ABSTRACT

This article presents the results of a survey among rectors of schools of music and performing arts in Norway. The aim was to map the schools’ offerings in terms of musical genres and related instruments and ensembles, and to determine how the availability of different genres was distributed demographically and geographically. A questionnaire including structured and open-ended questions was sent electronically to all rectors in August 2019 (response rate 58.4%, or 227 out of 389 rectors). The rectors were selected for the survey because they were the ones that had the complete overview of their school’s offerings. The data were analysed statistically and qualitatively. The results show that popular music and Western classical music occupy almost equal space in the schools; popular music is slightly more available. Norwegian folk music and other genres have more marginalised positions. The distribution correlates with patterns of social class and local, regional, and assumed cultural-musical identities, but no unequivocal governing logic of access was found. The findings were interpreted against a Bourdieusian-inspired framework that highlights the symbolic meanings of music.

摘要

本文介绍了挪威音乐与表演艺术学校校长的一项调查结果。目的是根据音乐流派以及相关乐器和合奏来映射学校的产品，并确定如何在人口统计学和地理上分配不同流派的可用性。包含结构化和开放式问题的调查问卷于2019年8月以电子方式发送给所有整流器（答复率为58.4％，即389个整流器中的227％）。选择校长进行调查是因为他们对学校的服务有完整的了解。对数据进行统计和定性分析。结果表明，流行音乐和西方古典音乐在学校中占据了几乎相等的空间。流行音乐则稍微多一些。挪威民间音乐和其他流派的地位更加边缘化。分布与社会阶层，地方，地区以及假定的文化音乐身份相关，但没有发现明确的访问控制逻辑。这些发现是根据布迪厄斯风格的框架进行解释的，该框架突出了音乐的象征意义。