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Föreliggande rapport handlar om vuxnas medvetenhet om och förhållningssätt till demokrati, genusmedvetenhet och delaktighet i förskolans sångsituationer inom det nationella projektet Rösträtt – sång på förskolan. Studien är delad i två delar, där Del 1 fokuserar på medvetenhet om och förutsättningar för hur förskolans sångsituationer kan förbättras utifrån demokrati, genusmedvetenhet och delaktighet. Del 2 fokuserar på de förutsättningar och metoder som producenter och sångcoacher lyfter som centrala för att lägga till rätta för demokrati, genusmedvetenhet och delaktighet i förskolans sångsituationer. Genom såväl aktionsforskningsinspirerade gruppsamtal med sångcoacher (Del 1) som intervjuer och frågeformulär med sångcoacher och producenter (Del 2) producerades empiri som analyserades med hermeneutisk fenomenologisk analysmetod. Resultatet speglas i perspektiven demokrati, genusmedvetenhet och delaktighet samt i tidigare forskning om sång, demokrati och delaktighet, möjligheter och utmaningar med barnsång, genus, kön och sång, sång i förskolan samt genrebredd och kvalitetskriterier i en tidigare utvärdering av projektet. Resultatet visar att Rösträtt – sång på förskolan genomsyras av ett synsätt som utgörs av att sång som uttryck ses som en rättighet samt en kunskap som alla har, en strävan efter jämlika förutsättningar samt en medvetenhet om att alla deltar i sångsituationerna på olika sätt. Synsättet är ledsagande i deras strävan efter möjligheter till delaktighet i sång på förskolan. Resultatet visar även att förutsättningarna till att delta i projektet i vissa fall framstår som ojämlika, vilket får som konsekvens att möjligheterna till att erbjuda delaktighet i sång ibland blir begränsande. 

Earlier research has stated the need for conservatory education to prepare aspiring musicians more thoroughly for a dynamic and changing society. A project that challenges the conservatory tradition is Sammankonst (TogetherArt) where students at a musical theatre program at folk high school level collaborate with intellectually disabled adults. Based on a phenomenological way of thinking, this article aims to describe and analyze the education of aspiring musicians for professional participation in society based on an analysis of experiences among conservatory students, music theater students and their teachers. Interviews were made with six conservatory students, 15 musical theatre students, and two teachers. The results show ambiguities when it comes to what voice students should be prepared for and how the choice of preparations influence the view of singing and musicians’ quality competence.

This article presents an investigation of how caring can promote sustainable social development, focusing on the caring practices in the musical theater project Togetherart. Led by a culture organization (Kulturverket) in Umeå, Sweden, the project involves members of an activity center for adults with mainly intellectual disabilities and autism spectrum disorders and students from a musical theater artist program at an institution for adult education (folkhögskola/folk high school). Participant observation of rehearsals and performances, transcribed interviews, field notes, SMS conversations created material for analysis which generated the results presented in this article. The analysis was based on Noddings’ (1984/2013) “ethics of care”. The results show that Togetherart can be seen as promoting sustainable social development by using caring practices in relation to provide for a safe and inclusive learning environment, social inclusion and empowered individuals, equal access for all participants as well as fair and inclusive access to quality education, promoting lifelong learning opportunities for all involved. The results align with several targets in Sustainable Development Goals 4 and 10 of the United Nations. We conclude that Togetherart enabled the participants to articulate their lived conditions and experiences, a necessity for developing a sustainable social world. 

Based on a phenomenological way of thinking, this paper aims to describe singing and making in society based on experiences among conservatory students, music theatre students and their teachers. Earlier research has stated the need for conservatory education to more thoroughly prepare becoming musicians for a dynamic and changing society. Ongoing research in European conservatories has found that the preparations for, and student´s thoughts on, future working life vary greatly between departments. For example, percussion students seem to be prepared for and willing to work as musicians in soloistic, chamber music, and orchestral situations, with contemporary improvisation, as well as in NGOs and creative music schools. While voice students, on the other hand, primarily are more directed toward specific soloistic roles in operas and operettas, combined with taking on HME teaching on the side. A reason given for this is an idea of singing, where "more varied" singing activities is seen as affecting the voice instrument negatively. The same view of voice competence traditionally pervades musical theatre education, where different voice characters are developed within the master-apprentice tradition, with specific musical theatre roles in mind. A project that challenges this tradition is Sammankonst (Together Art) driven by a municipal arts organisation in Sweden where students at a musical theatre program at folk high school level collaborate with intellectually disabled adults. Throughout three years the participants collaborated in the creation and performance of their own musical theatre. To come close to the lived worlds of voice students, interviews were made with six conservatory students, 15 musical theatre students, and two of their teachers. The interviews were transcribed verbatim and analysed in a phenomenological manner. The results show ambiguities when it comes to what voice students should be prepared for and how the choice of preparations influence the view of singing and musician quality competence.

Här uppmärksammas fenomenet delaktighet i estetisk verksamhet, något som är aktuellt i lärarutbildningar, såväl allmänna som med inriktning på estetiska ämnen, och i utbildningar som riktar sig mot kulturskola och annan fri verksamhet.

Författarna har fungerat som följeforskare i två Arvsfondsfinansierade konstpedagogiska projekt, Alla har rätt och Sammankonst drivna av Kulturverket. Baserat på forskningen tydliggörs vad delaktighet i estetisk verksamhet kan vara, och vilka krav det ställer på organisation, kollegium och förhållningssätt i sammanhang där konstuttryck och pedagogik möts.

Specifikt belyser författarna delatighetsaspekterna tid, rum och mellanrum liksom det dialogiska förhållningssätt som drivit Kulturverkets arbete.

Cecilia Ferm Almqvist är professor i pedagogik och musikpedagogik vid Södertörns högskola respektive Stockholms musikpedagogiska institut. Linn Hentschel är lektor i pedagogiskt arbete med inriktning mot musik vid Umeå universitet.

The presentation shares findings of a phenomenologically based research project where disabled adolescents at an NGO and students at a Musical Comedy Artist program work with artists/pedagogues employed at Kulturverket [The culture service] to create a musical during three years. The Swedish Fundamental Law on Freedom of Expression emphasizes human rights of free sharing of meanings and free artistic creation. Hence, it is of value to investigate activities that broaden possibilities for disabled adolescents to participate in artistic processes, as in a co-operative musical. The municipal project run by Kulturverket strives to create a professional performance, where the three groups of people cooperate in an equally safe and trustful atmosphere. We as researchers follow the project, aiming to describe and try to understand participation through aesthetic communication. In this specific presentation we focus on the phenomenon care. How is care constituted in the project? Towards what do the participants from Kulturverket direct care? How do care become visible in their pedagogical activities? Observations, interviews and a qualitative survey were conducted to come close to the participants lived worlds. Field notes, written answers and transcribed interviews created a material that was analyzed in a phenomenological-hermeneutic manner (van Manen). We use the theories of Max van Manen (xxxx) and Nel Noddings (1984/2013) as a theoretical starting point for the concept of caring. The results show that care concerns human and artistic as well as pedagogical values. In the presentation we will show examples of Kulturverkets philosophical grounds for caring, as well as examples of how they organize and perform their teaching with caring of humans, art, and pedagogy into account. 

This chapter aims to present knowledge about teenage boys’ experiences of singing together in school. The study that the chapter is based on uses a phenomenological, gender theoretical and music didactic perspective. Earlier research shows that singing is practiced, and anticipated to be practiced more often by girls than boys in Western societies and schools. An analysis of interviews with the student Andreas and his music teacher Victor is presented, as they explore co-singing in a music profiled class in elementary school. The interviews were performed in 2013 and 2020, and analysed and presented as a «life story». It entails Andreas’ journey from being a teenage boy who refuses to sing in school to becoming a teenage boy who sings, and the role that Victor, as a music teacher, plays in Andreas’ journey. The chapter shows several gendered and pedagogical aspects in Andreas’ situation that influence him to at first mime and later on sing during choir lessons – especially the perception of singing as feminine coded and singing knowledge in choir

Music educational researchers in the Nordic countries have pointed out how municipal arts schools are organised based on, and tend to reproduce, anthropocentric values and approaches, and that such unequal norms and structures are to be challenged. Taking a border-crossing musical comedy project as a starting point, the specific aim of the current study is to illuminate how, and on what levels, organisational norms and traditional structures can be challenged, and what possibilities and new challenges that occur in a project taking place beyond the Anthropocene. To be able to grasp the aspects of becoming within the project and how that is related to aspects of organisation, we created a research entanglement based on post-human theory. Hence, situations seen as webs of relations were created, including the actors: humans with intellectual disabilities, musical performance students, educators, artists, researchers, and varied digital communication tools. Observations, video recordings, collaborative writing, qualitative surveys, and interviews produced material for analysis. Actor-network theory was applied aiming to describe how the constantly performed intra-active networks were constituted, as well as how the actors influenced each other. The results identify significant actors and trajectories in Sammankonst, that in turn challenge anthropocentric organisational structures of municipal arts schools.