ABSTRACT

Reflective practice is seen as a method for professional growth and lasting learning outcomes, but what this means in the context of Higher Music Education (HME) has not received sufficient attention. This paper explores how reflection is ontologised and justified as part of performing musicians’ education. The data utilised derive from a comprehensive project investigating how processes of academisation affect HME across Europe. Findings from the Swedish sub-study, comprised of fourteen leaders and teachers at four academies of music, demonstrate how reflection is discursively constructed; as based on language and cognition; as embodied, and as ‘purely’ musical. These ideas concerning the qualities and characteristics of reflection interact and provide basis for three forms of justification: reflection for artistic knowledge development; reflection for individual success in the profession; and reflection over the role of musicianship in relation to society.

摘要

反思性练习被视为促进专业发展和持久学习成果的一种方法，但是在高等教育音乐教育（HME）的背景下，这意味着什么尚未引起足够的重视。本文探讨了在表演音乐家的教育过程中反思如何被本体化和合理化。所利用的数据来自一项全面的项目，该项目研究了学术进程如何影响整个欧洲的HME。瑞典子研究的发现由四个音乐学院的十四名领导人和老师组成，这些研究证明了如何以话语方式构建反射。基于语言和认知；体现和“纯粹”的音乐性。这些与反思的品质和特征有关的观念相互影响，并为三种辩护形式提供依据：艺术知识发展的反思；反映个人在该行业中的成功；以及思考音乐在社会中的作用。