A selection from Stockholm University publication database

• Educating Orchestral Musicians

  2017. Maria Calissendorff, Haukur F. Hannesson. British Journal of Music Education 34 (2), 217-223

  Article

  This article examines research on the specific training of musicians before they begin work as players in professional orchestras. Most of the research is in the area of education. The present article suggests that little research exists that is specific to the development of a traditional orchestra musician from an early age through the music education system, although considerable research exists on the development and broadening of the actual role of the professional musician in a changing world (portfolio careers).

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• Student music teachers' learning styles in theoretical and practical situations

  2015. Maria Calissendorff. International Journal of Music Education 33 (3), 348-358

  Article

  This study analyzes and compares the results of a survey and an interview investigation concerning the learning styles of 32 student music teachers at The University College of Music Education (SMI) in Sweden. The students' learning style preferences were examined through a productivity environmental preference survey (PEPS), a computer-based survey that is based on the Dunn and Dunn Learning Style Model. The students who completed the survey expressed a difference between learning something that was theoretically new and difficult and something that was new and difficult related to their instrument/singing. The surveys were then followed up by semi-structured interviews with 31 of the 32 students. The study found that there is only a minimal difference between practice and theoretical learning regarding the learning styles of student music teachers. The students' procedure in theoretical learning was, as far as possible, the same as for practical learning, and it is the more practical and physical details that present obstacles. The practical relevance of the research is that it raises awareness for students regarding their learning styles and how they can streamline both their own learning and that of their future pupils.

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• Gymnasielärares uppfattningar av kvalitet i gymnasiearbetet

  2021. Maria Calissendorff, Ylva Ståhle. Utbildning och Lärande / Education and Learning 15 (1), 50-67

  Article

  With the latest upper-secondary school regulations, all students must complete a diploma project. The diploma project in the university preparatory programs has been given a more prominent role than the previous project work and should be seen as a preparation for higher studies. The article presents results from a sub-study within a major collaborative project on the diploma project. The purpose of the sub-study was to increase the knowledge of what is perceived as quality in the diploma project school work within the framework of the social science program through focus group discussions with secondary school teachers. Based on a phenomenographic analysis, four qualitatively different categories were identified: academic quality is perceived as that structure is followed, knowledge is obtained, language is mastered and that research awareness is shown. The results showed that the upper secondary school teachers' perceptions were primarily dominated by a skills discourse.

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• Beauty/Schönheit/Skönhet

  2018. Susanne Jaresand, Maria Calissendorff. International Journal of Music and Performing Arts 6 (2), 1-7

  Article

  In an artistic project we investigated the points of contact between choreography and music composition in a listening stance, where the meeting between the artists was visible and audible. Collective creative processes arose from this attitude of listening. One way to bring forth the listening stance – and not only uni-directionally, as when a choreographer uses a through-composed piece of music – was to let a composer write music to a dance, choreographed in silence. The performance gave the opportunity to change rituals around listening that are predominantly current in an attempt to resuscitate the eyes, ears, inner and outer attention to a reflective listening; to take these thoughts where the body goes and break the patterns of embodied and cognitive ways of thinking. In a position of stillness, one can renew, breath, give and open up to new opportunities. The cognition/corporeality of the dance became a way to listen to music.

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Show all publications by Maria Calissendorff at Stockholm University