Abstract
This article aims to explore and discuss how, on many levels and in many ways, polyphonic dialogues can fluctuate among participants in a multidisciplinary didactic art project implemented in schools, namely, School and Concert – From Transmission to Dialogue (DiSko). DiSko is an innovation project that aims to try different ways to address the significant lack of school ownership to professional visiting concerts in Norwegian schools.The project method, educational design research, is a combination of approaches that are usually applied to well-known research-based problems. Empirically, researchers and participants carry out successive iterations of experiential case interventions based on ongoing analysis. A central aim of the method is to suggest concrete research-based solutions or new ways of addressing a problem, which is instrumental outside specific case contexts.Dialogue is a major epistemological grounding for DiSko and its descriptive cases, and throughout the article, the project design and activities are viewed in terms of Bakhtin’s concepts chronotope, carnival and polyphony. Through discussions about aspects of the methodology as well as by providing an empirical case example, this article describes how elements of educational design research may be composed in order to maintain an epistemology of dialogue and polyphony.
Highlights
The above vignette provides a glimpse into how a visiting musician, Eric, uses dialogue to address pupils’ musical ideas
My main research questions in this article are as follows: In which ways do dialogues evolve and fluctuate between participants in a music partnership project, and how are social roles affected by such dialogues? How can dialogue, as an epistemological grounding for a research project, be maintained by methods derived from educational design research (EDR), and how can project data be analysed in terms of the Bakhtinian concepts chronotope, carnival and polyphony?
I address the specific conditions for dialogue at School 1 by discussing aspects of chronotope, carnival and polyphony
Summary
The aim of the project is to explore how dialogue-based visiting musician practices can be developed in such a way that they can be meaningfully and professionally integrated into everyday school situations. My main research questions in this article are as follows: In which ways do dialogues evolve and fluctuate between participants in a music partnership project, and how are social roles affected by such dialogues? After closely following the project activities at one school, I found that the dialogic practice evolved and strengthened during the project. The analysed project activities can be characterised as being close to pupils’ and teachers’ everyday life-worlds, opening up discussion about how to allow more unfamiliar and radical musical expressions. The article provides background information about prior research results regarding visiting art practices in schools, followed by theoretical approaches to dialogue (Bakhtin, 1981). In accordance with the view of polyphony as a non-conclusive concept (Kim, 2016, p. 72‒76), there is no conclusion in this article, only a compilation of questions and crossing paths to follow in the future
Sign-in/Register to view highlights & summary Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
