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A Comprehensive Pathway in Music Education

Rønning, Rut Jorunn ; Di Lorenzo Tillborg, Adriana LU ; Rønningen, Anders ; Askerøi, Eirik ; Storsve, Gaute and Boeskov, Kim (2024)
Abstract (Swedish)
In what ways can various perspectives, aims, circumstances, and directives influence music students and music teachers in different educational contexts such as primary school, Schools of music and performing arts (SMPA), folk high school, and upper secondary school, viewed from a Nordic perspective?
A common characteristic for all these types of schools is that they can be part of an educational and training pathway in music. Differences can revolve around distinct purposes and varied learning objectives within the respective types of schools.
The educational pathways for music teachers in SMPAs, upper secondary schools, folk high schools, and primary schools can vary significantly. Additionally, students may encounter the same... (More)
In what ways can various perspectives, aims, circumstances, and directives influence music students and music teachers in different educational contexts such as primary school, Schools of music and performing arts (SMPA), folk high school, and upper secondary school, viewed from a Nordic perspective?
A common characteristic for all these types of schools is that they can be part of an educational and training pathway in music. Differences can revolve around distinct purposes and varied learning objectives within the respective types of schools.
The educational pathways for music teachers in SMPAs, upper secondary schools, folk high schools, and primary schools can vary significantly. Additionally, students may encounter the same teachers across different school types since music teachers are often employed at multiple locations.
The different types of schools adhere to various guidelines, curricula, framework plans, and legal regulations. Hence, different factors can influence a teacher's perspectives and, in turn, students' experiences in various ways.
With this symposium, we aim to highlight various issues linked to disparities among the different types of schools within the context of a comprehensive educational pathway in music. We examine the educational pathway independently of any further education within the higher music education sector. Our questions, which we aim to illuminate from various perspectives, revolve around what underlies the focus and directives and how these can, in various ways, impact students' experiences of participation, learning, and mastery, as well as what may hinder a comprehensive educational pathway in music.
Main question:
- How do differing focal points and regulatory measures influence students' participation, learning, and mastery of music within a comprehensive educational path, as perceived from various perspectives?
The participants in the symposium will provide various perspectives to support the central questions, including the following.
In the context of SMPA in Norway, two specific documents (Kulturdepartementet, 2021; Norsk kulturskoleråd, 2016) can be considered central. These documents serve as foundations for understanding the significance that public policy assigns to the SMPA and shape perspectives on its role. It is, therefore, pertinent to inquire about the legitimizations present in public policy concerning the SMPA in Norway and how they might influence the practices at the SMPA.
Leaders at SMPA play a dual role as policy actors, engaging in processes of implementation that also involve interpretation, recontextualisation, and constitution of policies. Both leaders and policy documents, such as the Swedish national investigation from 2016 (SOU 2016:69) contribute to the construction of policy problems as well as of target groups. In what ways can leaders, from the standpoint of diversity and inclusion perspectives, influence through their policy enactment (Di Lorenzo Tillborg, 2021)?
Teachers at SMPA schools are typically highly educated, often possessing expertise not only in their respective art forms but also in pedagogy. In numerous Norwegian municipalities, the SMPA is recognized as a resource center for the local community. It serves as a hub for leisure activities, engages with the kindergarten and school systems, and supports also other various sectors within the municipality. What experiences have been gained from systematic collaboration in music education between primary schools and SMPA (Knigge et al., 2021)?
General music education in primary schools follows a national curriculum, yet substantial variations exist in the methods employed for teaching this subject (Utdanningsdirektoratet, 2020). Are there tensions between the prescribed framework and the actual differences observed in the classroom?
Numerous students engage in various activities beyond the formal realm of upper secondary education (Utdanningsdirektoratet, 2020), such as SMPA, bands, musical shows (skolerevy), etc. These activities can be classified as informal or nonformal contexts. In essence, students traverse a range of contexts in their musical development. How does this multifaceted engagement influence their perspectives? (Ellefsen, 2014; Storsve, in review).
An essential question is how the music education ecosystem as a whole ensures that all children and young people have access to unfold themselves musically/artistically, and that there are also educational pathways in this system directed towards a professional career as musicians and/or music educators working in different institutional contexts (Boeskov, K., 2023). How are the connections and collaborations across institutions in the music education ecosystem?
After presenting these diverse perspectives, symposia participants will delve into commentary and discussion, aiming to shed light on common challenges and possibilities within the Nordic perspective of music education. The focus will be on identifying the needs for developing a comprehensive pathway in sustainable music education. Additionally, the participants will actively encourage the audience to join in, inviting them to share their thoughts in an exchange of ideas.
References:
Boeskov, K. (2023). Grib engagementet. Kulturministeriet. https://slks.dk/fileadmin/user_upload/0_SLKS/Dokumenter/Boern_og_unge/Afrapportering_og_evaluering/Grib_Engagementet_web.pdf
Di Lorenzo Tillborg, A. (2021). Music Education and Democratisation: Policy processes and discourses of inclusion of all children in Sweden’s Art and Music Schools. Malmö: Lund University, Malmö Academy of Music.
Ellefsen, L. W. (2014). Negotiating musicianship: The constitution of student subjectivities in and through discursive practices of musicianship in «Musikklinja». Norges musikkhøgskole.
Knigge, J., Angelo, E., Balsnes, A. H., Hauen, M., Nørstebø, K., & Øien, O. B. (2021). OutMus [Nettside]. Nord universitetet. https://site.nord.no/outmus/about-the-project/
Kulturdepartementet. (2021). Oppleve, skape, dele—Kunst og kultur for, med og av barn og unge. (Meld. St. 18 (2020-2021). Det kongelige kulturdepartement. https://www.regjeringen.no/no/dokumenter/meld.-st.-18-20202021/id2839455/
Norsk kulturskoleråd. (2016). Rammeplan for kulturskolen: Mangfold og fordypning. Norsk kulturskoleråd. https://kulturskoleradet.no/rammeplanseksjonen/planhjelp/plan-pa-flere-sprak
SOU, 2016:69. (2016). En inluderande kulturskola på egen grund. Betänkande av Kulturskoleutredningen. Statens offentliga utredningar. [Statens offentliga utredningar]. Kulturdepartementet. https://www.regeringen.se/rattsliga-dokument/statens-offentliga-utredningar/2016/10/sou-201669/
Storsve, G. (in review). Formal, informal, and non-formal learning as analytic categories for research in music education.
Utdanningsdirektoratet. (2020). Kunnskapsløftet 2020, læreplanverk. Utdanningsdirektoratet. https://www.udir.no/laring-og-trivsel/lareplanverket/ (Less)
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@misc{d5016d07-2fcb-42a6-9a9a-2c7930612c13,
  abstract     = {{In what ways can various perspectives, aims, circumstances, and directives influence music students and music teachers in different educational contexts such as primary school, Schools of music and performing arts (SMPA), folk high school, and upper secondary school, viewed from a Nordic perspective?<br/>A common characteristic for all these types of schools is that they can be part of an educational and training pathway in music. Differences can revolve around distinct purposes and varied learning objectives within the respective types of schools.<br/>The educational pathways for music teachers in SMPAs, upper secondary schools, folk high schools, and primary schools can vary significantly. Additionally, students may encounter the same teachers across different school types since music teachers are often employed at multiple locations.<br/>The different types of schools adhere to various guidelines, curricula, framework plans, and legal regulations. Hence, different factors can influence a teacher's perspectives and, in turn, students' experiences in various ways.<br/>With this symposium, we aim to highlight various issues linked to disparities among the different types of schools within the context of a comprehensive educational pathway in music. We examine the educational pathway independently of any further education within the higher music education sector. Our questions, which we aim to illuminate from various perspectives, revolve around what underlies the focus and directives and how these can, in various ways, impact students' experiences of participation, learning, and mastery, as well as what may hinder a comprehensive educational pathway in music.<br/>Main question:<br/>- How do differing focal points and regulatory measures influence students' participation, learning, and mastery of music within a comprehensive educational path, as perceived from various perspectives?<br/>The participants in the symposium will provide various perspectives to support the central questions, including the following.<br/>In the context of SMPA in Norway, two specific documents (Kulturdepartementet, 2021; Norsk kulturskoleråd, 2016) can be considered central. These documents serve as foundations for understanding the significance that public policy assigns to the SMPA and shape perspectives on its role. It is, therefore, pertinent to inquire about the legitimizations present in public policy concerning the SMPA in Norway and how they might influence the practices at the SMPA.<br/>Leaders at SMPA play a dual role as policy actors, engaging in processes of implementation that also involve interpretation, recontextualisation, and constitution of policies. Both leaders and policy documents, such as the Swedish national investigation from 2016 (SOU 2016:69) contribute to the construction of policy problems as well as of target groups. In what ways can leaders, from the standpoint of diversity and inclusion perspectives, influence through their policy enactment (Di Lorenzo Tillborg, 2021)?<br/>Teachers at SMPA schools are typically highly educated, often possessing expertise not only in their respective art forms but also in pedagogy. In numerous Norwegian municipalities, the SMPA is recognized as a resource center for the local community. It serves as a hub for leisure activities, engages with the kindergarten and school systems, and supports also other various sectors within the municipality. What experiences have been gained from systematic collaboration in music education between primary schools and SMPA (Knigge et al., 2021)?<br/>General music education in primary schools follows a national curriculum, yet substantial variations exist in the methods employed for teaching this subject (Utdanningsdirektoratet, 2020). Are there tensions between the prescribed framework and the actual differences observed in the classroom?<br/>Numerous students engage in various activities beyond the formal realm of upper secondary education (Utdanningsdirektoratet, 2020), such as SMPA, bands, musical shows (skolerevy), etc. These activities can be classified as informal or nonformal contexts. In essence, students traverse a range of contexts in their musical development. How does this multifaceted engagement influence their perspectives? (Ellefsen, 2014; Storsve, in review).<br/>An essential question is how the music education ecosystem as a whole ensures that all children and young people have access to unfold themselves musically/artistically, and that there are also educational pathways in this system directed towards a professional career as musicians and/or music educators working in different institutional contexts (Boeskov, K., 2023). How are the connections and collaborations across institutions in the music education ecosystem?<br/>After presenting these diverse perspectives, symposia participants will delve into commentary and discussion, aiming to shed light on common challenges and possibilities within the Nordic perspective of music education. The focus will be on identifying the needs for developing a comprehensive pathway in sustainable music education. Additionally, the participants will actively encourage the audience to join in, inviting them to share their thoughts in an exchange of ideas.<br/>References:<br/>Boeskov, K. (2023). Grib engagementet. Kulturministeriet. https://slks.dk/fileadmin/user_upload/0_SLKS/Dokumenter/Boern_og_unge/Afrapportering_og_evaluering/Grib_Engagementet_web.pdf<br/>Di Lorenzo Tillborg, A. (2021). Music Education and Democratisation: Policy processes and discourses of inclusion of all children in Sweden’s Art and Music Schools. Malmö: Lund University, Malmö Academy of Music.<br/>Ellefsen, L. W. (2014). Negotiating musicianship: The constitution of student subjectivities in and through discursive practices of musicianship in «Musikklinja». Norges musikkhøgskole.<br/>Knigge, J., Angelo, E., Balsnes, A. H., Hauen, M., Nørstebø, K., &amp; Øien, O. B. (2021). OutMus [Nettside]. Nord universitetet. https://site.nord.no/outmus/about-the-project/<br/>Kulturdepartementet. (2021). Oppleve, skape, dele—Kunst og kultur for, med og av barn og unge. (Meld. St. 18 (2020-2021). Det kongelige kulturdepartement. https://www.regjeringen.no/no/dokumenter/meld.-st.-18-20202021/id2839455/<br/>Norsk kulturskoleråd. (2016). Rammeplan for kulturskolen: Mangfold og fordypning. Norsk kulturskoleråd. https://kulturskoleradet.no/rammeplanseksjonen/planhjelp/plan-pa-flere-sprak<br/>SOU, 2016:69. (2016). En inluderande kulturskola på egen grund. Betänkande av Kulturskoleutredningen. Statens offentliga utredningar. [Statens offentliga utredningar]. Kulturdepartementet. https://www.regeringen.se/rattsliga-dokument/statens-offentliga-utredningar/2016/10/sou-201669/<br/>Storsve, G. (in review). Formal, informal, and non-formal learning as analytic categories for research in music education.<br/>Utdanningsdirektoratet. (2020). Kunnskapsløftet 2020, læreplanverk. Utdanningsdirektoratet. https://www.udir.no/laring-og-trivsel/lareplanverket/}},
  author       = {{Rønning, Rut Jorunn and Di Lorenzo Tillborg, Adriana and Rønningen, Anders and Askerøi, Eirik and Storsve, Gaute and Boeskov, Kim}},
  language     = {{swe}},
  month        = {{03}},
  title        = {{A Comprehensive Pathway in Music Education}},
  year         = {{2024}},
}