Between innovation and tradition: The balancing act of the ‘protean’ music student

Ski-Berg, Veronica

doi:10.23865/nrme.v3.3699

“…Ifølge 7 Balanseakten mellom tradisjon og nyskapning blir nevnt i strategiene. I studien som denne artikkelen bygger på, ble det funnet et lignende ønske hos dagens studenter og laerere ved NMH (se Ski-Berg, 2022b). plan 1998-2002 ligger to tradisjoner til grunn for NMHs virksomhet: Tradisjonell forskning «innen mer teoretisk betonte fagområder», noe som gir NMH «klare akademiske forpliktelser», og det gamle kon servatoriet, som vil si at «det helt sentrale faget ved høgskolen, hovedinstrument, er basert på individuell undervisning der studenten får del i laererens erfaringer, holdninger og innsikt»(NMH, 1998, s. 1).…”

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In the beginning was the organ: On the institutionalisation of professional music education in Norway

Siems

2023

Høyere Musikkutdanning: Historiske Perspektiver

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This article examines the early years of the institutionalisation of professional music education in Norway. Against the background of a social and political debate on the need for a national conservatoire, the central question is why the first Norwegian music conservatoire did not develop out of a nationally motivated initiative but rather from a private organist school. By comparing the Organistskole of Ludvig Mathias and Peter Lindeman with the Musik-Akademi of Otto Winter-Hjelm and Edvard Grieg, different approaches to the realisation of a national conservatoire are outlined. One of the decisive points for the lasting success of the Organistskole was the underlying family pedagogical tradition within the Lindeman family, which had been established over several generations and adapted to local conditions. This tradition was based on a functioning work process, a proven method and public recognition. Winter-Hjelm and Grieg, on the other hand, first had to build these structures by adapting a foreign model (in this case, the Leipzig model) and then attempting to establish a similar network through the founding of the Musik-Akademi itself. If one traces the teaching tradition of the Lindeman family back to the Bach reception of the Berlin School around C. P. E. Bach and J. P. Kirnberger – the so-called ‘golden chain’ – one can speak of an international education transfer in the case of both the Organistskole and the Musik-Akademi, the time frame of which, however, differs considerably. As the example of the present article shows, the longer time frame of cultural transfer in the Lindeman family had a decisive influence on the success of the exchange process.

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“…Ifølge 7 Balanseakten mellom tradisjon og nyskapning blir nevnt i strategiene. I studien som denne artikkelen bygger på, ble det funnet et lignende ønske hos dagens studenter og laerere ved NMH (se Ski-Berg, 2022b). plan 1998-2002 ligger to tradisjoner til grunn for NMHs virksomhet: Tradisjonell forskning «innen mer teoretisk betonte fagområder», noe som gir NMH «klare akademiske forpliktelser», og det gamle kon servatoriet, som vil si at «det helt sentrale faget ved høgskolen, hovedinstrument, er basert på individuell undervisning der studenten får del i laererens erfaringer, holdninger og innsikt»(NMH, 1998, s. 1).…”

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«Studenten i front»: Strategisk forhandling av rasjonaliserte myter i høyere musikkutdanning?

Ski-Berg

2023

Høyere Musikkutdanning: Historiske Perspektiver

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The Norwegian Academy of Music is rooted in the European conservatoire tradition where apprenticeship has served as a foundation for the education of the music performer. In recent decades, however, the institutionalised master-apprentice relationship between music performance student and instrumental teacher has been debated in the literature on higher music education (HME). Scholars argue that music graduates need to develop creatively during their studies in ways that sometimes challenge the inherent power imbalance between teacher and student within this teaching model. In this article, I posit that the traditional master-apprentice model serves as a ‘rationalised myth’ within HME. By turning to organisational institutionalism (in which apprenticeship may be conceived of as a formal structure), the article investigates how the notion of student-centredness has affected the ‘myth’ of apprenticeship. Specifically, a document analysis of the Academy’s strategic plans from 1998 to 2025 is presented, and through a selection of citations the article illustrates how the roles of the music student, the instrumental teacher and the Academy itself have transformed over the past 25 years. Consequently, the article questions whether this transformation is the result of strategic work for institutional change or, rather, of institutional pressures put on HME organisations to change. The discussion centres on this organisational landscape, and it is argued that the need for legitimacy is intertwined with strategic work for change in HME. Finally, the article offers some concluding remarks on how strategic plans shape the future of HME, even if members are not aware of this strategic negotiation.

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“…Ifølge 7 Balanseakten mellom tradisjon og nyskapning blir nevnt i strategiene. I studien som denne artikkelen bygger på, ble det funnet et lignende ønske hos dagens studenter og laerere ved NMH (se Ski-Berg, 2022b). plan 1998-2002 ligger to tradisjoner til grunn for NMHs virksomhet: Tradisjonell forskning «innen mer teoretisk betonte fagområder», noe som gir NMH «klare akademiske forpliktelser», og det gamle kon servatoriet, som vil si at «det helt sentrale faget ved høgskolen, hovedinstrument, er basert på individuell undervisning der studenten får del i laererens erfaringer, holdninger og innsikt»(NMH, 1998, s. 1).…”

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Educating music teachers at the Norwegian Academy of Music: How did we arrive here?

Johansen

2023

Høyere Musikkutdanning: Historiske Perspektiver

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The history of the Bachelor of Music in Music Education Programme at the Norwegian Academy of Music goes back to the establishment of the Academy in 1973. This article focuses on the fundament upon which it was built in terms of subject traditions and philosophical bases and aims to describe the lines along which it developed from there into its current shape in the 2020s. Of particular interest are the issues, debates and decisions about structural as well as curricular changes along the way, together with patterns occurring and reoccurring across these changes over the decades. These are seen in the light of how they have influenced the students’ education, as reflected in notions of identity and knowledge. During the period that the article addresses, a gradual clarification of implicit priorities emerged together with a constant differentiation of the programme curricula and widening of its scope. The latter unfolded from initially concentrating on classical music together with a one-dimensional notion of music teacher identity, to including jazz, pop, rock and traditional folk music and a multifaceted music teacher identity, wherein an emerging interest in community music could also be identified. Nevertheless, hierarchies emerged between propositional, tacit and bodily knowledge, and the included music cultures, as well as in the positioning of the programme within the total programme portfolio of the institution. A need for further systematic information about the programme was identified, along with the importance of acknowledging a continuing debate.

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Between innovation and tradition: The balancing act of the ‘protean’ music student

Cited by 8 publications

References 26 publications

In the beginning was the organ: On the institutionalisation of professional music education in Norway

In the beginning was the organ: On the institutionalisation of professional music education in Norway

«Studenten i front»: Strategisk forhandling av rasjonaliserte myter i høyere musikkutdanning?

Educating music teachers at the Norwegian Academy of Music: How did we arrive here?

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