Musik i (ut)bildning : gränsdragningar och inramningar i läroplans(kon)texter för gymnasieskolan
The purpose of this dissertation is critically to illustrate discursive recontextualization between sociocultural production and reproduction, with respect to both relations within and relations to music education in Swedish upper-secondary school. The starting point for the study is the Swedish upp...
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| Format: | Doctoral Thesis |
| Language: | Swedish |
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Örebro universitet, Musikhögskolan
2013
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| Online Access: | http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-27541 http://nbn-resolving.de/urn:isbn:978-91-7668-933-2 |
| Summary: | The purpose of this dissertation is critically to illustrate discursive recontextualization between sociocultural production and reproduction, with respect to both relations within and relations to music education in Swedish upper-secondary school. The starting point for the study is the Swedish upper-secondary school reform, Gy 2011, which has involved a marked reformulation of the agenda for music education in upper-secondary school. The general Artistic Activities disappeared, at the same time as the significance of a specialising education in the field was strengthened. This dissertation is driven by the desire to understand the results of the upper-secondary school reform by explaining the processes and principles involved. But, in a wider perspective, the dissertation deals not only with a single reform, but encompasses a search for the underlying principles that have had, and are having, a regulating effect on the design and positioning of music in publicly regulated education. The results show that structuring of the subject of music takes place primarily through the classification and framing of social relationships in general, and of interactional relationships in particular. The focus of these relationships has shifted from time to time, and varies from context to context, but has always been in relation to something that has been regarded as sacred. In recent times, the framing within music-oriented knowledge practices has become weaker. At the same time, such knowledge practices have shown an increasing need for the drawing of boundaries in relation to other knowledge practices. The latter also has a value in explaining why general music content was removed from the upper-secondary school curriculum, whereas a special and specialising educational programme was able to gain legitimacy. |
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