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Reflection in higher music education : what, why, wherefore?

Georgii-Hemming, Eva ; Johansson, Karin LU and Moberg, Nadia (2020) In Music Education Research 22(3). p.245-256
Abstract

Reflective practice is seen as a method for professional growth and lasting learning outcomes, but what this means in the context of Higher Music Education (HME) has not received sufficient attention. This paper explores how reflection is ontologised and justified as part of performing musicians’ education. The data utilised derive from a comprehensive project investigating how processes of academisation affect HME across Europe. Findings from the Swedish sub-study, comprised of fourteen leaders and teachers at four academies of music, demonstrate how reflection is discursively constructed; as based on language and cognition; as embodied, and as ‘purely’ musical. These ideas concerning the qualities and characteristics of reflection... (More)

Reflective practice is seen as a method for professional growth and lasting learning outcomes, but what this means in the context of Higher Music Education (HME) has not received sufficient attention. This paper explores how reflection is ontologised and justified as part of performing musicians’ education. The data utilised derive from a comprehensive project investigating how processes of academisation affect HME across Europe. Findings from the Swedish sub-study, comprised of fourteen leaders and teachers at four academies of music, demonstrate how reflection is discursively constructed; as based on language and cognition; as embodied, and as ‘purely’ musical. These ideas concerning the qualities and characteristics of reflection interact and provide basis for three forms of justification: reflection for artistic knowledge development; reflection for individual success in the profession; and reflection over the role of musicianship in relation to society.

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author
; and
organization
publishing date
type
Contribution to journal
publication status
published
subject
keywords
academisation, discursive constructions, educational actors and orders of justification, music profession, performing arts education, Reflection
in
Music Education Research
volume
22
issue
3
pages
12 pages
publisher
Routledge
external identifiers
  • scopus:85085350426
ISSN
1461-3808
DOI
10.1080/14613808.2020.1766006
language
English
LU publication?
yes
id
fa43fda7-8d4e-43b7-9593-992d08e29ce1
date added to LUP
2020-06-25 10:34:18
date last changed
2020-06-26 01:58:41
@article{fa43fda7-8d4e-43b7-9593-992d08e29ce1,
  abstract     = {<p>Reflective practice is seen as a method for professional growth and lasting learning outcomes, but what this means in the context of Higher Music Education (HME) has not received sufficient attention. This paper explores how reflection is ontologised and justified as part of performing musicians’ education. The data utilised derive from a comprehensive project investigating how processes of academisation affect HME across Europe. Findings from the Swedish sub-study, comprised of fourteen leaders and teachers at four academies of music, demonstrate how reflection is discursively constructed; as based on language and cognition; as embodied, and as ‘purely’ musical. These ideas concerning the qualities and characteristics of reflection interact and provide basis for three forms of justification: reflection for artistic knowledge development; reflection for individual success in the profession; and reflection over the role of musicianship in relation to society.</p>},
  author       = {Georgii-Hemming, Eva and Johansson, Karin and Moberg, Nadia},
  issn         = {1461-3808},
  language     = {eng},
  month        = {05},
  number       = {3},
  pages        = {245--256},
  publisher    = {Routledge},
  series       = {Music Education Research},
  title        = {Reflection in higher music education : what, why, wherefore?},
  url          = {http://dx.doi.org/10.1080/14613808.2020.1766006},
  doi          = {10.1080/14613808.2020.1766006},
  volume       = {22},
  year         = {2020},
}