Music history as a polyphony. A heuristic study of learning and teaching music history
Chapter, Peer reviewed
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- Artikler og bokkapitler 
Original versionI: Nordic Research in Music Education. Yearbook Vol. 14 2012, s. 167-180
This article is based on my dissertation (Unkari-Virtanen 2009) wherein I related music history teaching and learning in Finland to the field of music education. The objective of my dissertation was to examine music history from a pedagogical perspective, and to discuss the meaning of music history studies for today’s Higher Music Education students. The basis for the case study was one-year music history course at Stadia Helsinki Polytechnic in 2003–2004. The methodology was based on heuristic research, ethogeny and participatory action research. The core of the data consisted of the students’ anticipatory and contemporaneous accounts, transcribed negotiations, and the students’ essays and exercises. I utilized Rom Harré’s theory of identity in my interpretation of the learning process. Auli Toom’s description of tacit knowledge provided a theoretical basis for the classification of the students’ narratives, which made it possible to create connections with the different phases of Harré’s identity process. As a fundamental part of my study, I also reflected on the role of the teacher in regards to meaningful learning. The role of the teacher can be seen as both an upholder and a developer of tradition. My primary conclusion was that music history, as the active memorizing of an open and democratic musical heritage, can help students to recognize themselves as participants and actors in a living musical tradition. However, shared reflection and collaborative development of both praxis and theoria are needed for music history teaching to be able to renew itself.
Nordisk musikkpedagogisk forskning;Årbok 14
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