Hanne Rinholm | OsloMet—Oslo Metropolitan University (original) (raw)
Papers by Hanne Rinholm
Segl. Katolsk årsskrift for religion og samfunn, 2023
Action, Criticism, and Theory for Music Education, 2023
In this article, three researchers and music teacher educators reflect upon the possibilities fo... more In this article, three researchers and music teacher educators reflect upon the possibilities for and challenges of fostering preservice teachers’ critical and democratic capacities and agency in music teacher education in line with recent 21st-century skillsoriented policy reforms. Based on experiences from participatory action research with preservice music teachers in general teacher education at two Norwegian institutions, the authors problematise how critical reflection is defined in educational literature, in policy documents, and by students participating in the referred participatory action research. The authors further discuss the different understandings of critical reflection, considering concepts such as student-centredness, students as customers, student resistance, and student voice. Inspired by critical pedagogy, the authors suggest that the preservice teachers’ articulated reflections represent important steps in their progress toward becoming professional music teachers and that enduring the discomfort of loosening up the student-teacher dyad benefits the development of students’ agency and critical reflection
Utdanning for tverrfaglige mål, 2023
Jeg er lærer. reflektert, analytisk, kompetent, 2023
Dialogic Pedagogy: An International Online Journal , 2023
The aim of this study is to explore how aspects of dialogic teaching are concretized in classroom... more The aim of this study is to explore how aspects of dialogic teaching are concretized in classrooms to fill the gap between educational rhetoric and classroom practices. A central competency needed in our time is the ability to participate in democratic dialogue. Education for democratic citizenship can be connected to the notion of “becoming human,” which is a central idea in the Bildung dimension of education. The national educational regulations in Norway state that the teacher’s mandate is not limited to conveying knowledge and skills but also includes fostering the students’ critical reflection, inquisitiveness, and participation. The research questions that guided the study are: What theoretical concepts can be helpful in understanding and analyzing dialogic classroom practices? How can participation be promoted through dialogic classroom practice? How do the dimensions of ontological and epistemological dialogue appear in educational settings, and how do they interact with each other? Methodologically, the article presents, analyzes, and discusses two cases from different educational settings: pre-service teacher education music courses and upper-primary-level mathematics education. The findings show that the chosen theoretical concepts of mathematizing, musicking, and Bildung, as well as ontological and epistemological dialogue, are helpful in making sense of dialogic classroom practices.
Music Education Research, 2023
n this study, we employ a participatory action research framework to investigate how preservice m... more n this study, we employ a participatory action research framework to investigate how preservice music teachers can take part in developing their own education. The main focus is on how two music teacher educators at two institutions in Norway work to create a space for student voice and participation. The study’s data are analysed and presented through a combination of self-study methodology and narrative analysis conducted by two of the authors, followed by reflections by the two other authors. In these analytical steps, we identify four teacher roles in the form of metaphors: ‘the impatient manager’, ‘the conflicted gatekeeper’, ‘the balancing artist’ and ‘the reluctant host’. These roles are further discussed in light of theoretical perspectives on student voice and participation. The results reveal challenges in the use of participatory action research and in making changes to music teacher education.
![Research paper thumbnail of Musikalske mirakler: transcendens i estetiske og religiøse erfaringer [Musical miracles: transcendence in aesthetic and religious experiences].](https://attachments.academia-assets.com/95882301/thumbnails/1.jpg)
](Musikk og religion: Tekster om musikk i religion og religion i musikk , 2022
This essay discusses commonalities between religious and musicalaesthetic experiences regarding t... more This essay discusses commonalities between religious and musicalaesthetic experiences regarding their potential for transcendence. Inspired by existential autoethnography, the author presents situations from her own life to explore such correspondence. The essay shows how transcendent musical-aesthetic experiences may occur both while creating and performing as well as while listening to music. Narratives of transcendence in music and literature are discussed and contrasted with philosophical and psychological accounts of musical-aesthetic experience. The essay suggests that the unique value of transcendent musical-aesthetic experience is its existential significance.
Research Studies in Music Education, 2022
This article reports the results of a participatory action research study into Norwegian generali... more This article reports the results of a participatory action research study into Norwegian generalist music teacher education, that intended to develop spaces for preservice music teachers to foster agency and prepare for future teaching. We aimed to challenge the discursive practice of generalist music teacher education through participatory action research conducted from January to April 2020 at two central teacher education institutions in Norway. In this article, we present extracts from transcribed video recordings of the completed participatory action research that identify preservice music teachers’ positioning in interactions as a response to the challenges posed by action research events. Through our analysis, which draws on positioning theory from discourse psychology, we identify three primary positions taken up by preservice music teachers: (a) novices, (b) not yet independent, and (c) resource persons. The study identifies a need to interrupt traditional music teaching as...
Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m., 2020
The essay examines the notion of musical–aesthetic experience as an event of appearance in the li... more The essay examines the notion of musical–aesthetic experience as an event of appearance in the light of the aesthetic theories of Heidegger, Gadamer, Adorno, Seel, and Gumbrecht. Despite their radically different responses to the challenges posed by late modernity and their distinctive ways of rethinking metaphysics, some underlying common concerns and insights can be detected. What appears in aesthetic experience is, for all of them, not merely a construction by the subject, as implied by Kant’s aesthetics, but rather ‘something’ that arises from the work of art itself. For Heidegger, this happens through the process of ‘enowning’ (Ereignis), while Gadamer speaks of ‘presentation’ (Vollzug), Adorno of ‘epiphanies’ of the ‘non-identical,’ Seel of ‘appearance,’ and Gumbrecht of the ‘production of presence’. There is a common insight that the status of the subject must be changed by such experiences. Instead of ‘using violence against the object’ (Adorno), a certain passivity is appro...
Philosophy of Music Education Review, 2020
This essay reflects on the values of slowness and resistance as fundamental ideas directly oppose... more This essay reflects on the values of slowness and resistance as fundamental ideas directly opposed to modern culture's ideals of effectiveness and smoothness and discusses how music from the Western classical music tradition can offer such values in music education. At the same time, how we listen to music is highlighted as equally important as what we listen to. Values like slowness and resistance are seen as important critical ideas, not only in the bubble of aesthetics, music, and music education, but also in general discussions of con-sumeristic modern culture, characterized by unsustainable ideas of constant action and economic growth. Slowness and resistance in musical experience is argued to be important in forming the future of music education for sustainable development. The Korean-born German philosopher of art and cultural
Philosophy of Music Education Review, 2017
Despite today's proclaimed open-mindedness, a certain uniformity of thought, followed by a fl... more Despite today's proclaimed open-mindedness, a certain uniformity of thought, followed by a flattening of practices, can be observed in the processes of quality improvement in higher education. This narrowing of thought, which I call "relevance rationality," is an offshoot of instrumental reason and represents a debased, utilitarian-influenced mode of thinking in terms of relevance. Through an analysis of the situation in Norwegian music teacher education as a case in point, this essay aims to show how relevance rationality spreads and actually undermines good intentions and efforts to secure quality in music teacher education globally. A counterpoint to relevance rationality is offered with the concept of "multi-stratified authenticity," which is a synergy of Charles Taylor's moral frameworks, including his notion of authenticity, and Frede V. Nielsen's concept of "music as a multi-stratified universe of meaning."
Landscapes: the Arts, Aesthetics, and Education, 2014
This chapter discusses the influence of the current European educational policy on music educatio... more This chapter discusses the influence of the current European educational policy on music education in some Scandinavian countries and in Germany in light of Heidegger’s philosophy of being and his critique of technology. Heidegger’s genealogical history of nihilism asserts that the individual’s relation to reality has developed from “letting beings be” to “mastery” and “control.” In the current paradigm of enframing, we increasingly deal with objects, including ourselves, as resources to be exploited. This has consequences of direct relevance to music education, in relation to the aspect of musical Bildung, to questions concerning the artistic qualities of music and to the existential role of music in the lives of individuals. This chapter discusses a possible ontological turn in music education, considering the current paradigm. Such a turn includes the move from an understanding of Bildung as the transfer of truth as veritas or correctness, into an understanding of Bildung as aletheia or the uncovering of truth. Since art to Heidegger is a happening of truth similar to the happening of truth as aletheia, music as an arts-based subject assumes a unique role among the other school subjects. As a result, a renewed focus on the significance of musical experiences may be an appropriate response to the oblivion-of-being in music education.
This chapter reconsiders the notion of the good, the true, and the beautiful for music education ... more This chapter reconsiders the notion of the good, the true, and the beautiful for music education in our time, inspired by the writings of Byung-Chul Han, Michel Foucault, Iris Murdoch, Axel Honneth, and Martin Heidegger. This classical notion is imagined as a garden in which to dwell philosophically and to be used as an inspiration for music teachers’ pursuit of happiness, authenticity, and liberty. The chapter departs from, plays with, and extends ideas from Jorgensen’s Transforming Music Education (2003). Helmer: Nora—can I never be anything more than a stranger to you? Nora (taking her bag): Ah, Torvald, the most wonderful thing of all would have to happen. Helmer: Tell me what that would be! Nora: Both you and I would have to be so changed that— ....... Nora: That our life together would be a real wedlock. Goodbye. Act III of Henrik Ibsen’s play A Doll's House1 In the closing dialogue between Nora and Helmer in Henrik Ibsen’s play A Doll’s House, Nora has realized that she n...
The article's goals are to contribute to the clarification of the term aesthetic experience u... more The article's goals are to contribute to the clarification of the term aesthetic experience used in the context of music education, and to discuss different interpretations of Kant in this context. ...
Title Master&... more Title Master's Thesis (translated into English): "On the scent of the aesthetic experience. About 'the aesthetic' in Philosophy of Music Education, focusing 'the aesthetic' and the aesthetic experience in German thought at the turn of the millennium."
How can music education be enriched by the concept of time? This article is based on the assumpti... more How can music education be enriched by the concept of time? This article is based on the assumption that the present moment, the musical ‘now’, is of the utmost importance not only to the musical performer or listener but to the musical learner and teacher as well. It aims at a philosophical discussion and conceptual clarification of a number of issues of time that are considered to be crucial to music education through a presentation and discussion of thoughts and concepts put forward by four selected philosophers: Augustine, Edmund Husserl, Mikhail Bakhtin, and Paul Ricoeur. It is suggested that reflecting upon time may significantly challenge and develop students’ ways of thinking about music connected to different actions within several fields of music education. For instance, Augustine’s analysis of time offers important perspectives on practising, remembering, and performing music. Husserl’s philosophy of time constitutes the stream of consciousness, which leads to an understa...
Segl. Katolsk årsskrift for religion og samfunn, 2023
Action, Criticism, and Theory for Music Education, 2023
In this article, three researchers and music teacher educators reflect upon the possibilities fo... more In this article, three researchers and music teacher educators reflect upon the possibilities for and challenges of fostering preservice teachers’ critical and democratic capacities and agency in music teacher education in line with recent 21st-century skillsoriented policy reforms. Based on experiences from participatory action research with preservice music teachers in general teacher education at two Norwegian institutions, the authors problematise how critical reflection is defined in educational literature, in policy documents, and by students participating in the referred participatory action research. The authors further discuss the different understandings of critical reflection, considering concepts such as student-centredness, students as customers, student resistance, and student voice. Inspired by critical pedagogy, the authors suggest that the preservice teachers’ articulated reflections represent important steps in their progress toward becoming professional music teachers and that enduring the discomfort of loosening up the student-teacher dyad benefits the development of students’ agency and critical reflection
Utdanning for tverrfaglige mål, 2023
Jeg er lærer. reflektert, analytisk, kompetent, 2023
Dialogic Pedagogy: An International Online Journal , 2023
The aim of this study is to explore how aspects of dialogic teaching are concretized in classroom... more The aim of this study is to explore how aspects of dialogic teaching are concretized in classrooms to fill the gap between educational rhetoric and classroom practices. A central competency needed in our time is the ability to participate in democratic dialogue. Education for democratic citizenship can be connected to the notion of “becoming human,” which is a central idea in the Bildung dimension of education. The national educational regulations in Norway state that the teacher’s mandate is not limited to conveying knowledge and skills but also includes fostering the students’ critical reflection, inquisitiveness, and participation. The research questions that guided the study are: What theoretical concepts can be helpful in understanding and analyzing dialogic classroom practices? How can participation be promoted through dialogic classroom practice? How do the dimensions of ontological and epistemological dialogue appear in educational settings, and how do they interact with each other? Methodologically, the article presents, analyzes, and discusses two cases from different educational settings: pre-service teacher education music courses and upper-primary-level mathematics education. The findings show that the chosen theoretical concepts of mathematizing, musicking, and Bildung, as well as ontological and epistemological dialogue, are helpful in making sense of dialogic classroom practices.
Music Education Research, 2023
n this study, we employ a participatory action research framework to investigate how preservice m... more n this study, we employ a participatory action research framework to investigate how preservice music teachers can take part in developing their own education. The main focus is on how two music teacher educators at two institutions in Norway work to create a space for student voice and participation. The study’s data are analysed and presented through a combination of self-study methodology and narrative analysis conducted by two of the authors, followed by reflections by the two other authors. In these analytical steps, we identify four teacher roles in the form of metaphors: ‘the impatient manager’, ‘the conflicted gatekeeper’, ‘the balancing artist’ and ‘the reluctant host’. These roles are further discussed in light of theoretical perspectives on student voice and participation. The results reveal challenges in the use of participatory action research and in making changes to music teacher education.
Musikk og religion: Tekster om musikk i religion og religion i musikk , 2022
This essay discusses commonalities between religious and musicalaesthetic experiences regarding t... more This essay discusses commonalities between religious and musicalaesthetic experiences regarding their potential for transcendence. Inspired by existential autoethnography, the author presents situations from her own life to explore such correspondence. The essay shows how transcendent musical-aesthetic experiences may occur both while creating and performing as well as while listening to music. Narratives of transcendence in music and literature are discussed and contrasted with philosophical and psychological accounts of musical-aesthetic experience. The essay suggests that the unique value of transcendent musical-aesthetic experience is its existential significance.
Research Studies in Music Education, 2022
This article reports the results of a participatory action research study into Norwegian generali... more This article reports the results of a participatory action research study into Norwegian generalist music teacher education, that intended to develop spaces for preservice music teachers to foster agency and prepare for future teaching. We aimed to challenge the discursive practice of generalist music teacher education through participatory action research conducted from January to April 2020 at two central teacher education institutions in Norway. In this article, we present extracts from transcribed video recordings of the completed participatory action research that identify preservice music teachers’ positioning in interactions as a response to the challenges posed by action research events. Through our analysis, which draws on positioning theory from discourse psychology, we identify three primary positions taken up by preservice music teachers: (a) novices, (b) not yet independent, and (c) resource persons. The study identifies a need to interrupt traditional music teaching as...
Musikkfilosofiske tekster. Tanker om musikk – og språk, tolkning, erfaring, tid, klang, stillhet m.m., 2020
The essay examines the notion of musical–aesthetic experience as an event of appearance in the li... more The essay examines the notion of musical–aesthetic experience as an event of appearance in the light of the aesthetic theories of Heidegger, Gadamer, Adorno, Seel, and Gumbrecht. Despite their radically different responses to the challenges posed by late modernity and their distinctive ways of rethinking metaphysics, some underlying common concerns and insights can be detected. What appears in aesthetic experience is, for all of them, not merely a construction by the subject, as implied by Kant’s aesthetics, but rather ‘something’ that arises from the work of art itself. For Heidegger, this happens through the process of ‘enowning’ (Ereignis), while Gadamer speaks of ‘presentation’ (Vollzug), Adorno of ‘epiphanies’ of the ‘non-identical,’ Seel of ‘appearance,’ and Gumbrecht of the ‘production of presence’. There is a common insight that the status of the subject must be changed by such experiences. Instead of ‘using violence against the object’ (Adorno), a certain passivity is appro...
Philosophy of Music Education Review, 2020
This essay reflects on the values of slowness and resistance as fundamental ideas directly oppose... more This essay reflects on the values of slowness and resistance as fundamental ideas directly opposed to modern culture's ideals of effectiveness and smoothness and discusses how music from the Western classical music tradition can offer such values in music education. At the same time, how we listen to music is highlighted as equally important as what we listen to. Values like slowness and resistance are seen as important critical ideas, not only in the bubble of aesthetics, music, and music education, but also in general discussions of con-sumeristic modern culture, characterized by unsustainable ideas of constant action and economic growth. Slowness and resistance in musical experience is argued to be important in forming the future of music education for sustainable development. The Korean-born German philosopher of art and cultural
Philosophy of Music Education Review, 2017
Despite today's proclaimed open-mindedness, a certain uniformity of thought, followed by a fl... more Despite today's proclaimed open-mindedness, a certain uniformity of thought, followed by a flattening of practices, can be observed in the processes of quality improvement in higher education. This narrowing of thought, which I call "relevance rationality," is an offshoot of instrumental reason and represents a debased, utilitarian-influenced mode of thinking in terms of relevance. Through an analysis of the situation in Norwegian music teacher education as a case in point, this essay aims to show how relevance rationality spreads and actually undermines good intentions and efforts to secure quality in music teacher education globally. A counterpoint to relevance rationality is offered with the concept of "multi-stratified authenticity," which is a synergy of Charles Taylor's moral frameworks, including his notion of authenticity, and Frede V. Nielsen's concept of "music as a multi-stratified universe of meaning."
Landscapes: the Arts, Aesthetics, and Education, 2014
This chapter discusses the influence of the current European educational policy on music educatio... more This chapter discusses the influence of the current European educational policy on music education in some Scandinavian countries and in Germany in light of Heidegger’s philosophy of being and his critique of technology. Heidegger’s genealogical history of nihilism asserts that the individual’s relation to reality has developed from “letting beings be” to “mastery” and “control.” In the current paradigm of enframing, we increasingly deal with objects, including ourselves, as resources to be exploited. This has consequences of direct relevance to music education, in relation to the aspect of musical Bildung, to questions concerning the artistic qualities of music and to the existential role of music in the lives of individuals. This chapter discusses a possible ontological turn in music education, considering the current paradigm. Such a turn includes the move from an understanding of Bildung as the transfer of truth as veritas or correctness, into an understanding of Bildung as aletheia or the uncovering of truth. Since art to Heidegger is a happening of truth similar to the happening of truth as aletheia, music as an arts-based subject assumes a unique role among the other school subjects. As a result, a renewed focus on the significance of musical experiences may be an appropriate response to the oblivion-of-being in music education.
This chapter reconsiders the notion of the good, the true, and the beautiful for music education ... more This chapter reconsiders the notion of the good, the true, and the beautiful for music education in our time, inspired by the writings of Byung-Chul Han, Michel Foucault, Iris Murdoch, Axel Honneth, and Martin Heidegger. This classical notion is imagined as a garden in which to dwell philosophically and to be used as an inspiration for music teachers’ pursuit of happiness, authenticity, and liberty. The chapter departs from, plays with, and extends ideas from Jorgensen’s Transforming Music Education (2003). Helmer: Nora—can I never be anything more than a stranger to you? Nora (taking her bag): Ah, Torvald, the most wonderful thing of all would have to happen. Helmer: Tell me what that would be! Nora: Both you and I would have to be so changed that— ....... Nora: That our life together would be a real wedlock. Goodbye. Act III of Henrik Ibsen’s play A Doll's House1 In the closing dialogue between Nora and Helmer in Henrik Ibsen’s play A Doll’s House, Nora has realized that she n...
The article's goals are to contribute to the clarification of the term aesthetic experience u... more The article's goals are to contribute to the clarification of the term aesthetic experience used in the context of music education, and to discuss different interpretations of Kant in this context. ...
Title Master&... more Title Master's Thesis (translated into English): "On the scent of the aesthetic experience. About 'the aesthetic' in Philosophy of Music Education, focusing 'the aesthetic' and the aesthetic experience in German thought at the turn of the millennium."
How can music education be enriched by the concept of time? This article is based on the assumpti... more How can music education be enriched by the concept of time? This article is based on the assumption that the present moment, the musical ‘now’, is of the utmost importance not only to the musical performer or listener but to the musical learner and teacher as well. It aims at a philosophical discussion and conceptual clarification of a number of issues of time that are considered to be crucial to music education through a presentation and discussion of thoughts and concepts put forward by four selected philosophers: Augustine, Edmund Husserl, Mikhail Bakhtin, and Paul Ricoeur. It is suggested that reflecting upon time may significantly challenge and develop students’ ways of thinking about music connected to different actions within several fields of music education. For instance, Augustine’s analysis of time offers important perspectives on practising, remembering, and performing music. Husserl’s philosophy of time constitutes the stream of consciousness, which leads to an understa...
In my work as a music teacher educator in generalist teacher education, the demand for relevance ... more In my work as a music teacher educator in generalist teacher education, the demand for relevance is a recurrent theme which occurs in several forms and in different contexts, and which is implicitly or explicitly assumed to warrant quality in education. The new strategic plan for my institution, Strategi 2024 (HiOA, 2017), seems to define the state of "being based on (…) close contact with professional practice" and taking "a hands-on approach to meeting the needs of society" as hallmarks of quality of the educational activity carried out in this institution. Further, the institution's research is aimed to be "relevant and capable of solving the challenges of tomorrow" (HiOA, 2017). By using the slogan "New Knowledge - New Practice", the plan communicates that the notion of practice plays an important role in the wanted relevancy and quality. Since teacher education is a program of professional study ("profesjonsutdanning"), the highlighting of these criteria seems reasonable. According to the philosopher Harald Grimen (2009), the ideal of occupational or professional relevance is characteristic for professional studies, as their purpose is to qualify for certain occupations. However, open questions and unclear definitions remain. Does it for example go without saying which research is relevant at any time, and which needs of the society we should meet? If not, who is qualified to define these areas? Further, is the notion of relevance really value-free, as it seems to be taken for granted in the strategy document? Is this not a question of definition power, where the decisions made have crucial implications for the direction of teacher education?
The practical relevance of a course or a teaching activity is a question that students often are asked to value in student evaluations. However, what type of practical relevance is asked for here? And which teaching content do students value as being relevant? Student evaluations in music teacher education show that many students find teaching activities that can be directly used in their own teaching as most relevant. Teacher educators also argue that a collection of such classroom activities ("metodisk mappe") can be used as a tool box for the students in the beginning of their career as music teachers. Thereby the "praxis shock" may be avoided, it is claimed. However, is there something about the understanding of "practical relevance", and about the status of practice in teacher education, both among students and teacher educators, that makes them understand practical relevance largely as instant relevance?
Further, is this especially a problem in a practical subject as music, where the master-apprentice model has been a dominating learning strategy, at least in the parts of the subject that have to do with music-making, which is leading us to focus on reproduction of knowledge and practical skills more than other types of knowledge in music teacher eduaction? Jon Helge Sætre (2014) asserts that the subject music in Norwegian generalist teacher education is largely based on traditional practice-oriented and contextual forms of knowledge, besides certain forms of theory inspired by the conservatory model, and that student teachers ask for representations of practice, 'how-to'-skills, and exemplary models of teaching (Sætre, 2014, s. 41-42).
It seems to be a common opinion that practice is the ideal benchmark for measuring the relevance of education. We seem to take for granted that if a teaching activity "works in practice", it is practically relevant and thereby of good quality. What makes this activity work? Is it because it is easy, funny or popular, that it goes without much explanation, music work, much thinking? Is it possible that we sometimes mix up relevance and quality with popularity and the easy-going? And is it true that everything that is done "out there" in the field of practice, in school, is of good quality? The German Scholar Jürgen Vogt argues that letting school or "practice" set the agenda for which learning contents are relevant could lead to a situation where the popular or the established contents dominate. This type of knowledge and skills is not necessarily of bad quality, but such one-sided orientation might hinder professional development of music educational practice. The professionalization of music teacher education can thereby easily become a "closed loop" in which the professional field is merely turning around on and confirming itself (Vogt, 2001).
With the help of relevance theory (Kecskés, 2009; Schütz, 1962 [1945], 1970 [1951; Sperber & Wilson, 1995) and illustrating examples from music teacher education as a case in point, I will carry out a critical-philosophical inquiry into the understanding and use of the notion of practical relevance in generalist music teacher education. Thereby the relation between the notions of relevance, practice, quality and meeting the needs of society will be examined, and the possible implications for both general music teacher education and other music educational settings will be discussed.
Grimen, H. (2009). Profesjonslæresetenes dilemmaer. I M. Lindh (Red.), Profession och vetenskap-idéer og strategier för ett professionslärosäte (Bind 8, s. 47-59). Borås.
HiOA. (2017). Strategi 2024. Hentet fra http://opengov.cloudapp.net/Meetings/hioa/AgendaItems/Details/202106
Kecskés, I. (2009). Communicative Principle and Communication. I J. L. May (Red.), Concise Encyclopedia of Pragmatics. Oxford: Elsevier Science.
Schütz, A. (1962 [1945]). On Multiple Realities Collected Papers I: The Problem of Social Reality (s. 227-230). Den Haag: Martinus Nijhoff.
Schütz, A. (1970 [1951). Reflections on the Problem of Relevance. New Haven; London: Yale University Press.
Sperber, D. & Wilson, D. (1995). Relevance: Communication and Cognition (Second utg.). Oxford/Cambridge: Blackwell Publishers.
Sætre, J. H. (2014). Preparing generalist student teachers to teach music : a mixed-methods study of teacher educators and educational content in generalist teacher education music courses (PhD). Norwegian Academy of Music, Oslo (2014:11)
Vogt, J. (2001). Praxisbexug als Problem. Zur Professionalisierung der Musiklehrerausbildung. Musik und Bildung, 6(Grundlagen, Hochschuldidaktik), 16-23.
Presentation (Symposium) at NNMPF Conference, Helsinki, Finland
Music, such as the duration of a musical piece or length of a concert, can me measured by metro... more Music, such as the duration of a musical piece or length of a concert, can me measured by metronomes and clocks in objective time (chronos). However, playing an instrument, singing, attending a concert, listening to a record or reading a musical score are musical activities also experienced as subjective time (kairos). Music has an intrinsic temporal dimension of experienced time, often including an intensification of the present moment, coexisting intertwined with its measurable dimensions. This makes music a fascinating object for philosophical exploration.
Musical practice embodies temporal phenomena like pulse, tempo, timing, ad lib, accelerando and fermata. The musical present can be viewed as a moment of semantic fullness, a meaningful moment. Music can carry narrative, which is a related phenomenon, also containing intrinsic temporality. Furthermore, music can be improvised in the present moment. The tonal texture of music is experienced as a context, a coherency with an intrinsic temporality. This symposium is set to investigate how music can be experienced, philosophically speaking, in the present moment. In order to do this, we introduce a number of prominent Western philosophers who have taken an interest in the phenomenon of time by using the phenomenon of music as a lens: Saint Augustine, Husserl, Bakhtin and Ricoeur.
After this introductory presentation, the symposium continues as a dialogue between the perspectives provided by these philosophers.