Academic literature on the topic 'Musikhistoria'

Varför saknas kvinnorna i musikhistorien? Vilka möjligheter att komponera och utöva musik offentligt har kvinnor haft? Som ett svar pä dessa frågor presenteras fyra svenska tonsättare, alla aktiva vid sekelskiftet, som hade en omfattande produktion och en erkänd ställning i sin tids musikliv.

Indhold: Har fortiden en fremtid?; Audiovisuelt foredrag med Heiner Goebbels; Et kig bag kulissen; Latinsk psalter med tilknytning til Roskilde; Sjældne tryk som e-høger; Udvikling i H.C. Andersen-portalen; Brev fra H.C. Andersen til hans moder dukket op; Næstved-kalendariet online; Islandsk håndskrift på nettet; Thomas Laubs samlinger af salmer på nettet; Den musikvidenskabelige database RILM i online-version; Musikhistorisk Museum og Carl Claudius"' Samling kan nu søges i REX; NORDINFO-penge til nordisk netarkiv-projekt; Udenlandske Ældre Samling på nettet; Udstillinger; Erhvervelser

Zusammenfassung. Märchen weisen nicht nur in ihrem motivisch-strukturellen Aufbau Parallelen zu musikalischen Organisationsprinzipien auf, sondern wirken sich durch ihre symbolisch-bildhafte Sprache auch auf die kindliche Psyche aus. Das Ziel ist es, Einblicke in die psychologische Wirkungskraft, die Struktur und Symbolik sowie die Möglichkeiten der Inszenierung von Märchen zu geben. Da die auffindbaren Analogien zwischen Märchen und Musik ein primäres Anliegen darstellen, wird hierbei nicht näher auf umfassende literaturwissenschaftliche, tiefenpsychologische bzw. mythologische Deutungen eingegangen. Unter Berücksichtigung verschiedener Techniken aus der Musikhistorik werden mögliche Vorgehensweisen einer musikalischen Textdarstellung behandelt, die sich auch auf Schülerarbeiten übertragen lassen. Weil dem Schüler das Erlebnis, die Kreativität und die Motivation der Selbsterfahrung, an einem eigenen Werk zu arbeiten nicht vorenthalten werden soll, wird auf die Beigabe einer komplett ausgearbeiteten Märchenverklanglichung verzichtet. Mehr Stellenwert erhalten Komponenten der Musiktheaterarbeit, die zu eigenen Anregungen leiten, welche je nach Entwicklungsstand und Vorkenntnissen übernommen und individuell angewandt werden können.

In the Garden of EdenThe covers of the first three volumes of Kuml show photographs of fine Danish antiquities. Inside the volumes have articles on the Stone Age, the Bronze Age and the Iron Age in Jutland, which is to be expected as Kuml is published by the Jutland Archaeological Society. However, in 1954 the scene is moved to more southern skies. This year, the cover is dominated by a date palm with two huge burial mounds in the background. In side the book one reads no less than six articles on the results from the First Danish Archaeological Bahrain Expedition. P.V. Glob begins with: Bahrain – Island of the Hundred Thousand Burial Mounds, The Flint Sites of the Bahrain Desert, Temples at Barbar and The Ancient Capital of Bahrain, followed by Bibby’s Five among Bahrain’s Hundred Thousand Burial Mounds and The Well of the Bulls. The following years, reports on excavations on Bahrain and later in the sheikhdoms of Qatar, Kuwait and Abu Dhabi are on Kuml’s repertoire.However, it all ends wit h the festschrift to mark Glob’s 60th anniversary, Kuml 1970, which has three articles on Arab archaeology and a single article in 1972. For the past thirty years almost, the journal has not had a single article on Arabia. Why is that? Primarily because the character of the museum’s work in the Arabian Gulf changed completely. The pioneers’ years of large-scale reconnaissance and excavations were succeeded by labourous studies of the excavated material – the necessary work preceding the final publications. Only in Abu Dhabi and Oman, Karen Frifelt carried on the pioneer spirit through the 1970s and 1980s, but she mainly published her results in in ternational, Englishlanguage journals.Consequently, the immediate field reports ended, but the subsequent research into Arab archaeology – carried out at the writing desk and with the collections of finds– still crept into Kuml. From 1973 , the journal contained a list of the publications made by the Jutland Archaeological Society (abbreviated JASP), and here, the Arab monographs begin to make their entry. The first ones are Holger Kapel’s Atlas of the Stone Age Cultures of Qatar from 1967 and Geoffrey Bibby’s survey in eastern Saudi Arabia from 1973. Then comes the Hellenistic excavations on the Failaka island in Kuwait with Hans Erik Mathiesen’s treatise on the terracotta figurines (1982), Lise Hannestad’s work on the ceramics (1983) and Kristian Jeppesen’s presentation of the temple and the fortifications (1989). A similar series on the Bronze Age excavations on Failaka has started with Poul Kjærum’s first volume on the stamp and cylinder seals (1983) and Flemming Højlund’s presentation of the ceramics (1987). The excavations on the island of Umm an-Nar in Abu Dhabi was published by Karen Frifelt in two volumes on the settlement (1991) and the graves (1995), and the ancient capital of Bahrain was analysed by H. Hellmuth Andersen and Flemming Højlund in two volumes on the northern city wall and the Islamic fort (1994) and the central, monumental buildings (1997) respectively.More is on its way! A volume on Islamic finds made on Bahrain has just been made ready for printing, and the Bronze Age temples at the village of Barbar is being worked up. Danish and foreign scholars are preparing other volumes, but the most important results of the expeditions to the Arabian Gulf have by now been published in voluminous series.With this, an era has ended, and Moesgård Museum’s 50th anniversary in 1999 was a welcome opportunity of looking back at the Arabian Gulf effort through the exhibition Glob and the Garden ef Eden. The Danish Bahrain expeditions and to consider what will happen in the future.How then is the relation ship between Moesgård Museum and Bahrain today, twenty-three years after the last expedition – now that most of the old excavations have been published and the two originators of the expeditions, P.V. Glob and Geoffrey Bibby have both died?In Denmark we usually consider Bahrain an exotic country with an exciting past. However, in Bahrain there is a similar fascination of Denmark and of Moesgård Museum. The Bahrain people are wondering why Danish scholars have been interested in their small island for so many years. It was probably not a coincidence when in the 1980s archaeologist and ethnographers from Moesgård Museum were invited to take part in the furnishing of the exhibitions in the new national museum of Bahrain. Today, museum staff from Arab countries consider a trip to Moesgård a near-pilgrimage: our collection of Near East artefacts from all the Gulf countries is unique, and the ethnographic collections are unusual in that they were collected with thorough information on the use, the users and the origin of each item.The Bahrain fascination of Moesgård Museum. was also evident, when the Bahrain minister of education, Abdulaziz Al-Fadl, visited the museum in connection with the opening of the Bahrain exhibition in 1999.Al-Fadl visited the museum’s oriental department, and in the photo and film archive a book with photos taken by Danish members of the expeditions to the Arabian Gulf was handed over to him. Al-Fadl was absorbed by the photos of the Bahrain of his childhood – the 1950s and 1960s – an un spoilt society very different from the modern Bahrain. His enthusiasm was not lessened when he saw a photo of his father standing next to P.V. Glob and Sheikh Salman Al Khalifa taken at the opening of Glob’s first archaeological exhibition in Manama, the capital. At a banquet given by Elisabeth Gerner Nielsen, the Danish minister of culture, on the evening following the opening of the Glob exhibition at Moesgård, Al-Fadl revealed that as a child, he had been on a school trip to the Danish excavations where – on the edge of the excavation – he had his first lesson in Bahrain’s prehistory from a Danish archaeologist (fig. 1).Another example: When attending the opening of an art exhibition at Bahrain’s Art Centre in February 1999, I met an old Bahrain painter, Abdelkarim Al-Orrayed, who turned out to be a good friend of the Danish painter Karl Bovin, who took part in Glob’s expeditions. He told me, how in 1956, Bovin had exhibited his paintings in a school in Manama. He recalled Bovin sitting in his Arabian tunic in a corner of the room, playing a flute, which he had carved in Sheikh Ibrahim’s garden.In a letter, Al-Orrayed states: ”I remember very well the day in 1956, when I met Karl Bovin for the first time. He was drawin g some narrow roads in the residential area where I lived. I followed him closely with my friend Hussain As-Suni – we were twentythree and twenty-one years old respectively. When he had finished, I invited him to my house where I showed him my drawings. He looked at them closely and gave me good advice to follow if I wanted to become a skilful artist – such as focusing on lines, form, light, distance, and shadow. He encouraged me to practice outdoors and to use different models. It was a turning point in our young artists’ lives when Hussein and I decided to follow Bovin’s instructions. We went everywhere – to the teahouses, the markets, the streets, and the countryside – and practised there, but the sea was the most fascinating phenomenon to us. In my book, An Introduction to Modern Art in Bahrain, I wrote about Bovin’s exhibitions in the 1950s and his great influence on me as an artist. Bovin’s talent inspired us greatly in rediscovering the nature and landscape on Bahrain and gave us the feeling that we had much strength to invest in art. Bovin contributed to a new start to us young painters, who had chosen the nature as our main motif.”Abdelkarim Al-Orrayed was the first Bahrain painter to live of his art, and around 1960 he opened a studio from which he sold his paintings. Two of his landscape watercolours are now at Moesgård.These two stories may have revealed that Bahrain and Moesgard Museum have a common history, which both parts value and wish to continue. The mutual fascination is a good foundation to build on and the close bonds and personal acquaintance between by now more generations is a valuable counterbalance to those tendencies that estrange people, cultures, and countries from one another.Already, more joint projects have been initiated: Danish archaeology students are taking part in excavations on Bahrain and elsewhere in the Arabic Gulf; an ethnography student is planning a long stay in a village on Bahrain for the study of parents’ expectations to their children on Bahrain as compared with the conditions in Denmark; P.V. Glob’s book, Al-Bahrain, has been translated into Arabic; Moesgård’s photos and films from the Gulf are to become universally accessible via the Internet; an exhibition on the Danish expeditions is being prepared at the National Museum of Bahrain, and so forth.Two projects are to be described in more detail here: New excavations on Bahrain that are to investigate how fresh water was exploited in the past, and the publication of a book and three CDs, Music in Bahrain, which will make Bahrain’s traditional music accessible not just to the population of Bahrain, but to the whole world.New excavations on BahrainFor millennia, Bahrain was famous for its abundance of fresh water springs, which made a belt of oases across the northern half of the island possible. Natural fertility combined with the favourable situation in the middle of the Arab Gulf made Bahrain a cultural and commercial centre that traded with the cities of Mesopotamia and the IndusValley already in the third millennium BC.Fresh water also played an important part in Bahrain’s ancient religion, as seen from ar chaeological excavations and Mesopotamian cuneiform tablets: A magnificent temple of light limestone was built over a spring, and according to old texts, water was the gods’ gift to Bahrain (Dilmun).Although fresh water had an overwhelming importance to a parched desert island, no studies have been directed towards the original ”taming” of the water on Bahrain. Therefore, Moesgård Museum is now beginning to look into the earliest irrigation techniques on the island and their significance to Bahrain’s development.Near the Bahrain village of Barbar, P.V. Glob in 1954 discovered a rise in the landscape, which was excavated during the following years. It turned out that the mound covered three different temples, built on top of and around each other. The Barbar temple was built of whitish ashlars and must have been an impressive structure. It has also gained a special importance in Near East research, as this is the first and only time that the holy spring chamber, the abzu, where the god Enki lived, has been un earthed (fig. 2).On the western side of the Barbar temple a monumental flight of steps, flank ed on both sides by cult figures, was leading through a portal to an underground chamber with a fresh water spring. In the beautiful ashlar walls of this chamber were three openings, through which water flowed. Only the eastern out flow was investigated, as the outside of an underground stonebuilt aqueduct was found a few metres from the spring chamber.East of the temple another underground aqueduct was followed along a 16-m distance. It was excavated at two points and turned out almost to have the height of a man. The floor was covered with large stones with a carved canal and the ceiling was built of equally large stones (fig. 3).No doubt the spring chamber was a central part of the temple, charge d with great importance. However, the function of the aqueducts is still unknown. It seems obvious that they were to lead the fresh water away from the source chamber, but was this part of a completely ritual arrangement, or was the purpose to transport the water to the gardens to be used for irrigation?To clarify these questions we will try to trace the continuations of the aqueducts using different tracing techniques such as georadar and magnetometer. As the sur roundings of Barbar temple are covered by several metres of shifting sand, the possibilities of following the aqueducts are fine, if necessary even across a great distance, and if they turn out to lead to old gardens, then these may be exposed under the sand.Underground water canals of a similar construction, drawing water from springs or subsoil water, have been used until modern times on Bahrain, and they are still in use in Iran and on the Arabian Peninsula, especially in Oman, where they supply the gardens with water for irrigation. They are called qanats and are usually considered built by the Persians during periods when the Achaemenid or Sassanid kings controlled Arabia (c. 500 BC-c. 600 AD). However, new excavation results from the Oman peninsula indicate that at least some canal systems date from c. 1000 BC. It is therefore of utmost interest if similar sophisticated transportation systems for water on Bahrain may be proven to date from the time of the erection of the Barbar temple, i.e. c. 2000 BC.The finds suggest that around this time Bahrain underwent dramatic changes. From being a thinly inhabited island during most of the 3rd millennium BC, the northern part of the island suddenly had extensive burial grounds, showing a rapid increase in population. At the same time the major settlement on the northern coast was fortified, temples like the one at Barbar were built, and gigantic ”royal mounds” were built in the middle of the island – all pointing at a hierarchic society coming into existence.This fast social development of Dilmun must have parallelled efficiency in the exploitation of fresh water resources for farm ing to supply a growing population with the basic food, and perhaps this explains the aqueducts by Barbar?The planned excavatio ns will be carried out in close cooperation between the National Museum of Bahrain and Aarhus University, and they are supported financially by the Carlsberg Foundation and Bahrain’s Cabinet and Information Ministry.The music of BahrainThe composer Poul Rovsing Olsen (1922-1982) was inspired by Arab and Indian music, and he spent a large part of his life studying traditional music in the countries along the Arabian Gulf. In 1958 and 1962-63 he took part in P.V. Glob’s expeditions to Arabia as a music ethnologist and in the 1970s he organised stays of long duration here (fig. 4).The background for his musical fieldwork was the rapid development, which the oil finds in the Gulf countries had started. The local folk music would clearly disappear with the trades and traditions with which they were connected.” If no one goes pearl fishing anymore, then no one will need the work songs connected to this work. And if no one marries according to tradition with festivity lasting three or sometimes five days, then no one will need the old wedding songs anymore’’.It was thus in the last moment that Rovsing Olsen recorded the pearl fishers’ concerts, the seamen’s shanties, the bedouin war songs, the wedding music, the festival music etc. on his tape recorder. By doing this he saved a unique collection of song and music, which is now stored in the Dansk Folkemindesamling in Copenhagen. It comprises around 150 tapes and more than 700 pieces of music. The instruments are to be found at the Musikhistorisk Museum and Moesgård Museum (fig. 5).During the 1960s and 1970s Rovsing Olsen published a number of smaller studies on music from the Arabian Gulf, which established his name as the greatest connoisseur of music from this area – a reputation, which the twenty years that have passed since his death have not shaken. Rovsing Olsen also published an LP record with pearl fisher music, and with the music ethnologist Jean Jenkins from the Horniman Museum in London he published six LP records, Music in the World of Islam with seven numbers from the Arabian Gulf, and the book Music and Musical Instruments in the World of Islam (London 1976).Shortly before his death, Rovsing Olsen finished a comprehensive manuscript in English, Music in Bahrain, where he summed up nearly twenty-five years of studies into folk music along the Arabian Gulf, with the main emphasis on Bahrain. The manuscript has eleven chapters, and after a short introduction Rovsing Olsen deals with musical instruments, lute music, war and honour songs of the bedouins, festivity dance, working songs and concerts of the pearl fishers, music influenced front Africa, double clarinet and bag pipe music, religious songs and women’s songs. Of these, eighty-four selected pieces of music are reproduced with notes and commented in the text. A large selection of this music will be published on three CDs to go with the book.This work has been anticipated with great expectation by music ethnologists and connoisseurs of Arabic folk music, and in agreement with Rovsing Olsen’s widow, Louise Lerche-Lerchenborg and Dansk Folkemindesamling, Moesgård Museum is presently working on publishing the work.The publication is managed by the Jutland Archaeological Society and Aarhus University Press will manage the distribution. The Carlsberg Foundation and Bahrain’s Cabinet and Information Ministry will cover the editing and printing expenses.The publication of the book and the CDs on the music of Bahrain will be celebrated at a festivity on Bahrain, at the next annual cultural festival, the theme of which will be ”mutual inspiration across cultural borders” with a focus on Rovsing Olsen. In this context, Den Danske Trio Anette Slaato will perform A Dream in Violet, a music piece influenced by Arabic music. On the same occasion singers and musicians will present the traditional pearl fishers’ music from Bahrain. In connection with the concert on Bahrain, a major tour has been planned in cooperation with The Danish Institute in Damascus, where the Danish musicians will also perform in Damascus and Beirut and give ”masterclasses” in chamber music on the local music academies. The concert tour is being organised by Louise Lerche-Lerchenborg, who initiated one of the most important Danish musical events, the Lerchenborg Musical Days,in 1963 and organised them for thirty years.ConclusionPride of concerted effort is not a special Danish national sport. However,the achievements in the Arabian Gulf made by the Danish expeditions from the Århus museum are recognised everywhere. It is only fair to use this jubilee volume for drawing attention to the fact that the journal Kuml and the publications of the Jutland Archaeological Society were the instruments through which the epoch-making investigations in the Gulf were nude public nationally and internationally.Finally, the cooperationon interesting tasks between Moesgård Museum and the countries along the Arabian Gulf will continue. In the future, Kuml will again be reporting on new excavations in the palm shadows and eventually, larger investigation s will no doubt find their way to the society’s comprehensive volumes.Flemming HøjlundMoesgård MuseumTranslated by Annette Lerche Trolle

Intresset för affekt och dess betydelse för mänskligt agerande har under det senaste halvseklet vuxit sig allt starkare inom en rad forskningsområden. Vad gäller musikforskning är detta dock långt från nytt. Relationen mellan musik och affekt har varit föremål för omfattande diskussioner sedan antiken. För 1600- och 1700-talens europeiska teoretiker och musiker var musikens förmåga att uttrycka och uppväcka affekter central. 1700-talets affektbegrepp hade dock inte samma innebörd som termen ”affekt” har i nutida affektteori, utan refererade till definierbara och medvetna emotionella tillstånd som var möjliga att verbalisera, som exempelvis sorg, glädje och rädsla. Termers innebörder förskjuts eller förändras ibland över tid, det är något som all historiografi måste ta hänsyn till. De ord och begrepp som vi använder färgar vår förståelse, och dessa betydelseskiftningar kan ge upphov till missförstånd. Termen affektlära (ty. Affektenlehre, eng. doctrine of the affections eller theory of the affections) har sedan tidigt 1900-tal använts i litteratur i musikestetik och musikhistoria. Begreppet etablerades av tyska musikforskare1 men är välbekant även från svensk musikhistorieundervisning.2 Affektlära kan i diskussioner om europeisk 1600- och 1700-talsmusik referera till periodens estetiska åskådning att musikens roll var att uppväcka specifika affekter hos åhörarna.3 Ofta inkluderar termen även uppfattningar om hur tonsättaren kunde uttrycka eller representera olika affekter i musik.4 Ibland förmedlar litteraturen intrycket att 1700-talets musiker och teoretiker använde termen affektlära i betydelsen av en mer eller mindre allmän, detaljerad, statisk, närmast schematisk och mekanistisk lära om hur musikaliska parametrar som intervall, melodiska figurer, rytmer och tonarter skulle användas för att objektivt kunna representera specifika affekter.5 Detta har dock under senare tid ifrågasatts av bland andra Buelow (1983, s. 397–400). Denna artikel undersöker vilka eventuella missuppfattningar som en användning av termen affektlära i diskussioner om 1600- och 1700-talens musik kan förorsaka. Vidare undersöks vilka eventuella missförstånd som kan uppkomma då ordet det svenska ordet affekt används i musikforskning som motsvarighet till 1700-talstyskans Affect.6

Detta examensarbete handlar om att försöka skapa sig en djupare förståelse för den pentatoniska skalans betydelse i waldorfskolans yngre klasser. Utgångspunkt för denna undersökning har varit en kvalitativ forskningsintervju där fyra waldorflärare har berättat om sina tankar och erfarenheter kring arbetet med pentatoniken. Genom ett empiriskt material har jag försökt klarlägga följande frågeställning: Hur man använder sig av den pentatoniska skalan i waldorfskolan, vad pentatonikens historiska bakgrund har för betydelse för undervisningen och hur medvetet detta görs. Resultatet av intervjuerna visar att samtliga pedagoger använder sig regelbundet av pentatoniska sånger och den pentatoniska flöjten i waldorfskolan. Redan i första klass är pentatoniska melodier dominerande. Om man läser i waldorfskolans kursplan om ämnet musik står det att fr.o.m. åk 1 spelar man flöjt och sjunger sånger ur våra egna folkliga skatter och övriga världens folkmusik. Detta ingår som en viktig del i den vanliga undervisningen. I undersökningen visar det sig att samtliga lärare är väl insatta och inspirerade av den pentatoniska skalans historiska bakgrund i sin undervisning. Det framkommer också att detta har en indirekt betydelse för undervisningens upplägg och innehåll. Man finner spår av detta i lärarnas berättelser, tankar och funderingar kring pentatoniken, hur de förhåller sig till skalan och hur de använder sig av den rent didaktiskt. Utifrån de tolkningar som gjorts från intervjuerna förefaller det som att arbetet med pentatoniken i de lägre klasserna på waldorfskolor utförs på ett medvetet sätt.

Kvinnliga kompositörer och musikers plats i musikhistorien har varit och är en komplicerad fråga. Inte bara antalet kvinnor, men även sättet som kvinnor beskrivs kan bidra till oönskade effekter inom lärarutbildningen och den svenska skolan. Denna studies syfte är att undersöka i vilken omfattning och hur kvinnliga och manliga kompositörer och musiker porträtteras i kurslitteratur i musikhistoria som används inom svenska musikhögskolor. Detta genomförs med hjälp av kritisk diskursanalys med perspektiv på intersektionalitet och genus. Resultatet visar att kvinnor och män får väldigt skilda porträtteringar, där männen i högre grad tilldelas respektingivande benämningar och skrivs fram med högre agens. Kvinnor beskrivs genom deras relationer till andra, sin könstillhörighet och som passiva. Denna studies resultat bekräftar tidigare studier om hur ojämna könsmönster och jämställdhetsproblem kan fortsätta reproduceras inom utbildningar på musikhögskolor och hur detta i förlängning kan påverka framtida lärare i sitt yrkesliv.

Syftet med examensarbetet är att beskriva hur genus framställs i tryckta och digitala musikhistoriska läromedel. De teoretiska utgångspunkterna är diskursanalys ur ett genusperspektiv Materialet är insamlat via ett onlineforum för musiklärare. I forumet ställdes frågan, Vilka läromedel använder du vid musikhistorieundervisning? De svar musiklärarna lämnade i forumet blev sedan utgångspunkt för studien, och de läromedel som nämndes har sedan granskats utifrån hur genus tar sig uttryck i materialet. Resultatet visar att manliga kompositörer, tonsättare och musiker uteslutande får mer utrymme i musikhistoriska läromedel. Utifrån detta yttrar sig ett antal diskurser. En maskulint hegemonisk diskurs som resulterar i en reproduktion av traditionella könsmönster, samt en pseudofeministisk diskurs och en problematiserande diskurs som båda vill lyfta kvinnliga kompositörer, tonsättare och musiker i musikhistorien. Dock vill den pseudofeministiska diskursen lyfta kvinnliga kompositörer, tonsättare och musiker oavsett deras prestationer, medan den problematiserande diskursen vill lyfta kvinnliga kompositörer genom att förklara varför de får så lite utrymme i historien. Genom diskurserna kan även linjer dras till musiklärarutbildningens inverkan på musikhistorieundervisningen. Föreliggande examensarbete bekräftar tidigare forskning om reproduktion av genussyn och könsmönster i musikklassrummet. Dessutom öppnar examensarbetet upp för fortsatt forskning inom digitala läromedel och källkritik bland lärare.

Det finns ytterst få beskrivningar av kvinnliga musiker och deras musicerande genom historien. I dag syns fler kvinnor på musikfältet, men männen dominerar fortfarande musikmedierna i stort, både vad gäller artister och journalister. Syftet med denna uppsats är att ta reda på hur ofta och hur mycket kvinnliga respektive manliga artister syns i musiktidningarna Sonic och Lira musikmagasin, i radioprogrammet Mitt i musiken och i tv-programmet PSL- på festival. Vidare vill jag undersöka hur många av texterna och inslagen som är gjorda av kvinnliga respektive manliga journalister. Med hjälp av dessa två representationsstudier undersöker jag sedan om det finns ett samband mellan artisternas kön och journalisternas kön. Fokus riktas då i huvudsak mot kvinnliga musikjournalisters rapporterande. Vidare vill jag fånga musikjournalisters funderingar kring kvinnor och mäns representation i musikmedierna och hur de ser på sin egen roll som förmedlare av musikjournalistik. Metod: för att mäta frekvensen av artister och journalister har jag använt mig av en kvantitativ innehållsanalys. Vid intervjuerna med musikjournalisterna har jag använt mig av en samtalsintervjuundersökning. Resultat: Det syns fler män än kvinnor i de undersökta analysenheterna. Kvinnliga journalister rapporterar procentuellt mer om kvinnliga än om manliga artister. De intervjuade musikjournalisterna är medvetna om underrepresentationen av kvinnor i musikmedier och menar att den främsta orsaken är att utbudet av artister redan från början är ojämnt. Många av de intervjuade påpekar också att deras urval av artister i första hand styrs av vilka artister de själva tycker är bra.

In the years around 1950 the first Music Schools – organized by the municipalities – started in Sweden. They were a result of local initiatives. They were not a part of the national school system. Instead their focus was on creating opportunities for children to learn to play an instrument in their spare time. They became so common that in 1970 they could be found in almost every municipality in Sweden. Even so, they were never authorised or controlled by the state. In this thesis I try to describe the ideology of the first local music schools around the year 1950. I try to find out what kind of traditions, ideas and other influences that shaped this ideology. I do that by comparing the ideology of the music schools to the characteristics of the popular education (in German: Bildung). Thereafter I try to do the same with the development of Schools of Arts around the year 1990. I do that in a hermeneutic tradition by using an idea- and ideology analysis from social sciences. My research questions are: Could the ideologi of the first music schools be described by comparing it with the characteristics of ”bildung”. Could the ideologi of the first schools of Arts be described by comparing it with the characteristics of ”bildung”. The ideology of the music schools was strongly influenced by the voluntary music education in grammar schools. That meant that the education was organized in semesters, one lesson per week and one child at a time. More focus was on the development of every childs´ability to play an instrument, less on the possibility to play together with other children or to sing. The ideology of the music schools was also influenced by popular education (Bildung). The schools aimed to give equal opportunities to all children to learn to play an instrument and learn about the ”good culture”. With that expression was meant classical music. The answer to my first question is that the ideologi of the music shools were influenced both from grammar schools and the ”bildung”- movement. In the years around 1990 many Music Schools had developed into Schools of Arts. They included education in dance, drama/theatre, visual art and film/movie. In the same way as the first music schools were born, the first Schools of Art developed in a local context. Some of them found a closer cooperation with the obligatory school but all continued to be independent. The structure of Schools of Arts were in many ways a continuation of the music schools. They were also organized in semesters, one lesson a week etc. In the same time they were a part of the a new trend which meant they were more interested in the creative possibilities for the children, cooperation and the opportunities to be on stage. They also had a broader wiew on what ”good culture” was. The answer on my second question is that the ideologi of the Schools of Arts in some extent are a part of the ”Bildung”-movement but at the same time they are more focused in collaborating with the obligatory school system and are more influenced by instrumental goals like being part of devolopment of new industries in the society. To some extent they are less influenced by ”Bildung” than the first music Schools. There are even today more than 200 000 children taking part in the Schools of Arts. (Including those who are still named Music Schools) In such a big professsionel organisation in most of the Swedish communities it is very surprising that they have developed without a national agenda.<br>I slutet av 1940-talet bildades de första kommunala musikskolorna med det namnet. Deras bakgrund var dels den frivilliga instrumentalundervisning som erbjöds på läroverken, privat undervisning – inte minst på piano – samt undervisning inom militärmusiken och orkesterföreningar. Allt detta smälte samman till musikcirklar – ofta drivna av studieförbund – som sedan nästan undantagslöst drevs vidare i form av kommunala musikskolor. De lokala variationerna var många. På 1970-talet hade i stort sett alla kommuner en kommunal musikskola. I denna uppsats försöker jag beskriva de första kommunala musikskolornas ideologi runt år 1950, och sedan även beskriva de första kommunala kulturskolornas[1] ideologi runt år 1990. Detta gör jag genom att tolka de idéer, traditioner och ambitioner som kan ses i offentliga dokument, vetenskapliga texter och andra dokument som beskriver pedagogiska idéer som fanns och påverkade beslutsfattandet. Jag gör detta i en hermeneutisk tradition genom en idé- och ideologianalys hämtad från samhällsvetenskapen. Metodiskt arbetar jag med begreppet dimensioner. Dessa utgår från de begrepp som karakteriserar bildning. På så sätt använder jag bildningen som ett raster för att tydligare se musikskolornas och kulturskolornas respektive ideologi. Mina forskningsfrågor är: Kan de första kommunala musikskolornas ideologi beskrivas i relation till bildningsbegreppet? Kan de första kommunala kulturskolornas ideologi beskrivas i relation till bildningsbegreppet? Bildningsbegreppet jag använder är hämtat från Gustavssons och Varkøys beskrivningar av vad som kännetecknar bildning:   Lärandet är en fri process  Lärandet skapar sammanhang  Lärandet skapar jämlikhet eller ojämlikhet  Lärandet är icke-instrumentellt Organisationen av undervisningen på musikskolorna var starkt präglad av läroverken. Den innebar att musikskolorna var organiserade i terminer, en lektion i veckan och med starkt fokus på individen. Den enskilde elevens kunskaper i hanterandet av sitt instrument kom i första rummet, före samspel, eget skapande och även sång/körsång. Den ideologi som präglade musikskolorna hade samtidigt ett starkt folkbildande inslag. Alla barn skulle i demokratisk anda få möjlighet att både lära sig spela ett instrument och ta del av den goda kulturen. Med det senare avsågs främst den klassiska musiken. Svaret på min första forskningsfråga är att de första musikskolornas ideologi i hög grad var påverkad av bildningsbegreppet men att den samtidigt var starkt påverkad av traditionen från läroverk och folkskola. De kommunala kulturskolorna övertog senare mycket av musikskolornas ideologi. Samtidigt var ideologin i den tidens anda präglat av ett större intresse för elevernas eget skapande, för samverkan och att alla elever också skulle framträda. Flera kulturskolor sökte också få en ökad betydelse genom ett närmande till den obligatoriska skolan. Deras ideologi präglades också i hög grad av instrumentella mål som transfereffekter vid inlärning av andra skolämnen, lokaliseringsfaktorer m.fl. Svaret på min andra forskningsfråga är att de första kommunala kulturskolorna ideologiskt i viss mån var en del av bildningsrörelsen. Samtidigt önskade de bli en del av det obligatoriska skolväsendet och motiverade sin existens med instrumentella mål, varför de kan sägas alltmer ta avstånd från att bygga på en ideologi präglad av bildning. Med tanke på musik- och kulturskolorna storlek, över 200 000 deltagare, är det förvånande att all utveckling av dem skett genom lokala initiativ och att samordning och utveckling på nationell nivå i stort sett varit helt frånvarande under de epoker jag berör i denna uppsats. De kommunala musikskolorna, senare kulturskolorna, dominerades av ett görande, av enskilda lärares egna modeller för undervisning, i högre grad än formulerande av en genomtänkt ideologi eller för den delen metodik. [1] De kommunala kulturskolorna benämns oftast som ”kulturskolor”. I den statliga politik som beslutats under uppsatsens tillkomst benämns de som ”kommunala kulturskolor”. Jag använder därför det begreppet men för att göra texten lättare att läsa använder jag ibland de enklare formerna ”musikskola” och ”kulturskola”.  De står för samma sak.