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This paper reports a project organized by Sibelius-Academy Department of Folk Music and Tampere University, Department of Music Anthropology in 2008-2010. The goal of the project was to develop and implement a master program for “rytmimusiikki” (lit. “rhythm music”) in Sein?joki, Finland—a musically active provincial area previously without music-related higher education programs. In the program, research and professional musicianship were combined in the frame of a student-centered curriculum that also emphasized active work-life connections and flexible study options. Aiming at developing a new kind of expertise in Finnish work market for non-classical musicians, the project sets out to explore the combined ideals of “researching musician” and“musicing researcher”. We will discuss the points of departure of this premise, map the developmental phases and outcomes of the project, as well as highlight some of the problems that arouse during the process. The findings of this developmental research are based on student and teacher interviews, feedback surveys and personal experiences of the planners.
Keywords: music education, popular music, folk music, jazz, musicology
Introduction
In this article, we report a case study of a project organized conjointly by Sibelius-Academy Department of Folk Music and Tampere University Department of Music Anthropology in 2008-2010. The goal of the project was to plan and implement a master program for “rytmimusiikki” (lit. “rhythm music”) in Sein?joki, a musically active semi-urban area in Finland previously without music-related postgraduate education programs1.
students in the first course had tight bonds with working life, many of them could not commit themselves to weekly contact tuition. The absences turned out to be a major factor in decreasing the study motivation of those who participated the classes. This problem was solved by organizing contact tuition in three weeks intervals, each period lasting three days. As a result, the attendance numbers increased substantially and there were no absence problems in the second course;
(2) More attention was paid to how research studies were organized. As in the first course, the background of the students in the second course was quite diverse: Some had bachelor degree in musicology or related research subjects, and the rest had only a scarce idea about methodological issues or scholarly writing.
In the new course, planning of the master’s thesis in connection to intensive methodological studies begun already in the very first contact learning session. Research issues were discussed continuously during the autumn semester. As a result, all the students had by the end of the first year found a reasonable and clearly defined subject for their thesis. Furthermore, concentration on research issues created a didactic focus that had been more or less lacking in the first course. Every student is now aware that the main point of “rytmimusiikki”master program is the combination of study of music and research of cultural issues and that the other parts of the curriculum are closely related to music research; (3) There are still some issues in the training program and organization that wait for further development:
(a) The use of distant learning methods and practices is insufficiently utilized so far. By applying information technology in organization of flexible online and hybrid courses, the lack of competent teachers in the area could be relieved, students would have better possibilities to network with experts of “rytmimusiikki”field. There have been indications from Finnish music education programs that open and semi-open online and hybrid learning environments can enhance the networking and collaborative learning skills of students that live away from the studying locale (Salavuo, 2006);
(b) Coordination of the studies with the students’ working life experience could be more thoroughly planned. Again, the students’ various backgrounds make this goal quite challenging, since in practice, every student has her own tailored study program. However, because the number of students is small, with the aid of personalized study projects, their working life experiences could be better combined with the general aims of the “rytmimusiikki” master program.
References
Bjornberg, A. (1993). “Teach you to rock”? Popular music in the University Music Department. Popular Music, 12(1), 69-77.
Hanhijoki, I., Kantola, S., Karikorpi, M., Katajisto, J., Kimari, M., & Savioja, H. (2004). Education and the demand for labor 2015. Helsinki: Opetushallitus.
Hanhijoki, I., Kantola, S., Karikorpi, M., Katajisto, J., Kimari, M., & Savioja, H. (2009). Education and the demand for labor 2020. Helsinki: Opetushallitus.
Ilmonen, K. (2003). Feed the musicians. Helsinki: Like Kustannus.
Karhunen, P. (2005). From training to working in music: A survey of the graduates of secondary and vocational training. Arts Council of Finland. Statistics about Art 35.
Kurkela, V. (2005). Rhytmic music and academia?Finnish university level research on light music. SELVIS, 1. Retrieved from http://www.elvisry.fi/012005/tutkittu2.html
Kurkela, V., & Tolvanen, H. (2005). The report of the planning group for Master program of rhythm music (Unpublished document, Sibelius Academy).
Murto, J., & Kiuttu, O. (2008). Rhythm music and keyboard skills in the basic education in the arts 2007. Retrieved from http://www.popjazz.fi/easydata/customers/popjazz/files/rytmimusiikin_Syyspaivat0/Rytmimusiikki__ja_vaps_taiteen_perusopetuks essa_2007.pdf
Keywords: music education, popular music, folk music, jazz, musicology
Introduction
In this article, we report a case study of a project organized conjointly by Sibelius-Academy Department of Folk Music and Tampere University Department of Music Anthropology in 2008-2010. The goal of the project was to plan and implement a master program for “rytmimusiikki” (lit. “rhythm music”) in Sein?joki, a musically active semi-urban area in Finland previously without music-related postgraduate education programs1.
students in the first course had tight bonds with working life, many of them could not commit themselves to weekly contact tuition. The absences turned out to be a major factor in decreasing the study motivation of those who participated the classes. This problem was solved by organizing contact tuition in three weeks intervals, each period lasting three days. As a result, the attendance numbers increased substantially and there were no absence problems in the second course;
(2) More attention was paid to how research studies were organized. As in the first course, the background of the students in the second course was quite diverse: Some had bachelor degree in musicology or related research subjects, and the rest had only a scarce idea about methodological issues or scholarly writing.
In the new course, planning of the master’s thesis in connection to intensive methodological studies begun already in the very first contact learning session. Research issues were discussed continuously during the autumn semester. As a result, all the students had by the end of the first year found a reasonable and clearly defined subject for their thesis. Furthermore, concentration on research issues created a didactic focus that had been more or less lacking in the first course. Every student is now aware that the main point of “rytmimusiikki”master program is the combination of study of music and research of cultural issues and that the other parts of the curriculum are closely related to music research; (3) There are still some issues in the training program and organization that wait for further development:
(a) The use of distant learning methods and practices is insufficiently utilized so far. By applying information technology in organization of flexible online and hybrid courses, the lack of competent teachers in the area could be relieved, students would have better possibilities to network with experts of “rytmimusiikki”field. There have been indications from Finnish music education programs that open and semi-open online and hybrid learning environments can enhance the networking and collaborative learning skills of students that live away from the studying locale (Salavuo, 2006);
(b) Coordination of the studies with the students’ working life experience could be more thoroughly planned. Again, the students’ various backgrounds make this goal quite challenging, since in practice, every student has her own tailored study program. However, because the number of students is small, with the aid of personalized study projects, their working life experiences could be better combined with the general aims of the “rytmimusiikki” master program.
References
Bjornberg, A. (1993). “Teach you to rock”? Popular music in the University Music Department. Popular Music, 12(1), 69-77.
Hanhijoki, I., Kantola, S., Karikorpi, M., Katajisto, J., Kimari, M., & Savioja, H. (2004). Education and the demand for labor 2015. Helsinki: Opetushallitus.
Hanhijoki, I., Kantola, S., Karikorpi, M., Katajisto, J., Kimari, M., & Savioja, H. (2009). Education and the demand for labor 2020. Helsinki: Opetushallitus.
Ilmonen, K. (2003). Feed the musicians. Helsinki: Like Kustannus.
Karhunen, P. (2005). From training to working in music: A survey of the graduates of secondary and vocational training. Arts Council of Finland. Statistics about Art 35.
Kurkela, V. (2005). Rhytmic music and academia?Finnish university level research on light music. SELVIS, 1. Retrieved from http://www.elvisry.fi/012005/tutkittu2.html
Kurkela, V., & Tolvanen, H. (2005). The report of the planning group for Master program of rhythm music (Unpublished document, Sibelius Academy).
Murto, J., & Kiuttu, O. (2008). Rhythm music and keyboard skills in the basic education in the arts 2007. Retrieved from http://www.popjazz.fi/easydata/customers/popjazz/files/rytmimusiikin_Syyspaivat0/Rytmimusiikki__ja_vaps_taiteen_perusopetuks essa_2007.pdf