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Det där med noter! - Klassiska pianolärare som studerat i Malmö eller Birmingham, om sin syn på notläsning i pianoundervisningen nybörjarstadier

Hartelius, Anders (2011)
Malmö Academy of Music
Abstract
Title: The thing with music reading
This thesis relates to my educational background, why the studied area connects to experiences from when I studied classical piano performance at Birmingham Conservatoire. Since my time in England, I believe that when music students are situated in a foreign country, they will gain a new perspective on their origin and therefore, start to question, compare and reflect upon circumstances that have shaped their musical and pedagogical identity. For me, this meant that I constantly considered what could be seen as typically Swedish or English piano
teaching. A reoccurring topic among Swedish students at Birmingham Conservatoire, was the anxiety over sight-reading exams. The majority of us agreed that the... (More)
Title: The thing with music reading
This thesis relates to my educational background, why the studied area connects to experiences from when I studied classical piano performance at Birmingham Conservatoire. Since my time in England, I believe that when music students are situated in a foreign country, they will gain a new perspective on their origin and therefore, start to question, compare and reflect upon circumstances that have shaped their musical and pedagogical identity. For me, this meant that I constantly considered what could be seen as typically Swedish or English piano
teaching. A reoccurring topic among Swedish students at Birmingham Conservatoire, was the anxiety over sight-reading exams. The majority of us agreed that the British students were better prepared due to previous encouragements to perform at sight. A thought that has aroused from this is that Swedish classical piano teachers, underrate the importance of reading music. In this study, I have therefore interviewed two classical Swedish, and two classical English, piano
teachers on their view on music reading in the beginner’s level of piano tuition, with the primary purpose of gaining new understanding about the view on music reading in the beginner’s level of piano tuition. The Swedish teachers have studied teacher training at Malmö
Academy of Music, and the English teachers have studied classical piano performance at Birmingham Conservatoire. The result shows that the Swedish teachers, express approval with reservation towards music reading, whereas the English teachers, express approval with enthusiasm. During the interviews, the Swedish teachers also expressed thoughts, indicating that music reading is declining. As an addition to the interviews, I have also compared the tutor books, discussed in piano methodology classes at the mentioned schools. (Less)
Abstract (Swedish)
Detta examensarbete knyter an till min utbildningsbakgrund, eftersom området som undersökts relaterar till erfarenheter från åren jag studerade klassiskt piano vid Birmingham Conservatoires (B.C.) musikerutbildning. Sedan studietiden i England, upplever jag att när musikstuderande befinner sig i ett främmande land, får de nya perspektiv på varifrån de kommer och börjar ifrågasätta, jämföra och reflektera kring omständigheter som format den egna musikaliska
och pedagogiska identiteten. För mig innebar detta att jag ständigt satte etiketter på vad jag ansåg vara typiskt för svensk respektive engelsk pianoundervisning. Ett återkommande samtalsämne bland svenska studenter vid B.C. var proven i a prima vista. Flera svenska studenter var... (More)
Detta examensarbete knyter an till min utbildningsbakgrund, eftersom området som undersökts relaterar till erfarenheter från åren jag studerade klassiskt piano vid Birmingham Conservatoires (B.C.) musikerutbildning. Sedan studietiden i England, upplever jag att när musikstuderande befinner sig i ett främmande land, får de nya perspektiv på varifrån de kommer och börjar ifrågasätta, jämföra och reflektera kring omständigheter som format den egna musikaliska
och pedagogiska identiteten. För mig innebar detta att jag ständigt satte etiketter på vad jag ansåg vara typiskt för svensk respektive engelsk pianoundervisning. Ett återkommande samtalsämne bland svenska studenter vid B.C. var proven i a prima vista. Flera svenska studenter var överens om att de brittiska studenterna var bättre förberedda, eftersom de brittiska studenterna sedan tidigare, uppmuntrats framföra musik efter noter utan förberedelse. En tanke som i efterhand vuxit ur händelsen att de svenska studenterna lyckades sämre än de brittiska i nämnda examination, är att svenska klassiska pianolärare underskattar
notläsningens betydelse. Därför har jag i föreliggande studie intervjuat två svenska klassiska, samt två engelska klassiska pianolärare, om deras syn på notläsning i pianoundervisningens
nybörjarstadier, med huvudsyftet att få ny förståelse om just synen på notläsning i pianoundervisningsnybörjarstadier. De svenska lärarna har studerat vid Musikhögskolan i Malmös IE lärarutbildning, och de engelska lärarna vid B.C.s musikerutbildning. Resultatet visar att de
svenska pianolärarna, ger uttryck för gillande med reservation, medan de engelska pianolärarna, ger uttryck för gillande med entusiasm. Det framkommer också ur intervjuerna att de svenska pianolärarna upplever en neråtgående utveckling för notläsning. Som komplement till
intervjuerna, har jag jämfört pianoskolorna som diskuteras i pianometodikundervisningen vid nämnda musikhögskolor. (Less)
Please use this url to cite or link to this publication:
@misc{2338590,
  abstract     = {Title: The thing with music reading
This thesis relates to my educational background, why the studied area connects to experiences from when I studied classical piano performance at Birmingham Conservatoire. Since my time in England, I believe that when music students are situated in a foreign country, they will gain a new perspective on their origin and therefore, start to question, compare and reflect upon circumstances that have shaped their musical and pedagogical identity. For me, this meant that I constantly considered what could be seen as typically Swedish or English piano
teaching. A reoccurring topic among Swedish students at Birmingham Conservatoire, was the anxiety over sight-reading exams. The majority of us agreed that the British students were better prepared due to previous encouragements to perform at sight. A thought that has aroused from this is that Swedish classical piano teachers, underrate the importance of reading music. In this study, I have therefore interviewed two classical Swedish, and two classical English, piano
teachers on their view on music reading in the beginner’s level of piano tuition, with the primary purpose of gaining new understanding about the view on music reading in the beginner’s level of piano tuition. The Swedish teachers have studied teacher training at Malmö
Academy of Music, and the English teachers have studied classical piano performance at Birmingham Conservatoire. The result shows that the Swedish teachers, express approval with reservation towards music reading, whereas the English teachers, express approval with enthusiasm. During the interviews, the Swedish teachers also expressed thoughts, indicating that music reading is declining. As an addition to the interviews, I have also compared the tutor books, discussed in piano methodology classes at the mentioned schools.},
  author       = {Hartelius, Anders},
  keyword      = {music education,music reading,sight-reading,classical piano teachers,piano tuition for beginners,piano tutor books,Sweden,England,hermeneutics,Hans-Georg Gadamer,understanding,horizons of understanding,interview study,musikpedagogik,notläsning,a prima vista,klassiska pianolärare,pianoundervisning för nybörjare,pianoskolor,Sverige,hermeneutik,förståelsehorisont,intervjustudie},
  language     = {swe},
  note         = {Student Paper},
  title        = {Det där med noter! - Klassiska pianolärare som studerat i Malmö eller Birmingham, om sin syn på notläsning i pianoundervisningen nybörjarstadier},
  year         = {2011},
}