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  • 1.
    Lonnert, Lia
    Lund University, Sweden.
    Amatörorkestrar som lärandemiljö för musikhögskolestudenter: En studie om Musikhögskolan i Malmö och fyra amatörorkestrar2019Book (Other academic)
    Abstract [sv]

    Orkesterspel ingår som en vanlig ensembleform inom musikhögskolors utbildningar, och vissa utbildningar är till och med specifikt inriktade på symfoniorkesterspel. Dock visar det sig att studenter ibland spelar i amatörorkestrar samtidigt som de studerar på musikhögskola. Lärare på musikhögskolor rekommenderar ibland studenter att delta i amatörverksamhet eftersom de anser att studenterna inte får tillräckligt med erfarenhet av, eller kunskaper om, orkesterspel inom utbildningen. Detta gör att det skapas en parallell utbildning för musikhögskolestudenterna vid sidan av den formella utbildningen. Denna studie fokuserar på vad musikhögskolestudenter lär sig genom att delta i amatörorkesterverksamhet och vad det tillför det utbildningen.

    Studien är en fallstudie över en läromiljö: Musikhögskolan i Malmö och fyra amatörsymfoniorkestrar där musikhögskolestudenter ingår. I studien har åtta intervjuer utförts, fyra med amatörorkesterdirigenter och fyra med ledning för musikhögskolan.

    Studien visar att deltagandet och lärandet i amatörorkestrarna beror på delar som musikhögskolestudenterna saknar i sin utbildning, samt personliga kontakter mellan dirigenter, lärare och studenter. Amatörorkesterverksamheten kan i hög grad betraktas som ett komplement till musikhögskolans verksamhet, även om det finns aspekter som inte kan tillgodoses i lika hög grad inom musikhögskolorna som kunskaper om pedagogiska roller, formandet av en professionell yrkesroll och kunskap om olika sociala kontexter. Relationen mellan musikhögskolan och amatörorkestrarna kännetecknas av informella kontakter och informella samarbeten av tradition, där autonomi är en viktig aspekt. En annan aspekt är öppenheten inför en föränderlig arbetsmarknad och kulturscen där nya former av samarbeten är möjliga och önskvärda.

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  • 2.
    Lonnert, Lia
    Lund University.
    Att uttrycka en annan sorts kunskap: Om konstnärlig kunskap och vetenskaplig kunskap2016In: M&STE: Elektronisk tidskrift för konferensen Musik & Samhälle, E-ISSN 2002-4622, no 1, p. 27-36Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Lia Lonnert problematiserar i sin artikel begreppet kunskap utifrån en idéhistorisk tradition, från Platon och Aristoteles och framåt, och reflekterar dels över hur musik kan vara kunskap, dels över vad kunskap om musikutövande är. Blicken riktas mot utbildningsområdet inom såväl grundskola som högskola.

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  • 3.
    Lonnert, Lia
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Bridging the gap: Harp teachers on teaching orchestral playing2019In: International Journal of Music Education, ISSN 0255-7614, E-ISSN 1744-795X, Vol. 37, no 2, p. 210-225Article in journal (Refereed)
    Abstract [en]

    Although orchestral playing is a dominant practice within Western classical music, and one that many students participate in from a young age, some students do not have adequate opportunities to participate. Since harp students often come to orchestral playing later than other instrumentalists, harp teachers are concerned with enabling their students to learn orchestral playing in a relatively short time. For this study, six orchestral harpists who are also teachers were interviewed. The findings show that harp teachers intentionally taught orchestral playing during one-to-one lessons, aiming to prepare their students to continue learning within the orchestral context. They aimed to bridge the gap between lessons and practice, methodically preparing them musically, technically, practically and emotionally for the complex orchestral environment. While students of other instruments might acquire this complex knowledge from extended orchestral experience, student harpists must learn it in a relatively short time. These harp teachers’ descriptions of their teaching practice shed light on how orchestral playing is learned by all instrumentalists.

  • 4.
    Lonnert, Lia
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Democracy and Representation: at the Core of ISME2018In: Proceedings of the 19th International Seminar of the Commission on Music Policy: Culture, Education, and Mass Media, Munich, Germany / [ed] Hung-Pai Chen, Alethea De Villiers, Alexandra Kertz-Welzel, Malvern: International Society for Music Education , 2018, p. 172-179Conference paper (Refereed)
    Abstract [en]

    International organisations, such as the International Society of Music Education, ISME, make it possible to communicate worldwide in the world of music education. ISME also has inclusion, democracy and representation as goals. This paper examines how these goals are represented in the International Journal of Music Education, a journal closely connected to ISME. 20 issues of IJME between 2012 and 2016 were examined according to which countries, and which parts of the world, were represented. The study shows that an overwhelming majority of the articles were written by authors from institutions in countries where English is one of the official languages. The paper suggests different possible economic, cultural and traditional explanations for this result.

  • 5.
    Lonnert, Lia
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Gender and ethicity in music teacher education2020In: The topology of music education as a field of researches, policies and practices: 25th conference of Nordic Network for Research in Music Education at 3-5 March 2020, Nordic Network for Research in Music Education (NNMPF) , 2020Conference paper (Refereed)
    Abstract [en]

    Within the subject of music in the Swedish curriculum for mandatory school, Läroplan för grundskolan samt för förskoleklassen och fritidshemmet, there is one goal which focus on the function of music to signify identity and group affiliation. To reach the goal, there should also be a focus on gender and ethnicity, and in the comments published to the curriculum religious affiliation is added. Since these concepts are in focus in the curriculum, they also have to be dealt with in music teacher education. Within music teacher education in Sweden, there have been focus for quite a long time on gender and music. However, focus on ethnicity and music education are now emerging. In this paper, there are some reflections on why, and differences between the concepts when regarding music teacher education. Firstly, there is the access to research about the topics. There have been major studies and dissertations on gender issues connected to music education. There is quite a lot of material on gender and music education, both published research and material based on research published in books. Much of this research is about Swedish, or Nordic, conditions which makes it highly relevant for music education students. So far, there have been few studies on ethnicity and music education. Secondly, the definitions of the concepts are a problem. The concept gender has been problematized more than the concept ethnicity within music education, which make the concept gender easier to work with. Music education perhaps could have use of definitions from other disciplines, however, the concept ethnicity is problematic. Thirdly, there is students’ awareness of and identification with the concepts. Students are very aware of gender issues, they discuss them with ease and have experience of doing so from different perspectives. It can be due to the issues above, that gender has been researched more and that the concept gender has been problematized more in music education. This is of course a problem which can be addressed within education. However, the connection of the concept ethnicity to music education is more problematic than the concept gender and music education. These observations above raise questions for music teacher education. How should music teachers’ education tackle a concept and content which have similarities but is different from another concept which is integrated? These concepts are associated in the curriculum, however, it is not a given how music teacher education should handle the concepts. So far, religious affiliation has not been central, but it is possible that the concept should be added to music teacher education. 

  • 6.
    Lonnert, Lia
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    ”Harpokungen” Adolf Sjödén och hans musiksamling2018In: Musikforskning idag 2018, Uppsala 13–15 juni: Abstracts, Askersund: Svenska samfundet för musikforskning , 2018, p. 10-10Conference paper (Refereed)
    Abstract [sv]

    Den svenske harpisten Adolf Sjödén (1843–1893), bördig från Sollefteå, var känd under sin livstid som en av de stora europeiska kringresande virtuoserna. Denna studie utforskar hur han påverkade, och påverkades av, det walesiska och irländska nationalistiska-musikaliska identitetsskapandet.

    När Brinley Richards (1817–1885) hittade Händels Konsert för den Walesiska harpan i British Museum var det Sjödén som tillfrågades om att göra det första uppförandet. Sjödén lärde sig att spela den walesiska trippelharpan och framförde verket i Lady Llanovers hem i London 1869. Lady Llanover (1802–1896) hade i sitt hem i Wales, Llanover Hall, skapat en miljö för rekonstruktionen och bevarandet av den walesiska kulturen där många av tidens intellektuella och konstnärer möttes. Mötet med Lady Llanovers krets påverkade Sjödén och hans intresse för den walesiska musiken påverkade hans repertoar i resten av hans liv. Förutom att han lärde sig spela på den walesiska trippelharpan spelade han ofta walesisk folkmusik på sina turnéer i Europa. I den musiksamling som finns på Murberget, Länsmuseet Västernorrland, återfinns många uppteckningar av walesisk musik samt unika handskrifter. Under sin tid på Irland var Sjödén aktiv i det irländska identitetsskapandet genom musik. Han framhöll här Lady Llanovers arbete som en modell för hur det kunde göras. Även på Irland engagerade han sig i framförandet av irländsk musik och han spelade själv den irländska stålsträngade harpan. Även sejouren på Irland speglas i hans efterlämnade notsamling, dock inte i lika hög grad i hans repertoar på konserter i Europa.

  • 7.
    Lonnert, Lia
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Musikpedagogik, demokrati och representation2018In: The 23rd conference of Nordic Network for Research in Music Education, Oslo, Norway, February 12-15 2018: Methodological encounters in connection – multi-, trans-, and interdisciplinary research, Nordic Network for Research in Music Education , 2018Conference paper (Refereed)
  • 8.
    Lonnert, Lia
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Round Table: Time for change in Nordic music teacher education?2020In: The topology of music education as a field of researches, policies and practices: 25th conference of Nordic Network for Research in Music Education at 3-5 March 2020, Nordic Network for Research in Music Education (NNMPF) , 2020Conference paper (Refereed)
  • 9.
    Lonnert, Lia
    Lund University.
    Samarbete och vision – en fallstudie över en musikhögskolas relation till amatörorkesterverksamhet2017In: NNMPF 2017, The 22nd conference of Nordic Network for Research in Music Education: Academy of Music and Drama, University of Gothenburg, March 14–16, 2017, 2017, p. 38-38Conference paper (Refereed)
    Abstract [sv]

    Detta paper är en del i en fallstudie som undersöker vad musikhögskolestudenter lär sig genom att delta i amatörorkesterverksamhet och vad det tillför utbildningen. Studien består av åtta intervjuer, fyra med utbildningsledning för en musikhögskola och fyra med dirigenter för amatörorkestrar där musikhögskolestudenter deltar. Här presenteras endast den del som rör relationen mellan musikhögskolan och amatörorkestrarna. 

    I ett internationellt och nationellt perspektiv på en föränderlig arbetsmarknad och ett föränderligt samhälle visar det sig att kontaktytorna mellan alla typer av musicerande på olika nivåer kan utvecklas. Studenter på musikutbildningar måste då ha beredskap för olika typer av roller. Kunskap om olika typer av roller inom ”community music” kan vara en del i denna föränderliga musikerarbetsmarknad. Detta behöver inte betyda att den professionella nivån behöver sänkas. Mycket av det som kan läras i en amatörorkester kan läras inom musikhögskoleinstitutionen eller på andra sätt, men inte alltid till lika hög grad. En del av det som lärs i amatörorkester blir ett komplement, till exempel gällande mängden erfarenhet, specifikt orkesterkunnande och repertoarkännedom. Däremot kan mycket av det som lärs om pedagogiska roller, formandet av en professionell yrkesroll och kunskap om olika sociala kontexter inte läras på samma sätt inom en musikutbildningsinstitution. Här visar det sig att amatörorkestern ger professionell kunskap på ett annat sätt än utbildningsinstitutionen. 

    Studien visar att relationen mellan musikhögskolan och amatörorkestrarna kännetecknas av informella kontakter och informella samarbeten av tradition. En viktig aspekt är autonomi, både lärarnas och studenternas. En annan aspekt är öppenheten inför en föränderlig arbetsmarknad och kulturscen där nya former av samarbeten är möjliga och önskvärda. Beroende på vilket instrument studenten spelar och vilken utbildning studenten gå är möjligheterna att spela orkester inom utbildningen olika. Detta gör att studenternas val av deltagande i amatörverksamhet ofta kännetecknas av brister inom utbildningarna. 

    Generellt är ledningen på musikhögskolan mycket positiv till alla typer av musicerande utanför musikhögskolans verksamhet och stöder den på olika sätt. Flera typer av samarbeten gällande orkesterverksamhet, framförallt genom personliga kontakter och av tradition, pågår. Dessa personliga kontakter är mellan dirigenter, studerande, ledning och lärare. Dirigenterna för amatörorkestrarna skulle gärna se fler kontaktytor mellan institutionerna, och skulle gärna åta sig pedagogiska uppdrag gentemot musikhögskolestudenterna. 

    Eftersom ledningen för musikhögskolan ser musicerande som ett livsval för studenter anser de att alla typer av musicerande inte kan, eller ska, ingå i utbildningen. Det finns en stor frihet för studerande att kunna välja vad de vill inrikta sig på och alla typer av musicerande kan ses som att det tillför både de enskilda studenterna och utbildningarna mycket. Det finns både frihet och ansvar för studenter och lärare. Dock visar det sig att studenter inte alltid har förmåga att bedöma sin kompetens, i viss mån blir det då ett institutionellt ansvar att se till att studenter får den kompetens de behöver för sin utbildning. 

  • 10.
    Lonnert, Lia
    Lund University.
    Surrounded by Sound: Experienced Orchestral Harpists’ Professional Knowledge and Learning2015Doctoral thesis, monograph (Other academic)
    Abstract [en]

    Orchestral playing is a central practice within Western European classical music. Previous research in the field of orchestral musicians’ learning and knowledge has mainly focused on students’ learning orchestral playing. Working conditions and work-related problems were also emphasized in previous studies. This thesis, however, focuses on professional orchestral musicians’ knowledge and learning. The method to investigate these issues was to let musicians verbally describe their professional experiences and orchestral practice. Interviews with a low degree of structure were conducted with four orchestral harpists from renowned orchestras. In the analysis and interpretation a hermeneutical approach was used. This approach also offered guidelines for considering the researcher’s role and pre-understanding. The findings showed that skilled musicians developed their knowledge throughout their careers. Knowledge of orchestral playing was contextually based, and based on experience. All skills used by the musicians when playing in an orchestra had to be contextually adapted. A main finding was how musicians were able to create, by their knowledge, a space for musical freedom and personal interpretation when playing in the orchestra. There were also knowledge issues that always had to be maintained and others that constantly had to be developed within practice. In conclusion, there are major contradictions that are important elements of the profession of orchestral musicians. The musicians should have a personal musical expression as well as a highly developed ensemble skill. They should focus on the extreme detail and the totality of the performed musical piece at the same time. They have to be able to express themselves musically within a restricted framework. This framework, and the interspace between the frames, can be negotiated by knowledge, skills and the choices of the musician.

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  • 11.
    Lonnert, Lia
    et al.
    Lund University.
    Davies, Helen
    A newly discovered autographed Franz Liszt transcription for the harp2016In: Svensk tidskrift för musikforskning / Swedish Journal of Music Research, ISSN 2002-021X, Vol. 98, p. 1-21Article in journal (Refereed)
    Abstract [en]

    It is well known that Franz Liszt was fond of the harp as an instrument, and his use of the harp in the orchestra is innovative. He also befriended and worked with prominent harpists of his time, such as Elias Parish-Alvars, Wilhelm Posse, Jeanne Pohl and Rosalie Spohr. The transcriptions he once made for harp are now lost. However, a recent nding in a collec- tion in a Swedish museum, Murberget, L nsmuseet V sternorrland, - a collection that once belonged to the internationally renowned Swedish harpist Adolf Sjödén shows a previously unknown transcription for harp of Liszt’s piano piece Ave Maria von Arcadelt. The manu- script is autographed by Liszt although the copyist is unknown.

    The article discusses Liszt’s possible work processes with the piece, his work process with regard to other harp transcriptions, Sjödén’s relationship to Liszt and the Ave Maria von Arcadelt, and how the manuscript came into Sjödén’s possession. It also compares the re- cently found manuscript with Peter Dubez’ harp transcription, and the original piano piece. It is the only preserved transcription for harp that has been autographed by Liszt.

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  • 12.
    Lonnert, Lia
    et al.
    Lund University ; Karlstad University.
    Davies, Helen
    Lady Llanover and the Swedish Connection2017In: The First International Conference on Women’s Work in Music: Bangor University, Wales, 4 – 7 September 2017, 2017Conference paper (Refereed)
  • 13.
    Lonnert, Lia
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Gunnarsson, Alexander
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Dahlberg, Clara
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Eriksson, Elin
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Albertsson, Jens
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Atterheim, Julia
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Billner, Niclas
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Nilsson, Sofie
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    The Music Education of Tomorrow: from a student perspective2019In: Presented at ”The School I’d Like” – Music Education meeting the needs of the children and young people today: 27th EAS Conference/7th European ISME Regional Conference in Malmö, Sweden, Leuven: European Association for Music in Schools vzw , 2019Conference paper (Refereed)
    Abstract [en]

    The music education students of today are the music teachers of tomorrow. They are also the future authors of curricula, future researchers and future teachers of music education students. The basis for this paper is that the views and ideas of music education students matter. Not only for what they can do in the future but also how they affect music education of today.

    The Swedish educational system stands before educational challenges, and also challenges for music education. There are demographic changes that affects the Swedish school system and the influence of neo-liberal ideas have impact. Music education is affected by different issues, such as, political decisions, migration, the me-too-movement and digitalisation. These issues, and many more, must be considered in music teacher education of today.

    Within a course of music sociology, seven third year students in music teacher education have worked with issues of ethnicity, gender, class and structural changes in society. In the course they have worked with reflection, discussions, combinations of art forms, as well as reading and writing texts. The outcome, as presented here today, is the discussion of the subject of music in the future school. In this seminar, the framework of the course will be given and some challenges for Swedish music education of today. Then, the students will present their ideas for music education in the future when regarding structural issues in the school they will teach in, the music they will teach, the tools they will use, the curriculum they will create, and the values and the methods in future music education.

    As music educators within music teacher education, we must not only prepare our music education students for teaching but also to be creative. What they do during their education affect their teaching

  • 14.
    Lonnert, Lia
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Linge, Anna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Musical or social development: a project for music education students and children2019In: 27th EAS (European association for music in schools) Conference / 7th European ISME (International Society for Music in Education) Regional Conference in Malmö, Sweden: ”The School I’d Like” – Music Education meeting the needs of the children and young people today, Leuven: European Association for Music in Schools , 2019Conference paper (Refereed)
    Abstract [en]

    The objectives of this study are to refine and develop how cooperation between music education students and school children might be conducted and the difficulties and gains in the process. The goals are development of the music teacher education, the music education at the school and also didactical and personal skills and development of the students and children involved.The school chosen for the project is situated in an area with socio-economic disadvantages and many immigrant children. It is also known for having committed teachers working with music and other artforms. The school has twice been external funded for working in cooperation with the local municipal school of art.This study focuses on a music teacher education department at a university which have a project where first year students teach and cooperate with schoolchildren, about 10 years old. The students have met the children four times during four weeks and the project ended with a concert where the children and the students made music together. The project was followed by a researcher, who also was one of the teachers in the project. Another researcher, not personally involved in the study, have conducted interviews to catch the students view of their work with the children and their view on the children’s and their own knowledge and development.Music and other artforms are sometimes viewed on, or used, as problem solvers in educational contexts. Especially socio-economical vulnerable areas have been targeted to different kinds of projects, something music education students must have awareness of and tools to work with. This presentation focuses on the development of the project, and the outcomes of the project regarding the children and students involved as well as for the institutions involved.

  • 15.
    Lonnert, Lia
    et al.
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Linge, Anna
    Linnaeus University, Faculty of Arts and Humanities, Department of Music and Art.
    Musikalisk eller social utveckling: ett samarbetsprojekt mellan grundskola och musiklärarutbildning2019In: Nordic Network for Research in Music Education, Abstracts: NNMPF 2019: Futures of Music in Higher Education. February 26–28, 2019, Royal College of Music in Stocholm / [ed] Ronny Lindeborg, Erkki Huovinen, Stockholm: Royal College of Music , 2019, p. 61-61Conference paper (Refereed)
    Abstract [en]

    Syftet med denna studie är att förfina och utveckla hur samarbete mellan musiklärarstuderande och skolbarn kan genomföras och svårigheter och vinster med processen. Målen är att utveckla musiklärarutbildningen och musikutbildningen på skolan. I projektet är också centralt med utveckling av didaktisk kunskap och personlig utveckling av studenterna och de barn som berörs.

    Skolan som valts ut för projektet ligger i ett område med socioekonomiska utmaningar. Skolan är känd för att ha engagerade lärare som arbetar med musik och andra konstformer och har två gånger fått extern finansiering för att samarbeta med den lokala kommunala kulturskolan.

    Denna studie fokuserar på ett projekt där förstaårsstuderande ämneslärare i musik lär och samarbetar med skolbarn i årskurs fem. Studenterna har träffat barnen fyra gånger under fyra veckor och projektet avslutades med en konsert där barnen och eleverna spelade tillsammans. Projektet följdes av en forskare, som också var en av lärarna i projektet. En annan forskare, som inte undervisar i projektet, har genomfört intervjuer med studenterna att synliggöra deras arbete med barnen och deras syn på barnens och sina egna kunskaper och utveckling.

    Musik och andra konstformer betraktas ibland, eller används, som problemlösare i pedagogiska sammanhang. Särskilt socioekonomiska sårbara områden har inriktats på olika typer av projekt, något musiklärarstudenter bör ha medvetenhet om och verktyg att arbeta med. Denna presentation fokuserar på projektets utveckling och projektets resultat avseende de involverade barnen och studenterna samt de berörda institutionerna.

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