From the KMH Strategy 2015-2017:
KMH shall have a research environment where research in music and music education, even on interdisciplinary base, is developed and led through national and international cooperation.
KMH shall have durable cooperation on research education with universities which have an interest in developing their own areas of activity through music.
At KMH research in music is conducted on both artistic and scientific basis and, in collaboration with other universities, on postgraduate (3rd cycle) level.
Questions concerning artistic processes are investigated on a scientific and artistic basis and provides KMH with an overall emphasis on the development of musical knowledge. This is a way to create synergies between expertise on artistic and scientific basis, which will also benefit undergraduate (1st cycle) education. The research basis of the education gives depth and height to the next generation of musicians.
Music is a major area of research, which has a bearing on many other subjects such as health, technology, economics and so on. KMH acts both as an individual, specialized higher education institution, as well as in collaborations with other institutions and organizations, as well as representatives of the major field of music.
KMH higher Seminar for Research (in Swedish)
Welcome to the second round of KMH senior seminar for research - an arena for discussion, reflection and reporting of research and artistic work, mainly addressed to senior teachers (lecturers and professors) and PhD students and postdocs.
Prof. Sven Ahlbäck, Dept. of Folk Music
Att forska genom, i, om och på musik. Om forskningsmetodik i konstnärlig forskning i relation till olika forskningstraditioner.
Doktorand Ulf Söderberg, KK
Generalbasspel – en konstnärlig bro mellan teori och praktik.
Lektor Ambjörn Hugart, MPS
Musikfabriken. Erfarenheter från ett Arvsfondsprojekt
Prof. Stefan Therstam, KK
Om improvisation i orgelspel
Prof. Karin Rehnquist, KDM
Ropet, bönen, besvärjelsen – att söka nya musikaliska uttryck för ursprungliga mänskliga behov
Prof. Bill Brunson, och doc. Henrik Frisk, KDM
Sound/Space and the Listening Mind
Doktorand Anna Einarsson, Konstnärliga forskarskolan
Upplevelser av interaktiv teknik i komposition och framförande.
Chairman at the Higher Seminars for Research is Erik Lanninger.
Public Defense of Doctoral Thesis
Friday 29 May 13:00
Kungl. Musikhögskolan, Lidingövägen 12, Stockholm
defends her thesis
"Affordance and choice: performing music in lower secondary school"
External Reviewer: Associate Professor Johan Söderman, Malmö University
+46 70-446 27 82, firstname.lastname@example.org
Cecilia K. Hultberg, Professor of Music Education
+46 8-16 18 66, email@example.com
Per-Henrik Holgersson, Head of Department of Music Education
+46 73-461 86 02, firstname.lastname@example.org
Affordance and choice: performing music in lower secondary school
The purpose of this study is to elucidate affordances and meaning-making processes where students in Compulsory lower secondary education learn to play music together in music class. The data consists of a series of observed music lessons, performances and stimulated recall interviews in two 8th form classes, video recorded in the course of one term.
The analysis focuses on students’ and their teacher’s musical interaction and sign making during music class. In order to explore multimodal aspects of sign making in teaching and learning, the study rests on a theoretical framework of social-semiotic multimodality and design theory of learning. Nine students, strategically selected, were observed more frequently than the rest. Excerpts of their singing and playing music on different occasions were transcribed into scores in which musical notation together with other graphic signs and written descriptions represent the events. The scores visualise multimodal aspects of musical interaction, which made a 'fine grained' analysis of meaning-making processes possible. Further, an analysis was made of how the students and their teacher expressed themselves about the playing and learning and how this related to their observed actions.
The result reveals how the teacher’s physical and verbal communicative sign combinations and choice of repertoire conveyed several layers of meaning by means of instructions for playing and by references to different discourses and genres. During lessons the principle of recognition was present in all of the teacher's sign making but it might be expressed in different modes including expected actions that surprised, amused and helped students to link different musical parameters together. Through transmodal translations of the teacher’s signs, students, linked short fragments of their parts together, and taking turns with the teacher, made longer musical lines. It was found that students’ activities and utterances indicated that a shared sense of meaning and acceptance took precedence over personal musical wishes and preferences.
The study contributes to a close insight and understanding of how young people's meaning-making processes may be manifested in music 'teaching- and-learning' in heterogeneous classes, as well as of the significance of teachers’ sign-making in that process. The results of the study warrant a discussion of how musical learning is made possible and is restricted de- pending on how music teaching in schools is designed.
Keywords: music teaching, musical interaction, meaning making, semiotic resources, re-design, transmodality, dialogue