ABSTRACT

This article reports on a survey of Norwegian compulsory school music teachers, in which 293 teachers from 239 schools participated. In addition to providing demographic information, the teachers were asked what kinds of music their students listened to, sang, played, and created during lessons, and what activities this music was part of. We explore this material with respect to which forms of activities were included and how they were distributed, how the activities were related to teacher characteristics, what forms of participation the activities allowed for, and how this participation relates to broader societal patterns. The findings show that a broad palette of activities was implemented, but also that teachers with less formal competence in music chose activities that allowed for broader participation than their more musically specialised colleagues. Drawing on Bourdieu's concept of refraction, we interpret this as the latter being loyal to the logic of the art field.

摘要

本文报道了一项对挪威义务教育学校音乐教师的调查，来自 239 所学校的 293 名教师参与了调查。除了提供人口统计信息外，教师还被问及学生在课堂上听、唱、演奏和创作的音乐类型，以及这种音乐属于哪些活动。我们探讨了这些材料包括哪些活动形式以及它们是如何分布的，这些活动如何与教师特征相关，这些活动允许哪些参与形式，以及这种参与如何与更广泛的社会模式相关联。调查结果表明，实施了广泛的活动，而且，在音乐方面不太正式的教师选择的活动比他们在音乐方面更专业的同事更广泛地参与。借用布迪厄的折射概念，我们将此解读为后者忠于艺术场域的逻辑。