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The performing body, the place and the gaze – subject conception in vocal education

Konferensbidrag (offentliggjort, men ej förlagsutgivet)
Författare Carina Borgström Källén
Birgitta Sandström
Publicerad i The Conference Gender and Music in Balance, The Arctic University of Norway, April 2018
Publiceringsår 2018
Publicerad vid Högskolan för scen och musik
Språk en
Länkar site.uit.no/mgb-conference/files/20...
Ämneskategorier Pedagogik, Musik

Sammanfattning

The performing body, the place and the gaze – subject conception in vocal education This presentation focuses on subject conception in music in relation to the performing body, the stage as a place for learning and the scrutinizing gaze of the beholder. Specifically, vocal education in preparatory and in higher music education are problematized. Contexts that from a gender perspective have an unbalanced representation. Taking an intersectional point of departure, the objective is to highlight and discuss subject conception in relation to inclusion and exclusion in vocal teaching and learning. Parallels are drawn to dance education, since also dance has an unbalanced representation. A meta-analysis based on three completed studies in music and dance education is underpinning the presentation. The studies are produced in Swedish upper secondary schools and in higher music education. The result verifies the body of previous research suggesting that subject conception in vocal and dance education is based on performing arts traditions, rather than on pedagogical/didactical traditions. Another finding is that the educational background of vocal and dance teachers is similar and essential for how subject conceptions are constructed. Knowledge is often produced based on a master-apprentice ideal, and discussion about tradition and quality risks stagnating. The result also indicates that in vocal training, as well as in dance classes, settings where the body is the instrument, the teachers’ gaze and bodily displayed multimodal language have a governing function. Further, the results indicate that an imaginary stage and the gaze of an imaginary audience are present and taken for granted in the classroom, and they are used as tools for learning. The interplay between the performing body, the classroom as a stage and the scrutinizing gaze, from the teacher and from an audience, is thereby internalized and bodily displayed by the student, i.e. the body, the place and the gaze are understood as a hub for learning.

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