Jordhus-Lier Anne, Karlsen Sidsel, Nielsen Siw Graabræk
Department of Arts and Cultural Studies, Inland Norway University of Applied Sciences, Elverum, Norway.
Norwegian Academy of Music, Oslo, Norway.
Front Psychol. 2023 Feb 3;14:1105572. doi: 10.3389/fpsyg.2023.1105572. eCollection 2023.
The Norwegian municipal schools of music and arts are publicly funded institutions which offer extra-curricular activities for children and adolescents in music and other art forms. The system is designed to ideally reach all children, but while each municipality is legally responsible for providing school of music and arts education for its inhabitants, the law does not state anything about teaching content or ways of working. Consequently, this is up to the teachers to decide. What is taught in these schools is, however, relevant to whether children feel included or excluded. This means that music teachers' beliefs and actions are among the factors that influence who will feel welcomed and who will feel alienated. On this basis, in this article we explore music teachers' approach to content-related decision-making processes by asking about their meaningful approaches to selecting content and ways of working within instrumental music teaching. To answer that question, we discuss what kinds of teaching content the teachers choose in general, as well as for beginner and advanced students, the reasons they express for selecting content, which, if any, music they find not to be suitable as teaching content, and how they work with the selected repertoire. We draw on empirical data from a survey among 151 music teachers and an interview study with 11 music teachers. Discussing results from these sources of data in relation to the Nordic and German music Didaktik theories, enables us to address meaningful approaches to selecting content and ways of working. From the analysis, we draw conclusions about what the music teachers experience as meaningful approaches. These can be summarized as (a) the centrality of the students in the process of selecting content; (b) genre versatility, meaning that students should be exposed to a broad range of musical genres and styles; and (c) that students are exposed to the "classical repertoire," or the standard repertoire within a genre or tradition. In general, what seems to be meaningful for the teachers is working "close to the student's wishes and preferences," but in ways that relate to a variety of Didaktik principles.
挪威的市级音乐与艺术学校是由公共资金资助的机构，为儿童和青少年提供音乐及其他艺术形式的课外活动。该体系旨在理想地覆盖所有儿童，但虽然每个市政府在法律上有责任为其居民提供音乐与艺术学校教育，法律并未对教学内容或教学方式作出任何规定。因此，这由教师自行决定。然而，这些学校所教授的内容与孩子们是否感觉被接纳或排斥相关。这意味着音乐教师的信念和行为是影响谁会感到受欢迎以及谁会感到被疏远的因素之一。在此基础上，在本文中我们通过询问音乐教师在器乐教学中选择教学内容和教学方式的有意义的方法，来探究他们在与内容相关的决策过程中的方法。为了回答这个问题，我们讨论教师通常选择的教学内容类型，以及针对初学者和高级学生的教学内容，他们选择这些内容所表达的原因，他们认为哪些音乐（如果有的话）不适合作为教学内容，以及他们如何处理所选的曲目。我们借鉴了对151名音乐教师的调查以及对11名音乐教师的访谈研究中的实证数据。将这些数据来源的结果与北欧和德国的音乐教学法理论相结合，使我们能够探讨选择教学内容和教学方式的有意义的方法。通过分析，我们得出关于音乐教师所体验到的有意义的方法的结论。这些可以概括为：（a）在选择教学内容的过程中以学生为中心；（b）体裁多样性，即学生应接触广泛的音乐体裁和风格；（c）让学生接触“经典曲目”，或某一体裁或传统中的标准曲目。总体而言，对教师来说似乎有意义的是“贴近学生的愿望和偏好”开展教学，但方式要符合各种教学法原则。
