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Session Chair: Graciela Trajtenberg, The Academic College of Tel Aviv Yafo
Location:GM.306 Manchester Metropolitan University
Building: Geoffrey Manton, Third Floor
4 Rosamond Street West
Off Oxford Road
Twilight Of Musical Education - Between Traditional Textbooks And Modern Generations
Jelena Zoran Keserovic1, Gordana Dragomir Vuksanovic2
1Music Academy, Serbia; 2Novi Sad Business School
In recent years, fewer students have graduated from secondary music schools and are enrolled in music academies. After finishing high school, they prefer to choose to study at some other faculty. There are also those who move from a secondary music school to some other high school. For most, these passages also mark the cessation of interest in music.
The aim of the paper is to examine whether and to what extent the content of the textbooks and the manner of its presentation is adapted to social changes. The basic source of data is the research carried out using the method of content analysis. Content analysis was applied to textbooks for the subjects the Music High Schools, Music theory and Harmony. Textbooks that are currently used in music schools in the The Republic of Serbia are included.
The paper will also use relevant statistical data, as well as interviews with students and teachers. The data was collected via a biographical interview. The research was conducted in 2018.
The results of the research point to a disbalance between the content of the textbooks and the way it is presented, on the one hand, and new learning models, on the other hand. The lack of interest of lecturers in adapting textbooks to young generations is a consequence of their dissatisfaction with their position in the society as well as marginalization of art in it.
Key words: musical art, learning, social changes, Music theory, Harmony.
Manifestations of Inequality in Finnish Arts Education and Basic Services in Arts
Pauli Anttoni Rautiainen
Tampere University, Finland
The ARTSEQUAL research initiative (for more information see: http://www.artsequal.fi/ ; coordinated by the University of the Arts Helsinki and financed by the Academy of Finland's Strategic Research Council) has examined the arts as public service, with equality as the starting point, and explored how the arts can meet the social challenges of the 2020s.
In my presentation I will present some preliminary results from the ARTSEQUAL project based on on-going analyse of the publications and other results of the initiative. I will focus to the main research question shared by the whole ARTSEQUAL initiative: what mechanisms in Finnish basic services in arts and arts education sustain unequal participation and, assuming equality as the starting point, how should practices in basic services in arts and arts education be changed?
In my presentation I will concentrate to manifestations of inequality researched by the Arts@School team (a subproject of ARTSEQUAL iniative, lead by professor Eeva Anttila, the University of the Arts), which has investigated as how the arts can support equal participation and learning in Finnish schools. Arts@School team has identified ways to foster every student’s possibility to participate in arts education and learn through the arts in support for his/her learning, school engagement, and well-being.
What Is the Value of Aesthetic Education? Going Beyond the Work First Principle at the Swedish Folk High School
Henrik Fürst1, Erik Nylander2
1Uppsala University, Sweden; 2Linköping University, Sweden
How is aesthetic education valued in society? In the Swedish public discourse, the perceived value of an education is its “usefulness” for labor market integration, where an education is valuable only if it leads to work. With highly competitive winner-takes-all labor markets for artists, the aesthetic education is conveyed as a useless credential not leading to work. Nonetheless, is an aesthetic education useless for the participants themselves? What motivates them to choose an aesthetic education? The study draws on 43 interviews with participants and teachers at 27 aesthetic courses at the Swedish folk high school. Each year these folk high schools offer aesthetic courses, at the post-compulsory level, for several thousands of participants. Participants are aware of the work first principle for the evaluation of school choice. Nevertheless, their own participation becomes an implicit or even explicit critique of this principle of evaluation. In justifying their school choice, they see the (1) course offering them a chance to regain health and general well-being after burn out from work or not having found a job, (2) allowing them to be in a particular state of creativity and creating room to plan for the future, not made possible in other educations and work-related experiences, or (3) the course being a stepping-stone to becoming a professional artist despite slim chances for its fruition. The relative institutional autonomy of folk high schools enables school cultures based on artistic self-exploration, challenging hegemonic ideas of education that disallow non-instrumental desires of self-discovery and artistic creativity.
Artistic and Leisure Production and Consumption and Wellbeing among Swedish Schoolchildren
Chris Mathieu, Gökhan Kaya
Lund University, Sweden
Applying topic modelling to a survey of schoolchildren in the southern Swedish region of Skåne we trace how artistic, cultural and other leisure activities cluster, or are composed by youths, and how various patterns of artistic and cultural activities correlate with self-reported psycho-social and somatic health, as well as residential and socio-economic variables. The survey (Folkhälsoenkät Barn och Unga i Skåne 2016) is the most comprehensive such survey of schoolchildren, with 27 400 respondents in the region of Skåne (total population in the region 1,3m). The survey is administered to schoolchildren in all 6th and 9th grade classes in Skåne, as well as students in the 2nd year of (non-obligatory) high school. Preliminary results show that as school children get older, their cultural and leisure activities become more social and less individualised, and less focused on specific activities and more diffuse. An interesting preliminary result is that schoolchildren who engage in artistic and cultural consumption activities have better psychic wellbeing than their colleages who do not, but that those who are engaged in artistic production activities have worse psychological wellbeing than their colleagues who are not active in artistic production.