Utover notelesing —et estetisk-relasjonelt syn på pianotimen

Author:
Sánchez-Castellanos, Raquel
Abstract:
I denne masteroppgaven undersøker jeg studieobjektet pianoundervisning med voksne amatører fra et estetisk-relasjonelt perspektiv. Dette estetisk-relasjonelte synet på pianoundervisning innebærer å framheve den estetiske betydningen av relasjonen lærer-elev, ut fra en oppfatning av musikk som handling. Med videoobservasjon som forskningsmetode ble det samlet inn 38 videoopptak og feltnotater. Interaksjonen lærer-elev i notebasert pianoundervisning stod sentralt i analyse og tolkning av det empiriske materialet, samt andre variabler som pianotimens oppbygning, maktfordeling i relasjonen, musikalsk samspill, musikksjangre, stykkets registreringsformer, og hovedtrekk i prosessen ved utforming av musikalsk mening. Nicholas Cook utgjør hovedteoretikeren i studien, suplert med idéer av Nicolas Bourriaud, Georgina Born, Lucy Green, Per Dahl, Christopher Small og Tony Valberg. Disse forskerne har en sammenfallende forståelse av musikk som handling, det vil si, musikk som et relasjonelt fenomen. I det teoretiske rammeverket redegjøres hvordan musikalsk mening dannes av og vokser fram gjennom interaktive prosesser i musikalske framføringspraksiser. Relasjonene mellom utøverne har en direkte innflytelse på den musikalske meningen som vokser fram i spillet. Pianotimen avviker fra andre musikalske framføringspraksiser i den forstand at den pedagogiske relasjonen lærer-elev utgjør en asymmetrisk maktrelasjon som har direkte konsekvenser for utforming av musikalsk mening. Empiriutvalget belyses gjennom problemstillingen, hvordan utformes musikalsk mening gjennom interaksjon, opp mot det teoretiske rammeverket og sammen med andre teorier som behandler relasjoner i pedagogiske rom (Anna-Lena Rostvall, Karette Stensæth og Charles Bingham). Med utgangspunkt i funnene diskuteres musikkpedagogiske implikasjoner av estetisk relevans. På den ene siden drøfter jeg sammenhengen mellom pianoundervisning og musikkens sosiale dimensjon, og dets innflytelse på interaksjonen lærer-elev. På den andre siden foreslår jeg en måte å forene den notesentrerte tradisjonen ved vestlig kunstmusikk og forståelsen av musikk som handling, til fordel for elevens medvirkning og følelse av agens. Stikkord: musikalsk mening, musikk som handling, pedagogisk relasjon, interaksjon, samspill, musikalsk dialog, forhandling, meningstilskrivelse, relasjonell estetikk
In this master's thesis, I research piano teaching of adult amateurs from a aesthetic-relational perspective. This aesthetic-relational view of piano teaching implies an emphasis on the aesthetic significance of the relationship between teacher and student, building on an understanding of music as performance. Employing video-based observation as research method, thirty-eight video recordings and field notes were collected. The interaction between teacher and pupil in score-based piano lessons was central to the analysis and interpretation of the empirical material, as well as other variables such as lesson structure, power distribution in the relationship, musical interaction, music genre, registration support, and main features of the process of shaping musical meaning. The work of Nicholas Cook provides the primary theoretical foundation for the study, and is suplemented with perspectives from Nicolas Bourriaud, Georgina Born, Lucy Green, Per Dahl, Christopher Small, and Tony Valberg. These reseachers have a common understanding of music as action, that is, music as a relational phenomenon. The theoretical framework clarifies how musical meaning is formed in and arises from interactive processes in musical practices. Relationships between players thus have a direct influence on the musical meaning that emerges in the performance. The piano lesson differs from other musical practices in the sense that the pedagogical relationship between teacher and student is characterized by an asymmetrical power balance, which directly impacts the shaping of musical mening. The empirical examples are illustrated on the basis of the research question, how is musical meaning shaped through interaction, a selection of empirical examples is studied in the light of the theoretical framework, utilizing additional theories that study relationships in educational spaces (Anna-Lena Rostvall, Karette Stensæth and Charles Bingham). Based on the findings, music pedagogical implications of aesthetic relevance are discussed. On the one hand, I expand our understanding of the relationship between piano teaching and the social dimension of music, and its influence on the teacher-student interaction. On the other hand, I suggest a way to reconcile the score-based tradition of Western art music and an understanding of music as action, for the benefit of the pupil's involvement and sense of agency. Keywords: musical meaning, music as performance, pedagogic relation, interaction, musical dialogue, negotiation, signification, relational aesthetics
Description:
Masteroppgave i musikkpedagogikk
Publisher:
In this master's thesis, I research piano teaching of adult amateurs from a aesthetic-relational perspective. This aesthetic-relational view of piano teaching implies an emphasis on the aesthetic significance of the relationship between teacher and student, building on an understanding of music as performance. Employing video-based observation as research method, thirty-eight video recordings and field notes were collected. The interaction between teacher and pupil in score-based piano lessons was central to the analysis and interpretation of the empirical material, as well as other variables such as lesson structure, power distribution in the relationship, musical interaction, music genre, registration support, and main features of the process of shaping musical meaning. The work of Nicholas Cook provides the primary theoretical foundation for the study, and is suplemented with perspectives from Nicolas Bourriaud, Georgina Born, Lucy Green, Per Dahl, Christopher Small, and Tony Valberg. These reseachers have a common understanding of music as action, that is, music as a relational phenomenon. The theoretical framework clarifies how musical meaning is formed in and arises from interactive processes in musical practices. Relationships between players thus have a direct influence on the musical meaning that emerges in the performance. The piano lesson differs from other musical practices in the sense that the pedagogical relationship between teacher and student is characterized by an asymmetrical power balance, which directly impacts the shaping of musical mening. The empirical examples are illustrated on the basis of the research question, how is musical meaning shaped through interaction, a selection of empirical examples is studied in the light of the theoretical framework, utilizing additional theories that study relationships in educational spaces (Anna-Lena Rostvall, Karette Stensæth and Charles Bingham). Based on the findings, music pedagogical implications of aesthetic relevance are discussed. On the one hand, I expand our understanding of the relationship between piano teaching and the social dimension of music, and its influence on the teacher-student interaction. On the other hand, I suggest a way to reconcile the score-based tradition of Western art music and an understanding of music as action, for the benefit of the pupil's involvement and sense of agency. Keywords: musical meaning, music as performance, pedagogic relation, interaction, musical dialogue, negotiation, signification, relational aesthetics
Date:
2017-05-15
Material type:
Master's thesis
Language:
Norwegian
URL:
http://hdl.handle.net/10049/833
Keywords:
musikalsk mening
musikk som handling
pedagogisk relasjon
interaksjon
samspill
musikalsk dialog
forhandling
meningstilskrivelse
relasjonell estetikk
musical meaning
music as performance
pedagogic relation
interaction
musical dialogue
negotiation
signification
relational aesthetics

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