities, while compulsory school and preschools stayed open. Parents were strongly advised to keep their children at home with the slightest symptoms though, and the same applied to teachers. Some schools that were affected by the virus decided to close down even for the younger children. This means that in the period we are studying some music teachers teach from a distance, some are still in their classrooms as usual, some are in their classrooms but with only a part of their class in place, the rest being home, some have a class at school they need to teach but cannot because they need to stay home because of symptoms. 

    The results show that Corona forced the teachers to reconsider and go back to basics - to make teaching and learning work in new circumstances. Thus the teachers where, spite the extreme situation, still focused on maintaining to follow the syllabus in Lgr11 (Skolverket 2019), Zandén and Ferm Thorgersen (2015) stated that music teachers implemented Lgr11 within a year, which would be 2012, and now in 2020 the teachers face the complex task of not only staying true to the syllabus and for example managing teaching students creativity such as composing music (Mars 2015) but also coping with the many challenges that Covid-19 poses. The results also clearly show the need for a collegiate with whom to brainstorm, think together with and search for support from. Since music teachers in Sweden usually are the only music teacher in a school or even in a municipality the facebook group Musiklärarna could be necessary for collegial support. 

    There is a strong collegiality in the group. When we go behind that fact and attempt to see more nuances of the collegiality, we can see through our categories that the collegiality are of different sorts: One kind of collegiality that  is represented by several categories is to search for support for a view or opinion, another is to search for help in solving an educational problem, a third, and related, is to share and spread good educational plans and ideas within the profession, a fourth is to search for support regarding working conditions. A fifth, a meta feature of collegiality, is to be a part of co-constructing a professional discourse - to become a part of the group music teachers in Sweden. 

    What will the new normal be when the pandemic is over; what kind of normal will music teachers create in the coda?

  • 43. Thorgersen, Ketil
    et al.
    Thorgersen, Cecilia Ferm
    Luleå University of Technology, Department of Arts, Communication and Education, Music and dance.
    Impetus, imagination and shared experience in aesthetic communication2008Conference paper (Other academic)
    Abstract [en]

    Our presentation will take an ongoing philosophical work of aesthetic communication as a starting point (Ferm & Thorgersen, 2007). The last couple of years we have been combining the philosophies of life-world-phenomenology and pragmatist aesthetics to develop a theory on the dynamic processes of aesthetic communication in learning environments. The main philosophers in this work have been, Dewey, Shusterman, and Merleau-Ponty. In both pragmatism and phenomenology there is room for analysing social dynamics as well as subject's meaning-making, but where the phenomenologist often prefer to take the subject's bodily position as a point of departure, the pragmatist often take social change in relation to individual growth as a starting point. We have had a special focus on awareness as a tool for illuminating the complex phenomenon. The dimensions that have been revealed are: Awareness of oneself, awareness of others, awareness of means of expression and awareness of role and responsibility in communication. We have also tried to develop the relation between philosophy and practice (Thorgersen, 2007, Ferm, 2007, Ferm, 2008). The developing thoughts that we want to present and discuss in our presentation concerns the shared nature of experience in the processes of aesthetic communication. Experience seen as shared, opens up for ways of regarding aesthetic communication in education where expression of oneself, roles in communication, means of expression and others are significant factors. We want to examine how dimensions of impetus and imagination work in the developing processes from recollected experience to future experience, in other words situations where aesthetic experiences are shared and developed. We will go further into the earlier mentioned philosophers' writings about these specific aspects of aesthetic communication and develop the philosophy connected to aesthetic communication in educational settings.

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  • 44.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    von Wachenfeldt, Thomas
    Allt annat än tyst kunnande...: Vad är kunskap i Black metal?2017In: Book of Abstract, Umeå: Umeå universitet , 2017, p. 14-14Conference paper (Other academic)
    Abstract [sv]

    Black metal är en extrem sub-genre såväl estetiskt som ideologiskt inom den större genren Heavy metal. Det som kännetecknar Black metal är fokus på förmedling av mänsklighetens mörkaste sidor. Artisterna inom genren förespråkar och företräder satanism och ockultism med en strävan efter att sprida känslor av obehag, rädsla, mörker och ondska. Estetiskt gör de detta genom ett paket av emotiva funktioner där disharmonisk musik samverkar med ett visuellt och berättande uttryck i något som kan betraktas som ett “Gesamtkunstwerk”. Musikaliskt skapas detta ofta genom growl-song i ett lite högre register där ovannämnda teman är centrala i texterna. Gitarr- och bassoundet kännetecknas av mer eller mindre kraftig distorsion och trummorna av högt tempo genom så kallade “blast beats” (väldigt snabbt spel som kan påminna om maskingevär). Harmoniskt komponeras musiken lika ofta horisontellt (polyfont), såsom var brukligt exempelvis under barocken, som vertikalt som i nästan all populärmusik. Ett horisontellt komponerande hjälper till i sökandet efter disharmoni. Det musikaliska uttrycket kan, förutom i texterna, påminna om andra sub-genrer såsom Death metal. Dock hörsammar en initierad lyssnare tydliga skiljelinjer som t.ex att vokalister inom Black metal-genren growlar i högre register och att Black metal-band sällan stämmer ner sina gitarrer.

    Norden är och har historiskt varit det starkaste fästet för Black metal och tusentals unga människor lär sig om musiken, livet och döden genom att insocialiseras i genren. I denna presentationen tar vi vårt primära utgångspunkt i empiri från fem intervjuer med unga Black metal-musiker som berättar om sitt syn på genren, vilken betydelse den har (haft) i deras liv och hur lärandet och socialiserandet har gått till. Kombinerat med detta har fanziner, tidskrifter inom genren samt böcker och forskning om genren ingått.

    Lärandet i Black metal är i allt väsentligt icke-institutionellt och följer dels en traditionell garagebandslogik, men även en bildningsliknande självförädlande process enligt deltagarna. Kunskapen är inte formellt beskriven som ett kanon, men kunskapsutvecklingen inom fältet rör sig i en spänning mellan tradition och nyskapande som deltagarna beaktar på olika sätt. Vad som anses vara värdefull kunskap ser därför olika ut. Men är det tyst?

    Det tysta kunnandet skriks ut i syfte att skrämma livet ur dig...

  • 45.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    von Wachenfeldt, Thomas
    Becoming extreme: A media analysis of how music is constructed in three marginalised/outsider groups’ fanzines2017In: Abstracts NNMPF 2017, 2017, p. 12-13Conference paper (Refereed)
    Abstract [en]

    Music and and art is often considered to help good people. On the internet and in newspapers we can find lots of debates and articles about how the world would be a better place if only the arts played a more prominent role in education. In this paper we will investigate the other side of the coin. Considering that Mussolini was an accomplished violinist, Hitler and Franco both were talented painters and Mao a recognized poet. We will not assume that art leads to what the society, in general, consider as good or decent, but rather ask what role music plays in constructions of subgroups who are, by choice or by exclusion, outsiders in society. In recent years in the afterglow of the economic regression and often connected to the increased migration, more extreme groups and politicians have gained ground. We have decided to study musical socialisation in three marginalised groups who could loosely be labelled: “the Salvation Christian Movement”, “the Black Metal Movement” and “the New/Alt Right movement”. These – in every respect highly idealistic – groups have been selected to represent different angles to understand how music, ideology/religion and society intersect. The three groups also share a scepticism towards representative democracy in various forms. The groups are however different in that some seek power and influence while others seek to be more exclusive. Also the kind of ideology or belief that is at the roots of the movements are very different, as are the level of “danger” associated with the groups. The empirical material for the paper is what we label “fanzines” online and offline since 2014 that Swedish youth are likely to read. A fanzine in this meaning could be a group on social media, a physical paper, an online forum, webpage or a podcast.

  • 46. Thorgersen, Ketil
    et al.
    von Wachenfeldt, Thomas
    Dalarna University, School of Culture and Society, Sound and Music Production.
    Black Metal Bildung2022In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 30, no 2, p. 182-200Article in journal (Refereed)
    Abstract [en]

    This article is based on results from research that addressed the ways young Black Metal musicians construct their musical learning and socialization. In this article we will focus on one of the strands in that study; a trace of a classic ideal from Bildung theory. Using Bildung theory, we explore similarities between the ideals and concepts in the expressed informal music education from Black Metal musicians and contemporary institutionalized music education. In this article the German and Nordic 18th century concept of Bildung will be interpreted as the component that binds and contextualizes knowledge by a dialectic process with already inherited or internalized knowledge. Exploring, identifying, and comparing links between the educative process found within Black Metal and Bildung might at first sight seem to be both a pointless task and potentially reifying of problematic elements found within Black Metal. However, as we will discuss, common features of Bildung and Black Metal, such as enlightenment through criticism of the taken-for-granted, a sublime Gesamtkunstwerk and a nihilist striving to become an image of God, help to reveal those ways Black Metal learning processes can be understood in the light of Bildung theories. We do so in order to present tools for furthering the critical discussion of hegemonic music educational discourses.

  • 47.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Department of Teaching and Learning.
    von Wachenfeldt, Thomas
    Black Metal Bildung2022In: Philosophy of Music Education Review, ISSN 1063-5734, E-ISSN 1543-3412, Vol. 30, no 2, p. 183-201Article in journal (Refereed)
    Abstract [en]

    This article is based on results from research that addressed the ways young Black Metal musicians construct their musical learning and socialization. In this article we will focus on one of the strands in that study; a trace of a classic ideal from Bildung theory. Using Bildung theory, we explore similarities between the ideals and concepts in the expressed informal music education from Black Metal musicians and contemporary institutionalized music education. In this article the German and Nordic 18th century concept of Bildung will be interpreted as the component that binds and contextualizes knowledge by a dialectic process with already inherited or internalized knowledge. Exploring, identifying, and comparing links between the educative process found within Black Metal and Bildung might at first sight seem to be both a pointless task and potentially reifying of problematic elements found within Black Metal. However, as we will discuss, common features of Bildung and Black Metal, such as enlightenment through criticism of the taken-for-granted, a sublime Gesamtkunstwerk and a nihilist striving to become an image of God, help to reveal those ways Black Metal learning processes can be understood in the light of Bildung theories. We do so in order to present tools for furthering the critical discussion of hegemonic music educational discourses.

  • 48.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    von Wachenfeldt, Thomas
    Black Metal Pedagogy as Bildung2017Conference paper (Refereed)
  • 49.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    von Wachenfeldt, Thomas
    The Becomings of Satanist Musicianship: A study of how black metal musicians describe their learning processes2017In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, Vol. 18, p. 179-198Article in journal (Refereed)
    Abstract [en]

    Research in music education has in the last decades become more attentive to musical learning through informal contexts. This article adds to the body of research by investigating the musical learning in a genre that is considered unacceptable and bad by most of society: Black metal. Through interviews with five young Black metal musicians from Sweden and Finland an interesting image was revealed of a musical practice that aims to fight evil by being evil, that worships enlightenment and the fulfilment of the individual potential and also detests religious organisations for suppressing people. The sonic is considered only a part of a gesamtkunstwerk where all parts of a performance are supposed to work together to create a feeling of fear or horror in the audience. The material opens up for interesting paths in music education when working with musical bildung and criticism of taken for granted truths, but at the same time presents a milieu where what is considered good by society is questioned.

  • 50. Thorgersen, Ketil
    et al.
    von Wachenfeldt, Thomas
    Umeå University.
    The Becomings of Satanist Musicianship: A study of how Black metal musicians describe their learning processes2017In: Nordisk musikkpedagogisk forskning: Årbok, ISSN 1504-5021, no 18, p. 179-198Article in journal (Refereed)
    Abstract [en]

    Research in music education has in the last decades become more attentive to musical learning through informal contexts. This article adds to the body of research by investigating the musical learning in a genre that is considered unacceptable and bad by most of society: black metal. Through interviews with five young black metal musicians from Sweden and Finland an interesting image was revealed of a musical practice that aims to fight evil by being evil, that worships enlightenment and the fulfilment of the individual potential and also detests religious organisations for suppressing people. The sonic is considered only a part of a gesamtkunstwerk where all parts of a performance are supposed to work together to create a feeling of fear or horror in the audience. The material opens up for interesting paths in music education when working with musical bildung and criticism of taken for granted truths, but at the same time presents a milieu where what is considered good by society is questioned.

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