Papers by Marja-Leena Juntunen
Oxford University Press eBooks, Sep 8, 2022
Education Sciences, Dec 13, 2022
This article is an open access article distributed under the terms and conditions of the Creative... more This article is an open access article distributed under the terms and conditions of the Creative Commons Attribution (CC BY
Frontiers in Education, May 30, 2023
This article presents theoretical viewpoints for considering and understanding expression in popu... more This article presents theoretical viewpoints for considering and understanding expression in popular music singing and pedagogy from the perspective of embodiment as outlined in Merleau-Ponty's phenomenological philosophy. In our study, we apply his interpretations of such notions as intentionality, body schema, gesture, reversibility, and intersubjectivity to bring forth and discuss the holistic, embodied, and interpersonal nature of voice expression in singing. We argue that expression should be viewed as an intentional activity, based on the body's innate mindful functioning as a whole, and in singing guided by the lyrics and emotions to be communicated. We propose that this requires a "free voice", based on healthy vocal production, that also allows for the immediacy of expression as and through gestures that bring the meaning into existence. We further argue that expression is an interpersonal, interactive, and intersubjective process in which the performer and listener influence each other in many ways. The reversibility of perception in expression means that perception and the object perceived are intertwined and action and perception are interconnected. There is also a gap in reversibility, which implies that the perception of (one's own) expression is never complete. In addition to our theoretical arguments, we make pedagogical suggestions, such as that the body itself has a lot of understanding of how and should be trusted in singing, both in terms of voice production and expression. The expression should not be primarily approached as a technical issue but taught in connection with and through expression. The expression should be viewed from the inside out, not the opposite. This means that expression builds on one's personality and (emotional) experiences.
Frontiers in Psychology
This systematic review synthesized the outcomes of previous intervention studies published from J... more This systematic review synthesized the outcomes of previous intervention studies published from January 2000–October 2022 to evaluate the effectiveness of Dalcroze-based or similar music–movement integration among groups of individuals considered vulnerable (in relation to their abilities and health/wellbeing). The target groups addressed in previous intervention studies included individuals with special educational needs (such as disorders, disabilities, or impairments) or with a (risk of) decline in health and/or physical strength. Twenty articles met the review inclusion criteria. All studies showed beneficial outcomes for music–movement intervention except one that suffered from low adherence rates. In older adults, the benefits were cognitive, physical, social, and/or emotional, including improved postural stability, balance, gait safety, confidence in mobility, metamemory skills, dual-task performance, social and physical pleasure, autotelic/flow experience, enjoyment, health,...
Education Sciences
Music and movement activities have been found to be beneficial for learning in childhood. The cur... more Music and movement activities have been found to be beneficial for learning in childhood. The current study was part of the Arts@School project examining the effect of classroom-integrated arts-based interventions (music, movement, music-movement) on various student outcomes. The outcome of interest in the current report is the ability to recognize social interaction, which is one aspect of social cognition, an important but often ignored factor contributing to well-being and learning. The ability to recognize social interaction was studied using a test with two human figures either interacting with each other or moving separately. Children aged 10–11 completed the test pre and post intervention. The intervention groups and an inactive control group were four classes in a school. The interventions were delivered by teachers. The music intervention included listening, singing, and joint music making. The movement intervention was based on a creative dance approach and contained devel...
Tässä kirjoituksessa tarkastelemme peruskoulun taidekasvatuksen nykyistä asemaa osana perusopetus... more Tässä kirjoituksessa tarkastelemme peruskoulun taidekasvatuksen nykyistä asemaa osana perusopetusta. Kiinnitämme erityistä huomiota alati syvenevään ristiriitaan taidekasvatusta ohjaavien säädösten ja niiden käytännön toteutuksen välillä (ns. policy-practice gap, ks. esim. Buck & Snook 2016; Snook & Buck 2014).
Dalcroze Eurhythmics – a method, an approach, a pedagogy, or a philosophy?, 2019
With Le Rythme 2019 we focus on approaches to the evolution of theory in eurhythmics. Earlier iss... more With Le Rythme 2019 we focus on approaches to the evolution of theory in eurhythmics. Earlier issues of the journal have presented valuable contributions concerning theoretical and scientific fundamentals. We have decided to intensify this emphasis. Happily, we received a great response to our request for theoretically-based professional articles, enabling us to offer a multifaceted spectrum of authors from Canada, the US,
Disorder and conflict are important to prevent the reification of institutional patterns of inter... more Disorder and conflict are important to prevent the reification of institutional patterns of interaction (Apple, 1996).
The legacy of music education methods in teacher education: The metanarrative of Dalcroze Eurhyth... more The legacy of music education methods in teacher education: The metanarrative of Dalcroze Eurhythmics as a case
Body movement is a natural way respond to music, experience it, and learn about it. In music educ... more Body movement is a natural way respond to music, experience it, and learn about it. In music education, moving to music develops children’s understanding of music, and offers teachers a window into their music perceptions. Recently, in music education practices, there has been an increasing interest to apply body movement. In research, there is a growing number of studies examining and advancing the understanding of the role of movement in and for (musical) learning. This article firstly reviews the studies that investigate the possibilities of applying body movement in music education of young children. Secondly, it introduces the pedagogical ideas of Dalcroze approach, in which learning in music is based on experiences of participating in music-and-movement activities. Then, the notion of embodied learning and the ways in which Dalcroze-inspired music education can enhance embodied learning will be discussed. The article suggests that in Dalcroze-inspired music education embodied ...
This paper examines musical learning in the context of Dalcroze Eurhythmics. Dalcroze Eurhythmics... more This paper examines musical learning in the context of Dalcroze Eurhythmics. Dalcroze Eurhythmics is an approach of music education that incorporates body movement, ear-training, and improvisation. The paper studies how Dalcroze Eurhythmics offers a possibility for students to explore music through bodily involvement, and to learn through embodied experiences. It also studies how embodiment is reinforced by Dalcroze teachers’ actions and how teaching procedures reinforce the mind-body connection. The philosophical framework of my study is based on Maurice MerleauPonty’s (1908-1961) phenomenological philosophy. For Merleau-Ponty, perceptual experience always precedes knowledge. He suggests that the body and bodily involvement with the world are the primary tools of knowing the world and oneself. My paper suggests that embodied experiences advance knowing at a deep level, while often incapable of expression in words. It also suggests that bodily exploration of the musical world enhanc...
This article analyzes how embodied learning was enhanced in a project in which students made a mu... more This article analyzes how embodied learning was enhanced in a project in which students made a music video with a tablet, combining music and movement compositions, in a Finnish seventh-grade music classroom. Student interviews and reflections, as well as researcher's field notes were used as material for the analysis. In the project, embodied learning took place through active participation and multi-sensory perception and experiences. Learning was enhanced by focusing students' attention to and awareness of each activity and their kinesthetic experiences, then by reflective assignments. Preparations for the music and movement compositions included explorative and improvisational Dalcroze-, Orff-, and Laban-based music-andmovement exercises, the rehearsal of movement material for composition, and the creation of a safe and comfortable social space. Making the video fostered embodied learning since it required students to remember, re-experience, and apply previous activities, and incorporated multimodal expression. Tablets served as easy and manageable digital tools for meaning-making and multimodal expression in addition to making achievements both explicit and shareable.
Sixth issue of the European Journal of Philosophy in Arts Education Ketil Thorgersen Editor in Ch... more Sixth issue of the European Journal of Philosophy in Arts Education Ketil Thorgersen Editor in Chief <br> The second and last EJPAE issue of 2019 is finally due – in 2020. Running a journal is interesting since there are many parameters that are out of the editor's control – such as when reviewers return reviews, when authors return their revisions and so on. And since this journal is run voluntarily, the typesetting and finalising have to fit into my schedule at university. Sometimes this is frustrating, but everyone is gentle and patient, and when I see the great result, such and in this issue, I feel really proud! The issue starts off with an amazing article by <strong>Juvas Marianne Liljas </strong>about a Swedish reform school, the Siljan School in Tällberg, based on the ideals of the Swedish pedagogue Ellen Key. The article is unusually empirical for EJPAE, but uses the empirical data theoretically to discuss aesthetic schooling in an early nineteen centu...
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Papers by Marja-Leena Juntunen
in music, visual arts and crafts in the final 9th grade of basic education in
March 2010. Data was collected through stratified sampling from 152 comprehensive schools representing a comprehensive cross-section of different provinces and groups of municipalities. The sample included 12 Swedishlanguage schools, which is in keeping with their relative proportion. At all sample schools, pupils were selected to take part in the assessment from 9th grades using systematic sampling. A total of 4,792 pupils participated in the
assessment, consisting of 2,411 girls and 2,381 boys.
At different stages of the assessment, pupils performed a wide variety of assignments assessing achievement of the objectives set for music, visual arts and crafts in the 2004 National Core Curriculum for Basic Education. The assignments were used to assess the standard of pupils’ key skills and knowledge
in these subjects and their understanding and command of music, visual arts and crafts processes. The assignments had been drawn up to assess competence at different levels, measuring both the most basic skills in these subjects and more advanced interpretation and understanding.
At the first stage of assessment, pupils completed common pencil-and-paper assignments covering all three subjects at all schools. For the second stage, the schools were divided into three segments. At each school, pupils performed advanced pencil-and-paper assignments in music, visual arts, or crafts.
Furthermore, some of these pupils also completed production assignments in the same subject, which aimed to assess their skills in making music, visual arts or crafts.
The assessment also involved surveys for principals and teachers covering teaching arrangements and opportunities for and barriers to learning. Pupils were asked to provide background details and perceptions on studying and learning these subjects. The schools participating in the assessment received comparative data of sample pupils’ performance by way of initial feedback in
late May 2010.
Based on the results of this assessment, pupils’ performance in music, visual arts and crafts varied at the final stage of basic education. On the whole, learning outcomes were adequate or satisfactory at best, depending on the subject.
Pupils’ performance was quite uneven in all three subjects. A considerable proportion of pupils failed to command the contents of key objective areas in these subjects. Those students’ who had studied these subjects in the 8th and 9th grades had significantly better results in these subjects than the other students.
As a general rule, there were no major differences between sample schools and those identified only concerned a few highest- and lowest-ranking schools in particular. There were no statistically significant differences in pupils’ outcomes between Swedish- and Finnish-language schools.
Girls achieved considerably better outcomes in visual arts and music than boys. Outcomes were more even in crafts; however, boys had a better grasp of technical crafts than girls, whereas girls performed better in textile crafts.
Outcomes in music were slightly better in towns than in cities and rural municipalities. Outcomes in crafts were better in the Provinces of Eastern Finland and Oulu and in rural municipalities. In terms of visual arts, there were no statistically significant differences in performance between different types of
municipalities or different parts of the country.
Learning outcomes identified in pencil-and-paper assignments in music were best in the content area covering pupils’ personal relationship with music and weakest in the knowledge of works, genres and composers. There were no considerable differences in pupils’ performance in different competence areas in production assignments. In these assignments, pupils’ performance was
assessed to be strongest in the area of participation in ensemble playing and
weakest in their ability to understand and use concepts and notations.
Learning outcomes in pencil-and-paper assignments in visual arts were best
in the areas of the media and visual communication and clearly weaker in
visual expression and thinking. The areas assessed to be strongest in production
assignments were communication of the message and originality of ideas,
while the use of visual means of expression and comic art expression were
considered to be weakest.
Learning outcomes in pencil-and-paper assignments in crafts were best in
assignments relating to tools and materials and poorer in those relating to
product making and methods. In production assignments, the areas assessed
to be strongest and weakest were product-making skills and product design
skills, respectively.
Pupils’ attitudes towards studying music, visual arts and crafts are mostly positive. Based on pupils’ responses, the opportunity to express their own thoughts and make their own decisions plays a key role. These subjects appear to have a bearing in terms of pupils’ satisfaction at school. Pupils, teachers and principals perceive these subjects supporting well-being and communality in school and leading pupils to further studies.
A considerable proportion of pupils had failed to achieve even a satisfactory
standard of basic skills and knowledge in music, visual arts and crafts. The
time available for music, visual arts and crafts was generally perceived to be
inadequate by principals and teachers. Common education in music, visual
arts and crafts for all pupils usually ended after the 7th grade of basic education.
Only some pupils took optional courses provided in these subjects in the
8th and 9th grades. The majority of education common to all pupils in these
subjects was given by class teachers during grades 1–6 of basic education (primary level). Of the respondents to the teacher survey conducted as part of the assessment, 35 % of music teachers, 24 % of visual arts teachers and 15 % of crafts teachers at lower secondary level (grades 7–9 of basic education) were not formally qualified to teach these subjects. A considerable number of pupils fail to receive education provided by a qualified subject teacher in these subjects throughout basic education and many do not study these subjects at all during the last two years. From this perspective, the poor standard of outcomes among a large group of pupils is understandable.
Materiaalia voi soveltaa kaikissa ryhmissä, joissa toiminnan sisältöjä ovat musiikki, rytmiikka ja liike. Musiikkiliikunnan käsikirja 1 Musiikkia liikkuen -kirjassa tutustutaan kehonhallintaan, rytmiikkaan, säveltapailuun ja kuuntelukasvatukseen, musiikkia ilmentäviin liikuntasommitelmiin sekä luovaan liikuntaan. Kirjassa kuvataan myös harjoituksia, joissa etsitään yhteyksiä eri taidemuotojen välille ja annetaan eväitä liikunnan säestykseen. Lisäksi esitellään tutustumis- ja kontaktiharjoituksia sekä musiikkiliikuntaharjoituksia eri välineitä apuna käyttäen. Dalcroze- ja Orff-pedagogiikkaa, suomalaista musiikkiliikuntaa sekä kehollisuutta tarkastelevat artikkelit avaavat musiikkiliikunnan historiaa ja tarjoavat pedagogisen perustan kirjassa kuvatuille harjoituksille.
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Materiaalia voi soveltaa kaikissa ryhmissä, joissa toiminnan sisältöjä ovat musiikki, rytmiikka ja liike. Musiikkiliikunnan käsikirja 2 Musiikkia tanssien -kirja sisältää laululeikkejä, eri maiden ja aikakausien tansseja sekä kuorotansseja, joiden kautta tutustutaan eri musiikki- ja tanssikulttuureihin. Tanssit harjoittavat rytmistä liikettä ja vaihtuvia askelmuotoja, tutustuttavat musiikin muotoon, hahmottavat suuntia ja tilaa ja tarjoavat yhdessä liikkumisen ja laulamisen iloa. Kirjassa kuvatut alkuharjoitukset ja harjoitusprosessit johdattelevat varsinaisiin tanssimuotoihin ja niiden avulla päästään helposti liikkumaan musiikin mukaan samalla tutustuen muun muassa musiikin ja liikkeen tempoon, rytmiin ja tyyliin.
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TPO:ssa sekä ajankohtaiset yhteiskunnalliset haasteet, jotka liittyvät suomalaisen yhteiskunnan ja väestörakenteen muutoksiin tällä vuosituhannella.
This paper examines the pedagogical principles and processes involved in this effort, as well as the teacher’s pedagogical thinking. The data included classroom observations, field notes, and teacher and student interviews. The study focuses on the notion of teachers’ pedagogical thinking, and on the paradigm of teaching as a reflective practice.
The examined case offers one practical example of a teacher’s effort to find new pedagogical solutions for applying technology in a music classroom. I have identified five pedagogical principles that guided the process: (1) Everyone is creative; (2) Gaining musical knowledge through embodied learning; (3) Enhancing social cohesion and inclusion through group music-and-movement activities; (4) Composing as a collaborative and self-regulated process; and (5) Empowering agency and ownership through making a (music video) product. The participating students enjoyed most a diverse range of (creative) activitiesand autonomous working in small groups. The study supports earlier findings that the use of technology in teaching motivates student participation (e.g., Salmela-Aro, 2015; Karsenti & Fievez, 2013; Ruippo & Salavuo, 2006), and that creative tasks can provide a clear focus for their use (Savage & Challis, 2002).
Moreover, it argues that social aspects play an important role in learning, as
positive learning experiences were strongly interconnected with social inclusion. By examining the pedagogical processes and reasoning behind the practice, the study contributes to the construction of the technological pedagogical and content knowledge (Bauer, 2014) in music teaching and learning.