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Exploring Nordic Approaches to Advanced Instrumental Music Pedagogy: Insights from Ethnographic Fieldwork

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Title: Exploring Nordic Approaches to Advanced Instrumental Music Pedagogy: Insights from Ethnographic Fieldwork
Language: English
Authors: Marianne Løkke Jakobsen (ORCID 0000-0003-3488-7546), David G. Hebert (ORCID 0009-0002-1446-3893)
Source: Music Education Research. 2025 27(1):73-89.
Availability: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
Peer Reviewed: Y
Page Count: 17
Publication Date: 2025
Document Type: Journal Articles
Reports - Research
Descriptors: Music, Teaching Methods, Cultural Influences, Musical Instruments, Music Teachers, Foreign Countries
Geographic Terms: Norway, Scandinavia
DOI: 10.1080/14613808.2024.2447245
ISSN: 1461-3808
1469-9893
Abstract: This ethnographic research was conducted at two intensive Scandinavian music academies with the aim of examining the extent to which there is a Nordic approach to advanced instrumental music teaching. Data collected through observations, interviews, and discussions revealed academy structures, instrumental techniques, and the use of metaphors in teaching. The study found a blend of Nordic pedagogical traditions, instrument-specific approaches, and personal teaching methods. The Scandinavian instructors tended to employ personalized coaching styles, emphasizing independent thought and interpretation. A characteristic form of politeness and directness was identified among the Nordic pedagogues that shares some features with renowned masterclass teachers in other contexts. Further research is needed to fully grasp this Nordic approach, potentially leading to typologies or explanatory models. The study underscores the need for continued exploration and analysis of diverse instructional strategies and cultural influences in music education.
Abstractor: As Provided
Entry Date: 2025
Accession Number: EJ1465902
Database: ERIC
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  Value: <anid>AN0183055873;54y01mar.25;2025Feb18.03:53;v2.2.500</anid> <title id="AN0183055873-1">Exploring Nordic approaches to advanced instrumental music pedagogy: insights from ethnographic fieldwork </title> <p>This ethnographic research was conducted at two intensive Scandinavian music academies with the aim of examining the extent to which there is a Nordic approach to advanced instrumental music teaching. Data collected through observations, interviews, and discussions revealed academy structures, instrumental techniques, and the use of metaphors in teaching. The study found a blend of Nordic pedagogical traditions, instrument-specific approaches, and personal teaching methods. The Scandinavian instructors tended to employ personalized coaching styles, emphasizing independent thought and interpretation. A characteristic form of politeness and directness was identified among the Nordic pedagogues that shares some features with renowned masterclass teachers in other contexts. Further research is needed to fully grasp this Nordic approach, potentially leading to typologies or explanatory models. The study underscores the need for continued exploration and analysis of diverse instructional strategies and cultural influences in music education.</p> <p>Keywords: Instrumental pedagogy; metaphors; Nordic; conservatoires</p> <hd id="AN0183055873-2">Introduction</hd> <p>Conservatoires and university schools of music around the world focus much of their efforts on training young musicians to perform on western orchestral instruments in a highly-competitive milieu with the aim of reaching the highest levels of professional musicianship. While there seem to be some universally shared objectives in higher music education, diverse approaches to achieving them are evident, whether comparing between institutions, regions, or continents. The question of whether there are specific regional approaches in this field matters because higher music education is facing various challenges and reforms across recent years, and it is assumed that more effective strategies can be developed from a systematic and critical assessment of the relative advantages of diverse approaches.</p> <p>Research that aims to confirm or disconfirm the existence of a regional approach to music teaching might seem peculiar, particularly for instrumental music within the western classical art music tradition. This is because instrumental music pedagogy has evolved across many generations through diverse international encounters, shaped by a tradition of studying abroad and engaging in cross-border employment within both orchestras and freelance musicianship (McPherson [<reflink idref="bib44" id="ref1">44</reflink>]). Additionally, the longstanding masterclass tradition and the prevalent 1-to-1 lesson model has normally proceeded without extensive formal pedagogical training for those who teach instrument lessons in higher music education (Gaunt [<reflink idref="bib18" id="ref2">18</reflink>]).</p> <p>Among the recent concerns noted by researchers are that of power dynamics and the transparency of assessment practices in instrumental lessons (Burwell [<reflink idref="bib9" id="ref3">9</reflink>]; Holmgren [<reflink idref="bib27" id="ref4">27</reflink>]; Stabell [<reflink idref="bib57" id="ref5">57</reflink>]). Many educationists also argue that student-centered approaches are preferable in advanced instrumental pedagogy (Rink, Gaunt, and Williamon [<reflink idref="bib51" id="ref6">51</reflink>]), and in the field of individual music lessons there are even claims of the need for a 'radical, profound regeneration of musical education' (Pozo et al. [<reflink idref="bib50" id="ref7">50</reflink>], vii). Additionally, there are general calls across the field of higher music education to rethink pedagogical approaches, particularly in order to improve inclusivity and prevent unnecessarily hierarchical structures (Gaunt et al. [<reflink idref="bib19" id="ref8">19</reflink>]).</p> <p>Researchers have observed that 'Northern European education, and with it the 'Nordic model', have become an increasingly attractive object of study' (Schulte [<reflink idref="bib55" id="ref9">55</reflink>], 80); Nevertheless, there are some important exceptions to the 'argument of the existence of a Nordic model within the field of education' (Cucco and Larsen [<reflink idref="bib11" id="ref10">11</reflink>], 127). The Scandinavian teaching tradition, known for its democratic values and student-centered approaches in nonhierarchical structures, is naturally understood as conflicting in some ways with the globally recognised master-apprentice teaching approach. A tradition that is largely 'based upon the master-apprentice relationship' has also been identified in multiple studies of Nordic higher music education (Juntunen [<reflink idref="bib33" id="ref11">33</reflink>], 172), yet, importantly, this occurs in the context of an educational system that otherwise aims to strongly emphasise 'democratic values' with the shared goal of fostering individual freedom and a high degree of social responsibility (Hiim [<reflink idref="bib25" id="ref12">25</reflink>], 135). In the field of music, these latter characteristics have been comparatively described in the following way:</p> <p>'At the risk of oversimplification, we may note that in Russia and East Asia there is still a strong tendency for teachers to be deeply respected and <emph>followed</emph> by students, while in Scandinavia the teacher is expected to nurture a milieu that is perceived as more 'democratic,' acting as a facilitator of learning while student voices contribute greatly to the directions taken in any educational context' (Hebert and Hauge [<reflink idref="bib24" id="ref13">24</reflink>], 249).</p> <p>One of the main reasons that music students often seek to study abroad – whether in person or even virtually – is that it is often assumed some highly specialised knowledge can especially be obtained directly from experts situated in a particular site. Today such local knowledge is extended with increasing opportunities for instrument learners to benefit from lessons at a distance – with expert teachers from Nordic countries and elsewhere – through synchronous online approaches (Løkke Jakobsen, Hebert, and Ørngreen [<reflink idref="bib40" id="ref14">40</reflink>]). Still, research is needed to confirm whether regional approaches are actually confirmable and whether they may be disappearing as a result of globalization. Here it is also useful to consider a question posed recently in the field of teacher education: 'Has (any) distinct Nordicness in education declined or evaporated through immersion into global trends?' (Larsen, Schulte, and Thue [<reflink idref="bib38" id="ref15">38</reflink>], 229). By focusing on this theme of regional approaches, our study aims to contribute to a nuanced understanding of advanced orchestral instrument pedagogy.</p> <hd id="AN0183055873-3">Review of literature</hd> <p>As a foundation for our study to determine the existence of Nordic approaches in this field, we reviewed previous research with the aim to explore and identify key aspects of wind and string pedagogy in Scandinavian conservatories. Search strings based on selected themes from this process included teacher communication style, instrument teaching, conservatoire teaching, strings, winds, Scandinavia, and metaphors. Some of these themes appeared intricately connected to the relationships between instructors and students, as well as the manifestation of personality traits within the master-apprentice tradition in wind and string teaching.</p> <hd id="AN0183055873-4">Pedagogies, personalities, and instrument types</hd> <p>Some previous studies of wind instrument players have taken a broad perspective, aiming to document holistic conceptualizations, such as how the theory of 'flow' is understood and actualised in this context (Stemple [<reflink idref="bib58" id="ref16">58</reflink>]). Other previous studies have examined various technical issues in wind instrument playing that tend to be emphasised in woodwind and brass pedagogy. These include studies of such specific challenges as playing with a suitable mouth position, known as <emph>embouchure</emph> (Woldendorp et al. [<reflink idref="bib61" id="ref17">61</reflink>]), attaining accurate intonation (Powell [<reflink idref="bib49" id="ref18">49</reflink>]), and achieving desired approaches to expressive phrasing (Gibbs [<reflink idref="bib20" id="ref19">20</reflink>]). Studies have also focused on the problems of attaining desirable posture and breath support (Dalgleish, Payne, and Spencer [<reflink idref="bib12" id="ref20">12</reflink>]; Li [<reflink idref="bib39" id="ref21">39</reflink>]).</p> <p>Research has also examined the pedagogies of stringed instruments, covering a broad range of topics from including personality (Pollaková and Dolejš [<reflink idref="bib48" id="ref22">48</reflink>]), physical technique (Schoonderwaldt [<reflink idref="bib54" id="ref23">54</reflink>]), and how teacher views tend to evolve with deepened experience (López-Íñiguez, Pozo, and Dios [<reflink idref="bib42" id="ref24">42</reflink>]). Studies have also sought to synthesise research findings on such topics as approaches for beginning learners (López-Calatayud, Macián-González, and Tejada [<reflink idref="bib41" id="ref25">41</reflink>]), and ways of verbalising relevant tone qualities (Lammers [<reflink idref="bib37" id="ref26">37</reflink>]). Studies on personality traits among musicians have utilised various measurement tools, such as the Big Five Inventory, to reveal distinct personality profiles for different instrumental groups (Mihajlovski [<reflink idref="bib45" id="ref27">45</reflink>]; O'Connor and Fu [<reflink idref="bib47" id="ref28">47</reflink>]; Vaag, Sund, and Bjerkeset [<reflink idref="bib59" id="ref29">59</reflink>]).</p> <hd id="AN0183055873-5">Metaphors in music performance lessons</hd> <p>Research has demonstrated how metaphors are deeply connected with embodied experiences, and commonly serve as a basis for understanding complex concepts, including aesthetic and ethical judgments (Johnson [<reflink idref="bib29" id="ref30">29</reflink>]; Johnson and Larson [<reflink idref="bib30" id="ref31">30</reflink>]). Previous studies of metaphors in teacher verbalizations have tended to focus on language teachers and have made use of surveys, journals, and other tools rather than naturalistic observation of metaphors in actual use (De Guerrero and Villamil [<reflink idref="bib13" id="ref32">13</reflink>]; Farrell [<reflink idref="bib16" id="ref33">16</reflink>]; Xiong, Li, and Qu [<reflink idref="bib64" id="ref34">64</reflink>]). In research on general teacher education, survey approaches are also common for metaphor analysis (Massengill, Mahlios, and Barry [<reflink idref="bib43" id="ref35">43</reflink>]), as well as interview studies (Munby and Russell [<reflink idref="bib46" id="ref36">46</reflink>]), while more recent studies have aimed for methods to elicit 'use of metaphors unconsciously' in the recognition that 'This will help to avoid the possible data distortions' (Gao and Cui [<reflink idref="bib17" id="ref37">17</reflink>]). An inevitable limitation of these methods is the likely gap between what teachers are able to report outside the teaching context and what they actually use in pedagogical situations.</p> <p>Studies have explored metaphors in music teaching strategies as aids for stimulating imagination (Schippers [<reflink idref="bib53" id="ref38">53</reflink>]; Wolfe [<reflink idref="bib62" id="ref39">62</reflink>]; Zorzal and Soares-Quadros [<reflink idref="bib65" id="ref40">65</reflink>]). Schippers ([<reflink idref="bib53" id="ref41">53</reflink>]) highlighted a significant challenge: although the importance of metaphors in music learning is increasingly recognised, formal training and pedagogy for effectively using them often rely on self-directed, self-taught methods. Previous studies across various musical instruments also showcase how metaphors exhibit diversity in their contextual applications (Wolfe [<reflink idref="bib62" id="ref42">62</reflink>]). This diversity extends to advanced guitar instruction, where gender-based usage was determined to be significant (Zorzal and Soares-Quadros [<reflink idref="bib65" id="ref43">65</reflink>]) and in the transition from traditional to online teaching where metaphors empower the teachers to adapt, innovate, and negotiate new pedagogical approaches in response to evolving educational contexts (Buhl, Ørngreen, and Levinsen [<reflink idref="bib8" id="ref44">8</reflink>]). In Japan, where learning of western orchestral instruments is widespread, a rather different set of metaphors was found to be used in wind, brass and percussion instrument pedagogy (Hebert [<reflink idref="bib23" id="ref45">23</reflink>]). The use of specific metaphors has a range of contextual applications, not only in terms of literacy and language but also depending on the stages of learning, whether in the initial stages of technical skill development or the later stages of refinement.</p> <hd id="AN0183055873-6">Conservatoire approaches and Nordic education</hd> <p>Researchers seeking to describe a 'Nordic model' in teacher education have recognised a unifying emphasis on 'the interpretative and normatively guided implementation of the intended aims and content of education' (Larsen, Schulte, and Thue [<reflink idref="bib38" id="ref46">38</reflink>], 237) characteristic to the Nordic countries, which contrasts in notable ways with the 'Anglo-American curriculum approach' (Larsen, Schulte, and Thue [<reflink idref="bib38" id="ref47">38</reflink>], 236). In comparative research (e.g. Hofstede [<reflink idref="bib26" id="ref48">26</reflink>]) that considers such regions as the Nordic countries and East and Southeast Asia (ESEA), researchers determined that</p> <p>'Teachers in society with small power distances tend to use rather student-centred teaching styles (...) Hence it is expected that lessons in the ESEA countries are more teacher-led, whereas those in the Nordic countries are expected to be more student-centred' (Fackler, Sammons, and Malmberg [<reflink idref="bib15" id="ref49">15</reflink>], 208–209).</p> <p>It has now been two decades since an influential study sought to map the approaches to music education research found in Scandinavia (Jørgensen [<reflink idref="bib31" id="ref50">31</reflink>]), and later the first book was developed to offer a global perspective on this field (Jørgensen [<reflink idref="bib32" id="ref51">32</reflink>]). Since that time, studies have examined an array of topics that offer insights into characteristic features of higher music education in the Nordic region, including approaches to conservatoire-style classical music teaching (Almqvist and Werner [<reflink idref="bib1" id="ref52">1</reflink>]; Angelo, Varkøy, and Georgii-Hemming [<reflink idref="bib2" id="ref53">2</reflink>]; Knutsson [<reflink idref="bib34" id="ref54">34</reflink>]), as well as distinctive musical <emph>folkbildning</emph>, a Scandinavian notion of open adult education (Brändström, Söderman, and Thorgersen [<reflink idref="bib7" id="ref55">7</reflink>]; Söderman [<reflink idref="bib56" id="ref56">56</reflink>]), a widespread embrace of popular music in public schools and teacher education programs (Dyndahl and Nielsen [<reflink idref="bib14" id="ref57">14</reflink>]; Hauge [<reflink idref="bib21" id="ref58">21</reflink>]), and a general openness to student-directed learning (Hebert and Hauge [<reflink idref="bib24" id="ref59">24</reflink>]; Hauge, Paulsen, and Ødemotland [<reflink idref="bib22" id="ref60">22</reflink>]). Previous research on advanced horn lessons in Oslo, for example, found that 'In the small group lessons all participants, including the teacher, discuss the different performances as equal members of the group' (Bjøntegaard [<reflink idref="bib6" id="ref61">6</reflink>], 5). There are also relevant studies that seek to identify characteristic features of Scandinavian pedagogy more generally from outside the field of music (Jarning [<reflink idref="bib28" id="ref62">28</reflink>]). Previous studies have documented approaches to teaching and learning at younger levels in Scandinavia (Stabell [<reflink idref="bib57" id="ref63">57</reflink>]), where 'specialized music education on the pre-collegiate level' in particular has been identified as an 'under-investigated' topic (<reflink idref="bib5" id="ref64">5</reflink>). The present study expands in various ways on the research described in the above review with reference to novel qualitative data collected using an ethnographic case study approach.</p> <hd id="AN0183055873-7">Method</hd> <p></p> <hd id="AN0183055873-8">Research questions</hd> <p>This study is designed to address the following research questions:</p> <p></p> <ulist> <item> What are the characteristics of advanced instrumental pedagogy observed in an intensive (week-long) international academy for students of western orchestral instruments who intend to become professional musicians?</item> <p></p> <item> Based on interviews and observations at two intensive music academies in the Nordic countries, to what extent can a distinctive Nordic approach to advanced instrumental pedagogy be identified and described?</item> </ulist> <hd id="AN0183055873-9">Research sites</hd> <p>This study is undertaken by two ethnographers with extensive backgrounds in Scandinavian higher music education and cross-cultural research. The empirical data for this study is from ethnographic fieldwork collected during instrumental masterclass teaching offered by two Nordic institutions: One week for strings and woodwinds at ScandiHUS (pseudonym) Music Academies in Norway (summer 2022) and one week for brass players at MUSED (pseudonym) winter camp, hosted by the Nordic Capital Conservatory (pseudonym) in early 2023. Below is an outline of the 1-week intensive schedule for each of the academies (Figures 1 and 2).</p> <p>Graph: Figure 1. Strings and winds academy, Scandihus, August 2022.</p> <p>Graph: Figure 2. Brass academy, Nordic Capital Conservatory, January 2023.</p> <p>The students at both of these intensive academies tend to be either current students or recent graduates of higher education music conservatoires, many of whom maintain a disciplined lifestyle of earnestly practicing their instruments with the hope of, for instance, gaining a position with a professional symphony orchestra or becoming a concerto soloist. The admissions screening process ensures that talented and serious young musicians are invited to these weeklong academies which are assumed to offer the highest level of teaching on western orchestral instruments for those who seek to become professional musicians.</p> <p>A total of 154 applicants were accepted, generally in their early twenties, with some special exceptions. The wind and string instrument summer academy had 23 teachers and piano accompanists serving 101 participating students, while the brass academy had 10 teachers and piano accompanists for its 53 participating students. In terms of instruments, the 2022 Strings and Winds Academy had the following number of students: Violins (<reflink idref="bib34" id="ref65">34</reflink>), Violas (<reflink idref="bib9" id="ref66">9</reflink>), Cellos (<reflink idref="bib13" id="ref67">13</reflink>), Horns (<reflink idref="bib8" id="ref68">8</reflink>), Bassoons (<reflink idref="bib10" id="ref69">10</reflink>), Flutes (<reflink idref="bib11" id="ref70">11</reflink>), Oboes (<reflink idref="bib5" id="ref71">5</reflink>), and Clarinets (<reflink idref="bib11" id="ref72">11</reflink>). The 2023 Nordic Capital Conservatory Brass Academy had the following number of students on various instruments: Horns (<reflink idref="bib16" id="ref73">16</reflink>), Trombones (<reflink idref="bib9" id="ref74">9</reflink>), Trumpets (<reflink idref="bib22" id="ref75">22</reflink>), and Tubas (<reflink idref="bib6" id="ref76">6</reflink>). Both academies attracted students from outside the Nordic countries (<reflink idref="bib49" id="ref77">49</reflink>), including, Latvia, Lithuania, Ireland, UK, Germany, Belgium, Netherlands, Hong Kong, Australia, the US.</p> <hd id="AN0183055873-10">Procedures</hd> <p>Recent research has endorsed the 'benefits of video-based microethnography' for studies of western art music pedagogy (Wright [<reflink idref="bib63" id="ref78">63</reflink>]). Our data consisted of observations recorded in fieldnotes (with synchronous live transcription of dialogues) and video recordings, as well as recorded interviews, and group discussions. The teachers participating in the academies were renowned artists and educators, many of whom are known worldwide among players of their respective instruments.</p> <p>As a research team with both Scandinavian and non-Scandinavian backgrounds, we explored Nordic perspectives from both insider and outsider viewpoints. This dual approach naturally led us to focus on the theme of pedagogical communication as we identified emerging topics. One researcher brings significant experience in organising master classes and fostering international collaborations, while the other is positioned as a researcher and semi-professional musician, specialising in the academic domains of music education and ethnomusicology. Throughout the study, the researchers maintained a careful commitment to a neutral observational stance, ensuring that their findings are grounded in objective analysis while integrating both practical teaching insights and scholarly perspectives.</p> <p>We employed a collaborative approach, with one ethnographer conducting live transcriptions of the conversations during the teaching sessions, while the other simultaneously took field notes and captured video footage. The primary data source for coding and analysing detailed instructions was the live-transcribed field note data. Data were manually coded and analysed, and Atlas.ti (Atlas.ti [<reflink idref="bib4" id="ref79">4</reflink>]) was utilised for data storage and analysis throughout the study. In addition, the ethnographers' continuous presence over each of the two weeks provided valuable supplementary insights through spontaneous conversations and the establishment of trust-building channels. Our physical presence in the room allowed us to observe and document specific aspects of one-on-one teaching in the moment, as well as communication styles (including metaphors used), and such factors as the general atmosphere in the room, physical presence, instances of physical touch, and perceived power dynamics (Burwell [<reflink idref="bib9" id="ref80">9</reflink>]).</p> <p>Upon first arriving at the sites, we met for a planning session with the organising teams and held informational meetings with all the available instrument teachers in which we described the purpose of the project and distributed consent forms while engaging in a dialogue to assess their views of the project. The teachers were very positive toward the project concept, and described how studies of this kind could be beneficial for them, but offered mixed opinions regarding the extent to which, in their estimation, we were likely to be able to reach significant findings from a single week of observations, and some sensed that pedagogical approaches are likely to vary greatly between teachers. Together with the Artistic Director, we developed an observation schedule, selected in part to achieve an optimal balance of instruments, genders, and Nordic versus non-Nordic teachers. In all, across the two 1-week academies we observed teaching – both with and without piano accompanists – in lessons on an array of instruments: violin, horn, piccolo, cello, chamber music (string trio and string quartet), and clarinet, followed later by lessons on trumpet, trombone, horn and tuba, as well as a mock audition (hosted by two bassoon teachers with nine students participating), concert performances (and rehearsals in preparation for them), and joint pedagogy-themed lessons for broad groups of instruments (e.g. brass). The teaching at both academies was entirely in English, at a high level of fluency, partly because all teachers had very international careers with recent professional experience in various countries. We conducted semi-structured interviews for data triangulation, which, consistent with ethnographic tradition, were based on questions that arose directly from observations and informal conversations as we sought to obtain explanations for the observed behaviours.</p> <hd id="AN0183055873-11">Data analysis and interpretation</hd> <p>The transcriptions from fieldnotes and interviews were coded using software for qualitative data analysis (atlas.ti). In all, through a shared effort between the two ethnographer-authors we gathered a large amount of data from the two academies, totalling 116 hours of observations and interviews. In the case of the string and winds academy, the fieldwork is categorised as 19 hours of master classes, 8 hours of orchestra playing, 4 hours of chamber ensemble, and 2 hours of evening concerts, as well as 2 hours of final concerts, 3 hours of interviews, 2 hours of group meetings, and 4 hours of social dinners and events. For the brass academy, this included 20 hours of master classes, 4 hours of brass pedagogy classes, 4 hours of ensemble sessions, 4 hours of concerts, 1 hour of group meetings, and 3 social dinners and related events in which we also actively participated.</p> <p>Through the preliminary analysis, we identified themes that later served as a basis for the literature review provided above. For our analysis of communication styles, including what we characterised as a 'gentle approach' that seems to be a feature of Nordic pedagogies, we coded and interpreted the specific ways that teachers made reference to Nordic figures and local heritage. Metaphors indicate how individuals view abstract concepts and experiences, particularly complex experiences that often feel ineffable (Kramsch [<reflink idref="bib36" id="ref81">36</reflink>]). Metaphors therefore merit careful attention in studies of pedagogical approaches (Cameron and Maslen [<reflink idref="bib10" id="ref82">10</reflink>]; Koro-Ljungberg [<reflink idref="bib35" id="ref83">35</reflink>]), but researchers must be careful to mitigate the risks of both misinterpretation and over-interpretation (Ritchie [<reflink idref="bib52" id="ref84">52</reflink>]). In our analysis of pedagogical discourse, we found that specific methods could helpfully inform our approach, one of which is a 'dual analysis' for evaluating the use of metaphors in a naturalistic context using ethnographic methods (Armstrong, Davis, and Paulson [<reflink idref="bib3" id="ref85">3</reflink>]). The authors explain, 'Researchers using this process should frame their analysis through the question: 'Are the conceptual metaphors emerging from the analysis consistent with the observational data?' (Armstrong, Davis, and Paulson [<reflink idref="bib3" id="ref86">3</reflink>], 160–161). Based on this analytical approach, we gathered fieldnotes and later in our analysis of the transcriptions, we noted metaphorical utterances alongside observed events, then categorised the metaphors, developed general descriptions of themes from the qualitative data as well as conceptual metaphors, and examined relationships between observed actions and the use of metaphors in pedagogical discourse.</p> <hd id="AN0183055873-12">Delimitations</hd> <p>While we consider the experiences of students to be very important, our purpose in this article is necessarily limited to a focus on the expert teachers and their pedagogy for advanced instrumental students, specifically in order to address the research questions indicated above. Future publications may examine student experiences and the perspectives of academy administrators, coordinators and piano accompanists.</p> <hd id="AN0183055873-13">Results</hd> <p></p> <hd id="AN0183055873-14">Academy structure and daily routines</hd> <p>The venues for the music academies reflected Nordic environments in contrasting ways. The summer academy, characterised by its transparent glass architecture, provided an atmosphere with natural light, intimacy, and direct views of Norwegian nature in the mountains not far from Oslo. In contrast, the winter camp in Denmark was situated within historical architectural surroundings in urban Nordic Capital, offering halls and rooms crafted from wood and carefully chosen materials, resulting in unique acoustics and an aesthetic atmosphere.</p> <hd id="AN0183055873-15">Instrumental technique</hd> <p>We encountered a wide variety of topics and approaches in the instrument lessons. We will begin by offering a general description of the communication styles and approaches used by each teacher we observed and then describe examples of specific interactions.</p> <p>One instrument teacher, who has recently retired following decades as a professor at one of the main Nordic music academies, showed great enthusiasm in her lessons. This well-known pedagogue who has multiple publications on instrumental pedagogy, and in her lessons shared many amusing stories from a lifetime of rich experiences, but also gave precise and detailed suggestions for how to resolve technical problems and develop more expressive phrasing:</p> <p>'<emph>Let's get through it again. I sit down, I don't want to be taller than the student, it is a psychological thing.'</emph></p> <p> <emph>'Super good'</emph> she suggests alternate fingerings to the horn student, then explains about accents, giving a 'thumbs up' for confidence.</p> <p>Another instrumental teacher was teaching trombone in a nearby room:</p> <p>'<emph>I would like you to ... put your trombone here. You hang, stretch, still hanging, the arms in front of you, and stand. You are ready to take the world! Now you are leaning too much forward, the trombone goes too much down. There, always over here. Long breath, stand up, relax ... good, you can do it. You go in on the D flat.'</emph></p> <p>Later, the same teacher explains:</p> <p>'<emph>Let's try, do it slow, try to play a little softer, try to avoid the hectic breathing,, yes it's good, now we start and just play to the A, have a good sound on every note, be precise with the slide.'</emph></p> <p>One Scandinavian string teacher was still recovering from a physical condition at the time of the academy, but managed to effectively teach exclusively through use of questions and verbalised instructions. Students received precise feedback regarding how to explore different physical adjustments (such as bowing and shifting), much of which was reinforced by the teacher's gestures. Consider the following examples from fieldnotes:</p> <p> <emph>After the teacher says 'Imagine the piano accompaniment,' the student plays the first page as a start. [The teacher walks around, sitting for only a short time. He watches the student from several different positions, keeping approximately 2 meters of distance. Later, he talks about violin equipment (for ideally supporting the instrument between the player's chest and neck) and advises the student to take care of the position and the sound]</emph> </p> <p> <emph>The teacher checks that the student relaxes and says, 'You must not be too tense, don't push too hard. Soft in the left hand and right hand strong, but you have to be aware, you are lucky because the vibrato is so good, you have the strength in the left hand, which others will envy.' He asks, 'Are you more relaxed with the vibrato now?'</emph> </p> <hd id="AN0183055873-16">Personal story-telling</hd> <p>It was common in the teaching for instrumental instructors to share extended personal stories about their own experiences as a musician. For instance, one teacher discussed the topic of performance anxiety, using an example from his first trial period in a professional opera:</p> <p>'<emph>I was not prepared. You have to be prepared for everything, the mental train [train of thought] is very important.' He offers general advice: 'About adrenaline and stress, my suggestion – deep breathing during the introduction, better than the small high breath, tension here [gestures toward throat] – fix the tension here, in the pit I often do like this, to remind myself that my starting point is like this, then the minutes before the entry, I do like this (deep, relaxed blowing).</emph></p> <p>One of the teachers talked about how when he played in orchestras he 'always checked the program' to see when Bolero comes. This enabled him to be prepared in advance for the technical demands of particular repertoire. Another of the master teachers described being on a jury that was conducting auditions for a professorship in music performance. She explained how a candidate not only played in a boring way but even missed his entrance in the middle of the music. Later, the candidate explained, 'I have never been so nervous for 20 years.' The master teacher explained 'we need to remember the pianist and listen and remember to start playing ... ' The point of this story was that regardless of one's high level of musicianship or the circumstances surrounding the music, it is always important to listen carefully to the other musicians and focus on the music itself throughout the performance. Another master teacher explained the importance of not only practicing technically demanding parts many times, but also making a point of recognising and rewarding oneself when progress is made. The teacher explained, 'I would do, seven times ....a little reward is to write the date I did it, I was so proud, it has become my little history book..' Effective personal practices of this kind contribute to both goal-setting and confidence in artistic development.</p> <hd id="AN0183055873-17">Gentle verbalizations</hd> <p>One notable aspect of our observations of communication style among string and wind instrument teachers is their overall use of gentle language and metaphors. Through appreciative inquiry and open-ended questions, the Scandinavian teachers generally aimed to empower students to explore and decide for themselves how best to develop improvements in their own playing. In observed lessons, the word 'try' appeared frequently in their vocabulary, signifying a nurturing and encouraging approach to teaching based on shared intentions rather than commands. We noticed several teachers used such phrases as 'maybe we should try' rather than simply telling the student what they should do: '<emph>It could be good to</emph> ....' In general, the teachers offered a friendly guiding approach, often including some singing, simple dance movements, a smiling attitude and use of the body, playing on the instrument to show examples, as well as talking in detail about tempo, beat and rhythm, breath control and various techniques.</p> <p>Teachers gently commented, sharing their immediate reactions on observing students' performances of selected phrases:</p> <p> <emph>[A teacher notes that the student is still not doing exactly what was requested but is nevertheless sounding adequate]: 'I promised to not talk about the bow, but the bow arm looks weird yet sounds good ... '</emph> </p> <p> <emph>[A teacher recognizes in his reactions that there is not always a single correct way to play, and that what works well for one body might not be universal.]: 'The music – living in the moment, I could do this, or I could do this, it's about timing, don't show when you change ....but really nice, nice sound, you play in tune, when I observe you stand, the head down, do you have to do that, maybe – left hand technique, this is what I learned.'</emph> </p> <hd id="AN0183055873-18">Mock audition</hd> <p>Two woodwind teachers hosted a mock audition to mimic the process by which musicians are hired for a professional position in a symphony orchestra. Each student took a number to decide on the order of playing, and later played two standard orchestral excerpts without accompaniment (famous excerpts by Mozart, Stravinsky, Ravel, Shostakovitch, etc.). Then they received immediate feedback from each observing teacher. The teachers sat like a jury in the back of the room, together with all the other students, five meters away from the 'auditioners', with coffee and a paper for notes.</p> <p>The 'jurors' appeared to share very similar opinions regarding all performances. First, the master teachers would offer positive feedback after each performance, with a lot of positive words, such as: <emph>Great, beautiful, nice, bravo, very good, elegant ... </emph>Many of the latter comments can be understood as rather gently phrased corrections, such as the following: (<reflink idref="bib1" id="ref87">1</reflink>) V<emph>ery musical, general interpretation very nice, sometimes you lose the airflow, you even lost a note, you need to work a bit, with basics ... </emph> (<reflink idref="bib2" id="ref88">2</reflink>) <emph>Great, and.. Bravo! Great energy when you presented yourself, combining the energy with elegance, but the end of phrases, take care ....</emph> (<reflink idref="bib3" id="ref89">3</reflink>) <emph>Longer lines, not note by note, the vibrato be careful, great fingerings I can find for you later ... </emph></p> <hd id="AN0183055873-19">The notion of a Nordic approach</hd> <p>We noted in our transcriptions from fieldnotes and interviews that there were frequent references to Nordic countries, Nordic artists, and concepts that are connected with Scandinavian lifestyle. Specifically, we coded 10 examples from brass teachers, although, interestingly, there was only one example noted from the teachers of other instrument types. First, notable Nordic brass pedagogues and composers were mentioned, such as composers Carl Nielsen and Axel Jørgensen, and trombone teacher Ingemar Roos (Stemple [<reflink idref="bib58" id="ref90">58</reflink>]). These are merely a few examples, as the brass teachers also frequently referred to each other in a positive way, sometimes with humour (e.g. 'these are my Håkon boots') and seemed to describe their field as having a tight-knit local community. Secondly, national and regional characteristics were mentioned, such as 'play with a south European temperament,' and 'we don't do vibrato too much in Norway.' Additionally, references to nature, Scandinavian heritage, and fishing sometimes appeared, such as 'do you know this Danish song?' and 'a small fish, a guppy and then a whale, you are from Iceland, right?'. The only Nordic reference coded in transcriptions from the wind and string players was to a prototype device useful for physiological health of string players that the teacher had used in Arvika (Sweden).</p> <p>At various points during the week we mentioned the idea of a 'Nordic approach' in instrumental music teaching to different people at the music academies, not only the Nordic instrumental teachers themselves, but also accompanists and teachers from outside the Nordic countries. Interestingly, without exception, each teacher we interviewed indicated something to the effect of <emph>yes, there does seem to be a Nordic approach, but it is difficult to define</emph>. For instance, one Scandinavian teacher described it in the following way: <emph>different (...) than Asian, Russian ... American ... the relationship between teacher and student, same as in Germany – Sie</emph> [honorary term for teacher]<emph>, but now it's changing – now here [in Scandinavia today] it's maybe too relaxed, ... Asia is always coming into my mind. Manchester, slightly direct, the English culture – go around, polished ... </emph></p> <p>These observations contrasted in some ways with that of another teacher, who was not from Scandinavia: <emph>From the Russian tradition there is a different relationship between teacher and student. (...) Asia has an old approach, hierarchical ....North American – more selfish, the tradition – the younger generation is more inclusive..</emph></p> <p>'In that case, how would you describe your own teaching method?' we asked. The reply: <emph>Provocative, because I expect my students to be proactive, and be independent ... force them to confront themselves, both technically and musically, students are desperate to be confirmed ... How to measure – the assessment, not just one final output, it's a process.</emph> Later, a teacher explained further: <emph>About the Scandinavian approach .....we should not generalize, it is so comfortable..but maybe accommodating and consensual, maybe the Russians [show] more resilience? They are prepared to sacrifice more ... </emph></p> <p>One non-Nordic teacher hinted at some specific characteristics, particularly in contrast with Eastern European (particularly Russian) approaches. That teacher noted that Russian teachers are part of a great heritage with many important success stories, but that for each star performer in that system there are many unsuccessful former students who must accept the role of failures. On the opposite side is a 'Nordic approach,' which is alleged to be very positive and encouraging, empathetic and supportive even to the point of sometimes risking excessive softness on the part of the teacher. Overall, the Scandinavian teachers seemed to be polite and supportive, yet direct with precise suggestions regarding what needs to be done in order to fix specific issues. Interestingly, we also encountered teachers who suggested that excessive politeness was more of a trait associated with teaching in the UK, and that in Scandinavia one could rely on teachers to be relatively direct in their assessments. We observed that students were encouraged to critically self-assess issues in their performance.</p> <hd id="AN0183055873-20">Metaphor use in teacher verbalizations</hd> <p>One characteristic feature of much of the teaching observed at the academies was a rich use of metaphors, which became apparent when analysing the transcriptions. When instrument teachers use metaphors in their instruction, they create a bridge between abstract musical concepts and concrete, relatable experiences for their students. Further insights were made when we compiled and categorised metaphors identified in the transcriptions of teacher verbalizations collected through the fieldwork (Figure 3).</p> <p>Graph: Figure 3. Typology of metaphors in instrumental teacher verbalizations.</p> <p>Some of the metaphors used in teaching turned out to be quite complex, involving extended descriptions. For instance, at one point a violin teacher tried to stimulate a more interesting interpretation of a musical phrase by engaging a student's imagination as they played their instrument: 'try to make something suddenly coming, like an animal coming. What could it be? Yeah, it's getting better, have some pictures in your mind. You can have the whole farm of animals to think about!' In another teaching situation, a violin teacher urged the student to 'use the bow length to show the dynamics happening. Enjoy, show it's wonderful ... like drama,' and the same teacher later suggested to a different student, 'what I can see now, you lift your shoulder. Don't do that. Imagine a needle pulling the thread, you must be very ... the string is very short, you must be exact as this, be careful, only the bow.'</p> <p>The transcriptions showed how metaphors serve multiple purposes: they are employed for open artistic expression and aesthetic interpretation in categories such as 'imaginative states' and 'tastes/colors', as well as for conveying a clearer understanding of certain situations, as seen in the 'precise scenario' category. The 'nature' category serves multiple purposes, incorporating air as a metaphor for both physical actions like blowing and breathing (especially for brass instruction), as well as more indirect and imaginative references to natural resources such as the power of water and fire. The category of 'national symbolism' exhibits a more culture-bound or nationally specific reference compared to the category of 'movement/sport', which has a broader application, particularly in terms of technical aspects of instruction e.g. 'you play tennis, when you have the high ball, instead of smashing.' Metaphors are expressed in diverse ways, spanning from ironic and humorous verbalizations, e.g. 'send out the tenor, screaming his lungs out', to child-like imagination, as well as gentle, feminine, and mature adult communication, e.g. 'find the backdoors, for each issue there are probably different back doors'.</p> <hd id="AN0183055873-21">Discussion</hd> <p>Overall, we noticed some general differences in the verbalizations of brass teachers when compared with teachers of winds and strings. Specifically, the string teachers tended to speak a lot about posture and bow positioning, as well as interpretation of phrasing. The brass teachers spoke more about breath control and tone, as well as the need to relax and control one's anxiety, and how to keep one's focus and motivation. More general professional issues were also discussed, which may be partly due to the fact that in orchestral settings the brass players typically spend much less time actually playing their instruments. We note that the solo repertoire for string instruments is much larger than that for brass while for brass instruments there is a tendency in western classical music to play as soli rather than in extended or technically complex solos, and there is a significant brass band tradition in the Nordic countries. Additionally, the discussion implied that the string players were more a part of a broad western tradition, while the brass players seemed to emphasise more of a Nordic identity.</p> <p>Our examination of metaphor usage in advanced instrumental pedagogy at the two academies revealed a distinct communication strategy. The identified metaphors correlate with high intellectual capacity and advanced students' abilities to understand and perform, reflecting a refined musicianship. Metaphors were predominantly employed for interpretive guidance rather than only using precise language for technical instructions (e.g. 'place more pressure on your left finger, higher on the string' etc.). Students were encouraged to discover their own understanding and derive personal meaning from symbolic anecdotes, emphasising a personalised coaching approach over direct instruction. Interpreting the metaphorical context requires students with heightened cognitive perception to interpret indirect verbal expressions involving imagination, aesthetic artistry, irony, humour, and cultural references in their own unique ways as the teachers engage collaboratively with their students.</p> <p>Metaphors have diverse applications and a rich tradition in music across various regions. They serve to facilitate a more open and imaginative form of communication, making it challenging to attribute a specific Scandinavian approach based solely on their usage as identified in this study. Nevertheless, while the use of metaphors aims to guide students towards a particular understanding and behaviour, it differs from the instructional approaches observed in, for instance, Japanese wind instrument instruction (Hebert [<reflink idref="bib23" id="ref91">23</reflink>]), and among young orchestral musicians in Australia (Wolfe [<reflink idref="bib62" id="ref92">62</reflink>]), guitar instruction in Brazil (Zorzal and Soares-Quadros [<reflink idref="bib65" id="ref93">65</reflink>]). In this study, metaphors appear to serve as supplements, aiding students in discovering their own paths – an approach aligned with the student-centered teaching tradition often associated with Scandinavian pedagogy. While advanced instrumental music teaching typically involves individual interpretation, teachers may adopt different teaching styles and objectives. Analysis of transcription data revealed discrepancies in metaphor usage among teachers, suggesting that this variance likely stems more from personal inclinations and teaching objectives than from regional traits.</p> <p>From the kinds of teaching we observed, it was clear that teachers aimed to make students become proactive and independent, through ingraining a helpful approach to self-assessment and critique, imparted through use of not only technical directions but also provocative questions and imaginative metaphors and anecdotes. Perhaps it is unsurprising that we found the teaching at these academies to be rich in metaphors. This may be due to the fact that the academies are designed specifically for advanced students. Previous research determined that advanced students were 'the only ones for whom instructions using images and metaphors did not differ from instructions using literal language,' which was interpreted as 'because advanced students have overcome some technical difficulties that are both more frequently addressed using literal language' (Zorzal and Soares-Quadros [<reflink idref="bib65" id="ref94">65</reflink>], 506). Some of what we observed at these academies also resembled the work of renowned master class teachers, such as William Westney and Bud Beyer, in terms of approaches that aim to shift the focus of accomplished musicians away from technical skills and toward freer forms of expressive communication (Westney [<reflink idref="bib60" id="ref95">60</reflink>]; Beyer [<reflink idref="bib5" id="ref96">5</reflink>]).</p> <p>The kinds of metaphors used by teachers in this study invited individual reflection on the part of students, which fit well with the notion of a characteristically Nordic student-centered and collaborative approach to learning. Overall, the Scandinavian teachers seemed to be quite polite and supportive, yet direct with precise suggestions regarding what needs to be done in order to fix specific issues. Interestingly, we also encountered teachers who suggested that excessive politeness was more of a trait associated with teaching in the UK, and that in Scandinavia one could rely on teachers to be relatively direct in their assessments. Overall, we found that students were encouraged to critically self-assess issues in their performance, and were directly shown viable solutions, all done in a way that seemed to eschew excessively emotional interpretations of any temporary challenges. In other words, teachers and students were 'in this together', already sounding excellent, but trying to resolve very tiny issues in order to sound even better. We find both widespread agreement and empirical indications supporting the claim that a 'Nordic approach' is generally recognisable in this field, but further study would be necessary to determine exactly what it entails, whether a typology or explanatory model might be developed, and this question merits further research.</p> <hd id="AN0183055873-22">Conclusion</hd> <p>The presence of a Nordic approach in the instrumental teaching observed at the two academies is recognised as partly traceable to the pedagogical traditions associated with the Nordic region and partly to instrument-specific and personal teaching styles. Additionally, metaphors and gentle verbalizations, especially in guiding advanced students, highlight a personalised coaching style typical in Scandinavian teaching, which encourages independent thought and interpretation in student-centered instruction (Hebert and Hauge [<reflink idref="bib24" id="ref97">24</reflink>]; Larsen, Schulte, and Thue [<reflink idref="bib38" id="ref98">38</reflink>]). While we observed similarities with methods used by renowned master class teachers, such as prioritising expressive communication over technical skills, Scandinavian instructors stand out for their distinct politeness and directness, indicative of a unique pedagogical approach. Further research is necessary to fully understand this 'Nordic approach' in instrumental pedagogy, potentially leading to the development of typologies or explanatory models in the field. Our findings underscore the diverse instructional strategies and cultural influences shaping musical education, emphasising the need for ongoing exploration and analysis.</p> <hd id="AN0183055873-23">Disclosure statement</hd> <p>No potential conflict of interest was reported by the author(s).</p> <ref id="AN0183055873-24"> <title> References </title> <blist> <bibl id="bib1" idref="ref52" type="bt">1</bibl> <bibtext> Almqvist, Cecilia Ferm, and Ann Werner. 2023. " Maintaining and Challenging Conservative Teaching and Learning Culture in Conservatories: The Need for Holistic Pedagogy in Educational Fields of Tension." Research Studies in Music Education 46 (2): 257 – 270.</bibtext> </blist> <blist> <bibl id="bib2" idref="ref53" type="bt">2</bibl> <bibtext> Angelo, Elin, Øivind Varkøy, and Eva Georgii-Hemming. 2019. " Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies." 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Marianne's expertise encompasses Musicology, Leadership, Chinese, ICT, culture, and learning design, resulting in unique contributions, such as her involvement in establishing the Music Confucius Institute (MCI) from 2012 to 2020. Her dedication to innovative education is reflected in her work in distance learning, global partnerships, and digital learning platforms like the Global Conservatoire. She is pursuing a PhD at Aalborg University, Institute for Culture and Learning (2021–2026). Her previous publications appear in International Journal of Music Education , and the book Ethnomusicology and Cultural Diplomacy.</p> <p>David G. Hebert is a Professor of Music Education at Western Norway University of Applied Sciences, Bergen. He is also an Honorary Professor with the Education University of Hong Kong and Affiliated Professor with the University of the Faroe Islands. He is a Board member of ISME and Chair of its History Standing Committee. He manages the Nordic Network for Music Education and currently has grant funded projects in Uganda and China. He is author or editor of 10 books and has articles in over 30 different journals.</p> </aug> <nolink nlid="nl1" bibid="bib44" firstref="ref1"></nolink> <nolink nlid="nl2" bibid="bib18" firstref="ref2"></nolink> <nolink nlid="nl3" bibid="bib27" firstref="ref4"></nolink> <nolink nlid="nl4" bibid="bib57" firstref="ref5"></nolink> <nolink nlid="nl5" bibid="bib51" firstref="ref6"></nolink> <nolink nlid="nl6" bibid="bib50" firstref="ref7"></nolink> <nolink nlid="nl7" bibid="bib19" firstref="ref8"></nolink> <nolink nlid="nl8" bibid="bib55" firstref="ref9"></nolink> <nolink nlid="nl9" bibid="bib11" firstref="ref10"></nolink> <nolink nlid="nl10" bibid="bib33" firstref="ref11"></nolink> <nolink nlid="nl11" bibid="bib25" firstref="ref12"></nolink> <nolink nlid="nl12" bibid="bib24" firstref="ref13"></nolink> <nolink nlid="nl13" bibid="bib40" firstref="ref14"></nolink> <nolink nlid="nl14" bibid="bib38" firstref="ref15"></nolink> <nolink nlid="nl15" bibid="bib58" firstref="ref16"></nolink> <nolink nlid="nl16" bibid="bib61" firstref="ref17"></nolink> <nolink nlid="nl17" bibid="bib49" firstref="ref18"></nolink> <nolink nlid="nl18" bibid="bib20" firstref="ref19"></nolink> <nolink nlid="nl19" bibid="bib12" firstref="ref20"></nolink> <nolink nlid="nl20" bibid="bib39" firstref="ref21"></nolink> <nolink nlid="nl21" bibid="bib48" firstref="ref22"></nolink> <nolink nlid="nl22" bibid="bib54" firstref="ref23"></nolink> <nolink nlid="nl23" bibid="bib42" firstref="ref24"></nolink> <nolink nlid="nl24" bibid="bib41" firstref="ref25"></nolink> <nolink nlid="nl25" bibid="bib37" firstref="ref26"></nolink> <nolink nlid="nl26" bibid="bib45" firstref="ref27"></nolink> <nolink nlid="nl27" bibid="bib47" firstref="ref28"></nolink> <nolink nlid="nl28" bibid="bib59" firstref="ref29"></nolink> <nolink nlid="nl29" bibid="bib29" firstref="ref30"></nolink> <nolink nlid="nl30" bibid="bib30" firstref="ref31"></nolink> <nolink nlid="nl31" bibid="bib13" firstref="ref32"></nolink> <nolink nlid="nl32" bibid="bib16" firstref="ref33"></nolink> <nolink nlid="nl33" bibid="bib64" firstref="ref34"></nolink> <nolink nlid="nl34" bibid="bib43" firstref="ref35"></nolink> <nolink nlid="nl35" bibid="bib46" firstref="ref36"></nolink> <nolink nlid="nl36" bibid="bib17" firstref="ref37"></nolink> <nolink nlid="nl37" bibid="bib53" firstref="ref38"></nolink> <nolink nlid="nl38" bibid="bib62" firstref="ref39"></nolink> <nolink nlid="nl39" bibid="bib65" firstref="ref40"></nolink> <nolink nlid="nl40" bibid="bib23" firstref="ref45"></nolink> <nolink nlid="nl41" bibid="bib26" firstref="ref48"></nolink> <nolink nlid="nl42" bibid="bib15" firstref="ref49"></nolink> <nolink nlid="nl43" bibid="bib31" firstref="ref50"></nolink> <nolink nlid="nl44" bibid="bib32" firstref="ref51"></nolink> <nolink nlid="nl45" bibid="bib34" firstref="ref54"></nolink> <nolink nlid="nl46" bibid="bib56" firstref="ref56"></nolink> <nolink nlid="nl47" bibid="bib14" firstref="ref57"></nolink> <nolink nlid="nl48" bibid="bib21" firstref="ref58"></nolink> <nolink nlid="nl49" bibid="bib22" firstref="ref60"></nolink> <nolink nlid="nl50" bibid="bib28" firstref="ref62"></nolink> <nolink nlid="nl51" bibid="bib10" firstref="ref69"></nolink> <nolink nlid="nl52" bibid="bib63" firstref="ref78"></nolink> <nolink nlid="nl53" bibid="bib36" firstref="ref81"></nolink> <nolink nlid="nl54" bibid="bib35" firstref="ref83"></nolink> <nolink nlid="nl55" bibid="bib52" firstref="ref84"></nolink> <nolink nlid="nl56" bibid="bib60" firstref="ref95"></nolink>
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  Data: Exploring Nordic Approaches to Advanced Instrumental Music Pedagogy: Insights from Ethnographic Fieldwork
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  Data: <searchLink fieldCode="AR" term="%22Marianne+Løkke+Jakobsen%22">Marianne Løkke Jakobsen</searchLink> (ORCID <externalLink term="https://orcid.org/0000-0003-3488-7546">0000-0003-3488-7546</externalLink>)<br /><searchLink fieldCode="AR" term="%22David+G%2E+Hebert%22">David G. Hebert</searchLink> (ORCID <externalLink term="https://orcid.org/0009-0002-1446-3893">0009-0002-1446-3893</externalLink>)
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  Data: <searchLink fieldCode="SO" term="%22Music+Education+Research%22"><i>Music Education Research</i></searchLink>. 2025 27(1):73-89.
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  Data: Routledge. Available from: Taylor & Francis, Ltd. 530 Walnut Street Suite 850, Philadelphia, PA 19106. Tel: 800-354-1420; Tel: 215-625-8900; Fax: 215-207-0050; Web site: http://www.tandf.co.uk/journals
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  Data: Y
– Name: Pages
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  Data: 17
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  Data: 2025
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  Data: Journal Articles<br />Reports - Research
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  Label: Descriptors
  Group: Su
  Data: <searchLink fieldCode="DE" term="%22Music%22">Music</searchLink><br /><searchLink fieldCode="DE" term="%22Teaching+Methods%22">Teaching Methods</searchLink><br /><searchLink fieldCode="DE" term="%22Cultural+Influences%22">Cultural Influences</searchLink><br /><searchLink fieldCode="DE" term="%22Musical+Instruments%22">Musical Instruments</searchLink><br /><searchLink fieldCode="DE" term="%22Music+Teachers%22">Music Teachers</searchLink><br /><searchLink fieldCode="DE" term="%22Foreign+Countries%22">Foreign Countries</searchLink>
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  Label: Geographic Terms
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  Data: <searchLink fieldCode="DE" term="%22Norway%22">Norway</searchLink><br /><searchLink fieldCode="DE" term="%22Scandinavia%22">Scandinavia</searchLink>
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  Data: 10.1080/14613808.2024.2447245
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  Data: 1461-3808<br />1469-9893
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  Label: Abstract
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  Data: This ethnographic research was conducted at two intensive Scandinavian music academies with the aim of examining the extent to which there is a Nordic approach to advanced instrumental music teaching. Data collected through observations, interviews, and discussions revealed academy structures, instrumental techniques, and the use of metaphors in teaching. The study found a blend of Nordic pedagogical traditions, instrument-specific approaches, and personal teaching methods. The Scandinavian instructors tended to employ personalized coaching styles, emphasizing independent thought and interpretation. A characteristic form of politeness and directness was identified among the Nordic pedagogues that shares some features with renowned masterclass teachers in other contexts. Further research is needed to fully grasp this Nordic approach, potentially leading to typologies or explanatory models. The study underscores the need for continued exploration and analysis of diverse instructional strategies and cultural influences in music education.
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        PageCount: 17
        StartPage: 73
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      – SubjectFull: Music
        Type: general
      – SubjectFull: Teaching Methods
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      – SubjectFull: Cultural Influences
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      – SubjectFull: Musical Instruments
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      – SubjectFull: Music Teachers
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      – SubjectFull: Foreign Countries
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      – SubjectFull: Norway
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      – SubjectFull: Scandinavia
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      – TitleFull: Exploring Nordic Approaches to Advanced Instrumental Music Pedagogy: Insights from Ethnographic Fieldwork
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