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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. 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.

  • 3.
    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)
  • 4.
    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.

  • 5.
    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.

  • 6.
    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.

  • 7.
    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)
  • 8.
    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.

  • 9.
    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.

  • 10.
    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.

  • 11.
    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)
  • 12.
    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.

  • 13.
    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.

  • 14.
    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)
  • 15.
    Thorgersen, Ketil
    Luleå tekniska universitet, Institutionen för musik och medier.
    Music from the Backyard: Hagström's Music Education2009Doctoral thesis, monograph (Other academic)
  • 16.
    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.))
  • 17.
    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, ISSN 1175-8708, 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.

  • 18.
    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.

  • 19.
    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.

  • 20.
    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.

  • 21.
    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.

  • 22.
    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...

  • 23.
    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.

  • 24.
    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)
  • 25.
    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.

  • 26.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    von Wachenfeldt, Thomas
    The becomings of satanist musicianship: a study of how black metal musicians describe their learning processes2015Conference paper (Other academic)
    Abstract [en]

    The last twenty years the focus of music educational research has widened to involve more than institutional settings for learning music. In Europe, researchers such as Lucy Green, Even Ruud, Anna-Karin Gullberg and Göran Folkestad lead the way for a wave of research of “informal learning processes” in/of music. Musical learning has later been studied in as varied environments as Hip-Hop communities, Punk, online learning of Country and western and Opera and so forth. Studies have even been performed where learning processes inspired by these less institutionalised settings have informed traditional classroom pedagogies. The main body of this research has though been on music genres and practices that always had or lately have acquired a fairly high level of cultural capital in Western society and are accepted as fairly politically correct expressions. This study will instead focus on one of the more extreme styles – both sonically and in ideological terms – of music around today: Black metal.

    Some research has been made on Black metal mainly from a sociological perspective or/and religious perspective, but also with some musicological/philosophical streaks (Bogue 2004). Bossius (2003) and Kahn-Harris (2007) are two pioneering researchers with their studies on the extreme metal scene, with its equally extreme expressions relating to violence, Satanism and fascism. Granholm (2011) and Forsberg (2010) investigate the Black metal scene from a religious perspective and uses Partridge’s (2005) concept of Re-enchantment and Occulture. The concept of re-enchantment can briefly be understood as a description of the post-modern era as characterized by a spiritual rebirth that focuses on personal development and well-being rather than institutional worship. Partridge also argues that the perception of today's Western society is secular, to a great extent is incorrect – thus religious practice only have shifted expression. The other term, Occulture, can be considered as a mixture of Occult and Culture, where culture primarily should be interpreted and understood in terms of popular culture.

    This study departs from a wonder of how young people choose to play a genre that is considered bad on all levels by the majority of the society; Black metal, as well as how the young people who have chosen to play Black metal describe the learning processes musically as well as socially and intellectually that leads up to becoming a Black metal musician.

    The aim of is hence to analyse the musical learning stories of five young black metal musicians from a music educational perspective inspired by the sociological theories of Pierre Bourdieu and the educational theories of John Dewey.

  • 27.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    von Wachenfeldt, Thomas
    The Devil Has The Best Tunes...: A Place in Music Education for the Burkean Sublime?2019Conference paper (Refereed)
    Abstract [en]

    Music has, through the ages and genres, seeked to touch us and be meaningful on the most existential levels – even the darkest realms of the human psyche. In this paper we show examples of how evil, darkness, fear and pain has been dealt with in so called classical music, Scandinavian folk music and in heavy metal; three genres that represents different kinds of cultural capital, popularity and historicity, but still have a lot in common. The examples show how certain musical parameters have been used to convey the sublime in all these genres. The sublime in this case, is the sublime as described by 18th century philosopher Edmund Burke. Burke distinguished between the beautiful and the sublime in works of art and in nature; claiming that they are substantially different: The beautiful is associated with pleasure, smoothness, tinyness and cuteness, while the sublime always is associated with fear and terror, vastness and the uncomfortable. Of the two, the sublime is the strongest and provides the most existential experiences. So if the sublime has been important throughout different genres and epoches, and the sublime has the greatest potential for existential musical experiences, how come that the sublime has such a limited place in music education? Should music education be changed into an existential subject dealing with the sublime, and in that case how? Or is it just wrong to scare our children?

  • 28.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    von Wachenfeldt, Thomas
    When Hell Freezes Over: Black Metal—Emancipatory Cosmopolitanism or Egoistic Protectionism?2019In: Music, Education, and Religion: Intersections and Entanglements / [ed] Alexis Anja Kallio, Philip Alperson, Heidi Westerlund, Bloomington: Indiana University Press, 2019, p. 208-220Chapter in book (Refereed)
    Abstract [en]

    In the early 1990s, churches burned in Norway and fellow musicians killed each other in the name of Satan. Revolting against Christianity and praising the Antichrist, a new (anti)liturgical satanic music genre was defined: black metal.

    This chapter aims to investigate and discuss Black Metal as music education and (anti)religious enculturation. This will be done in relation to philosophies where art and education are discussed as cosmopolitan in order to understand how Black Metal constructs itself as elitist and protectionist, and at the same time open and explorative. Black metal is an extreme branch of the heavy metal genre that propagates evil and celebrates Satan. Black metal can be understood as Satanist liturgic music that is in opposition to society. The chapters builds on interviews with young musicians within the genre and discusses these in relation to existing research on Satanism, Black Metal and religion. Satan symbolizes freedom and opportunities within the genre as the fallen angel who dared to oppose God. The ideals of the genre are individual growth, hate towards organized religion, and the possibility to access and develop the complete self through sublime and serious play with evil, hatred and fear. To achieve this they experiment with complex sets of expressions with the ideal of a “gesamtkunstwerk” where, the sonic, the visual and the theatrical all work together to achieve an unpleasant feeling in the audience. Black Metal challenges norms and taken for granted values and tries to deconstruct (or destroy) the fake, idyllic image of a well functioning society of free people by exposing and developing what is less pleasant in human nature and societies. Cosmopolitan education is here understood as promoting openness towards the unknown and a critical and reconstructive view of personal cultural heritage; an education that actively works to explore, share, scrutinize, respect and celebrate difference. While Black Metal is not overtly open towards other cultures, they actively explore the unknown and seek to interact with other cultural mediations. Black Metal pedagogy could inspire formal music education through its binary focus on existential aesthetic communication and artistic excellence. A celebration of the free will, creativity, critical thinking and ultimately a quest to reach one’s own full potential. At the same time Black Metal represents some of the more destructive, protective, anti-democratic and selfish ideas in present popular culture; simultaneously both cosmopolitan and anti-cosmopolitan.

  • 29.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Zandén, Olle
    Stockholm University, Faculty of Science, Department of Education in Arts and Professions.
    Internet as Teacher?2012In: 17th conference of the Nordic Network for Music Educational Research: Abstracts, 2012, p. 44-45Conference paper (Refereed)
  • 30.
    Thorgersen, Ketil
    et al.
    Stockholm University, Faculty of Humanities, Centre for Teaching and Learning in the Humanities (CeHum).
    Zandén, Olle
    Linnéuniversitetet.
    The Internet as Teacher2014In: Journal of Music, Technology and Education, ISSN 1752-7066, E-ISSN 1752-7074, Vol. 7, no 2, p. 233-244Article in journal (Refereed)
    Abstract [en]

    Social media has led to new opportunities for learning music. In less formalizedsettings, a whole new arena for learning music has developed. The aim of this arti-cle is to investigate student teachers’ experiences of learning to play an instrumentwith the Internet as a teacher. The investigation was done as an action researchstudy where twelve beginning teacher-training students were given the task to usethe Internet to learn how to play an instrument. The students were organized in peergroups to help each other. Documentation of the progress happened through logbooks.The project lasted for half a year in 2011 and had a triple intention: to provide thestudents with experience about learning how to play by help of the Internet, for thestudents to learn to play a second instrument, and to investigate if and how learningpractices for learning an instrument aided by the Internet could be useful in musicteacher training.

  • 31.
    von Schantz, Ulrika
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    (an)aesthetic experience and performative space2018In: Journal of Artistic and Creative Education, E-ISSN 1832-0465, Vol. 12, no 1, p. 41-50Article in journal (Refereed)
    Abstract [en]

    The rise of information and communication technology goes hand in hand with what might be considered a democratic revolution of the teaching profession. The teacher and the school are no longer defining what can be considered valuable knowledge. Basic didactic issues in teaching (what, how, and why) change fundamentally as students express that they 'just do' and 'find' through social media, online resources and software for creation, reflection and presentation. Learning theories and proven teaching models suddenly become superfluous, so concepts such as truth and values must be considered in a new light.

    Drama in education involves processing issues through evocative and emotionally engaging design. This fundamental purpose is often formulated as an intention to stimulate critical thinking. However, despite this explicitly democratic intent, drama activities are always site-specific insofar as issues of portrayal, reflection and discussion are staged within the framework of a pedagogical idea. A thought is never free, leaving us with the question of to what extent thinking through drama can be called ‘emancipated’. Additionally, drama is still ruled by contextual and physical laws so much so that bodies and voices are limited, gender specific and spatially located. Therefore, emotions are at play and pedagogical setting are carefully prepared and managed by the teacher.

    The aim of this article is to make a Deleuzian investigation of into the possibilities and challenges of how best to extend aesthetic bodily communicative and performative spaces in relation to digital technology in drama education. Hence, we are trying to navigate the rhizomatic experience of believing that we know in which direction we need to go, given that whilst we educate drama students they are also educating us.

    Groups of children and youngsters seem to be rhizomatic ‘by nature’, subversively searching for adventures on their own, finding leaks, exploring ‘forbidden’ areas, conquering cyber space, creating their own drama, while at the same time playing the game of the machine. Virtual life can in these circumstances be both phantasmagoric and uncontrollable.

  • 32.
    von Schantz, Ulrika
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Thorgersen, KetilStockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.Lidén, AnneStockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    De estetiska ämnenas didaktik: Utmaningar, processer och protester2018Collection (editor) (Refereed)
    Abstract [en]

    This anthology De estetiska ämnenas didaktik. Utmaningar, processer och protester presents perspectives on teaching and learning in the arts, and is relevant for teachers and teacher students in the arts as well as researchers and PhD candidates. The analytical discussions about children, pupils, teachers and students in varying forms of creative education is treated from a variety of theoretical perspectives and offers new ways of thinking about the arts in all forms of education. In the anthology, researchers, senior lecturers and experienced educators discuss research questions about aesthetic expressions, communication, subjects, learning processes and reflections from a practice point of departure.

    The authors are all employed at or connected to the Arts Education at The Department of Humanities and Social Sciences Education (HSD) at Stockholm University. The book reflects different research practices such as research by professors and senior lecturers, post docs as well as the reflective writings of teaching personnel. The articles have all gone through a double blind peer review process.

  • 33.
    von Schantz, Ulrika
    et al.
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Thorgersen, Ketil
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Lidén, Anne
    Stockholm University, Faculty of Humanities, Department of Humanities and Social Sciences Education.
    Förord2018In: De estetiska ämnenas didaktik: Utmaningar, processer och protester / [ed] Ulrika von Schantz, Ketil Thorgersen, Anne Lidén, Stockholm: Stockholm University Press, 2018, p. xv-xxiiiChapter in book (Other academic)
    Abstract [sv]

    Denna antologi vänder sig till alla som är intresserade av estetiska ämnen, skapande och lärande. Den vänder sig särskilt till verksamma lärare i estetiska ämnen inom olika skolformer samt till blivande lärare och lärarutbildare. Boken riktar sig även till forskarstuderande och forskare inom estetiska  kunskapsområden. I antologin diskuterar erfarna pedagoger och universitetslärare sina forskningsfrågor kring estetiska ämnen och  lärprocesser ur ett praktiknära perspektiv. Författarna är alla knutna till eller verksamma vid institutionen för de Humanistiska och  Samhällsvetenskapliga ämnenas didaktik (HSD) på Stockholms universitet. Övergripande frågor gäller hur estetiken berör många aspekter av mänskligt lärande, som nyfikenhet, kreativitet och motivation samt koncentration, uppmärksamhet, delaktighet och disciplin. Fokus ligger således både på kunskaper och produkter och på estetiska uttryck och estetiska lärprocesser där lärare och elever/studenter bidrar med sina reflektioner. Undersökningarna handlar om barn, elever och studenter i deras estetiska lärprocesser med olika uttryck i varierande skapande verksamheter och verkstäder, alltifrån förskola, grundskolans yngre och senare åldrar, gymnasiet och kulturskolan till universitetsutbildning och internationella jämförelser.

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  • asciidoc
  • rtf