In this methodological article, different concepts and possibilities related to how arts-based research processes can contribute in the early phases of ECEC research will be presented and discussed. Despite a setback of art subjects in Norwegian ECEC and early childhood teacher's education, the field of arts still plays an important role, and is expected to be research-based. Thus, there should be a need for an aesthetical and artsbased dimension in researching ECEC, not only in the subject matter, but also in the method, context, outcome and dissemination. The article focuses on methodological issues in the question development/design phase and the data collection phase, exemplified by the author's own experiences in arts-based research processes. These processes include participation in dance and music performance as thinking or reflection tools in research, and an arts-based interview method. Some narrative writing processes will also be commented upon. Theoretically, the article primarily leans upon Barone and Eisner's arts-based research and Irwin and Springgay's a/r/tography.
Most cultures carry an idea of music being connected to emotion. New research suggests that we may also acquire emotion knowledge from our music experiences. This article investigates music experience as a mediating tool for emotion knowledge in early childhood, as revealed through qualitative interviews of adults. The interviewees describe music experiences from their early childhood or adult experiences together with young children. They also reflect upon the experiences, relating them to emotion knowledge and early childhood learning cultures. Thus, the article has a hermeneutic-phenomenological approach, and the analysis is mainly a content analysis. The results are discussed in relation to learning and learning cultures, but also in relation to music therapy and emotion psychology. The article reveals implications for early childhood learning cultures in pointing towards the importance of the relationship between caregiver and child, and of music as a mediating tool for emotion availability and interaction.Résumé La plupart des cultures relaient l'idée que la musique est liée à l'émotion. De nouvelles recherches suggèrent que notre savoir émotionnel pourrait aussi s'acquérir à partir de nos expériences musicales. Cet article explore l'expérience musicale en tant qu'outil de médiation du savoir émotionnel dans la petite enfance, à travers des entretiens qualitatifs réalisés auprès d'adultes. Les personnes interrogées décrivent leurs expériences musicales en tant qu'enfants, ou en tant qu'adultes avec de jeunes enfants. Ces personnes font aussi part de leurs réflexions sur ces expériences, en relation avec le savoir émotionnel et les cultures d'apprentissage enfantines. De fait, cet article adopte une approche phénoménologico-herméneutique et l'analyse est T. Vist principalement une analyse de contenu. Les résultats sont examinés en relation à l'apprentissage et aux cultures de l'apprentissage, mais aussi à la musicothérapie et à la psychologie des émotions. Cet article révèle ainsi une série d'implications pour les cultures de l'apprentissage infantiles, soulignant à la fois l'importance de la relation entre l'enfant et les personnes qui s'en occupent et le rôle de la musique en tant qu'outil médiateur pour la disponibilité et les interactions émotionnelles.Resumen En la mayoría de las culturas se mantiene la idea de que la música está conectada a la emoción. Nuevas investigaciones sugieren que también podemos adquirir conocimiento emocional desde nuestras experiencias musicales. Este artículo investiga la experiencia musical como una herramienta de mediación para el conocimiento emocional en la infancia temprana, como se reveló a través de entrevistas cualitativas con adultos. Estas entrevistas describen las experiencias musicales desde sus experiencias de infancia temprana o como adultos, junto con los niños pequeños. También se reflejan a través de las experiencias, relacionán-dolas a un conocimiento emocional y a culturas de aprendizaje de infancia temprana. Así, el artículo tiene un acercamiento hermenéu...
This article presents results from a large-scale Norwegian study that examines the quality of early childhood education and care, using the research tool ITERS-R. Although ITERS-R consists of 39 items, this article focuses solely on results within music education in Item 18: Music and movement. According to ITERS-R, results from 206 toddler day care groups reveal that the quality of music education in Norwegian day care is low. Our in-depth study of a single item reveals that a lack of musical toys and instruments is what yields such a low score. The quality of singing and the use of recorded music, however, scores better. These results point to a music education philosophy in ITERS-R that diverges somewhat from contemporary music education philosophies and curricula. The article therefore also discusses some potential consequences of this difference.
Denne artikkelen setter fokus på to barnehagepedagogiske teoritradisjoner og foretar en teoretiskdrøfting av dem i lys av musikkfaget. Den utviklingspsykologiske og den barndomssosiologiske teorieneller tenkemåten kan begge sies å ha vært dominerende diskurser i barnehagefeltet. Kritikken som iover 20 år har vært rettet mot utviklingspsykologien dreier seg bl.a. om dens tendens til å gjøre allebarn i en viss alder like eller gjennomsnittlige, å ignorere kontekstens betydning og å se ungene somuferdige, kommende voksne (» becoming beings» ). Dagens mer barndomssosiologisk dominerte diskurs legger vekt på å se barnet som subjekt og i en kontekst. Er dermed det norske barnehagefeltetblitt bedre til å se barnet som musikalsk subjekt? Og hvordan går subjekttanken i hop med de voksnesvarierende musikalske selvfølelse, politiske forventninger og skolefokus? Artikkelen løfter fram enrekke spørsmål knyttet til de nevnte diskursene, sett i lys av musikkens plass og rolle i dagensbarnehage.
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