Musik och Samhälle är ett kunskapsfält med intresse för musikens roll i samhället och i människors vardagsliv ur såväl ett samtida som historiskt perspektiv. Kunskapen som genomkorsar detta fält är både praktisk och teoretisk. Det handlar således både om erfarenheter och know-how och om hur man med olika teoretiska verktyg kan förstå det som händer. För att samla alla med intresse för frågor av det här slaget har ABF och forskare vid Malmö högskola sedan 2009 årligen arrangerat konferensen Musik och Samhälle. Här träffas forskare, folkbildare, föreningsaktiva, folk från branschen och dess organisationer, folk som arbetar med massmedia samt kommunala, regionala och statliga aktörer för att utbyta erfarenheter, diskutera och inte minst knyta kontakter.

The purpose of this article is to analyse three case study examples of musical folkbildning in Sweden. The first case study is from the establishment of the state-funded Framnäs Folk High Music School in the middle of the last century. The second case study, Hagström's music education, is from the same time but describes a music school run by a private company. The third case study concerns a contemporary expression of folkbildning, namely hip-hop. The theoretical framework that inspired this article stems from the work of Pierre Bourdieu. The double feature of folkbildning appears in terms of: elitist and democratic tendencies, high and low taste agendas, control and freedom.

Pierre Bourdieu has been an extraordinarily influential figure in the sociology of music. For over four decades, his concepts have helped to generate both empirical and theoretical interventions in the field of musical study. His impact on the sociology of music taste, in particular, has been profound, his ideas directly informing our understandings of how musical preferences reflect and reproduce inequalities between social classes, ethnic groups, and men and women. Bourdieu and the Sociology of Music Education draws together a group of international researchers, academics and artist-practitioners who offer a critical introduction and exploration of Pierre Bourdieu’s rich generative conceptual tools for advancing sociological views of music education. By employing perspectives from Bourdieu’s work on distinction and judgement and his conceptualisation of fields, habitus and capitals in relation to music education, contributing authors explore the ways in which Bourdieu’s work can be applied to music education as a means of linking school (institutional habitus) and learning, and curriculum and family (class habitus). The volume includes research perspectives and studies of how Bourdieu’s tools have been applied in industry and educational contexts, including the primary, secondary and higher music education sectors. The volume begins with an introduction to Bourdieu’s contribution to theory and methodology and then goes on to deal in detail with illustrative substantive studies. The concluding chapter is an extended essay that reflects on, and critiques, the application of Bourdieu’s work and examines the ways in which the studies contained in the volume advance understanding. The book contributes new perspectives to our understanding of Bourdieu’s tools across diverse settings and practices of music education.

Issues of social environment and its impact on educational choices have been discussed in different contexts, and may have both exclusive and inclusive implications. When it comes to higher music education in Sweden, the non-denominational church is such an environment. Our hypothesis is that students and staff within Swedish musical academies have a background from the non-denominational church. Important questions in this context are: what standards arise? Who is allowed access? For this reason, it is important for general education research and music educational research to gain knowledge about the learning that takes place in such educational environments and to investigate how social capital is formed in non-denominational churches whose members pursue higher music education. The overall aim of this paper is to gain a better understanding of the social environments that seem to foster a certain type of learning and enhances building social capital. Methodologically this paper consists both of quantitative as well as qualitative method. The quantitative method is based on the Swedish SOM Institute survey and the results from SOM 2010 and will analyze the correlation between activity in the non-denominational church and music activities. The qualitative method is based on semi-structured focus group interviews with participants (students / staff) from the music education at Lund University. The interviews aim to answer the question how musical learning and social capital is formed in the non-denominational church. Furthermore, by using focus group interviews, we want the informants to discuss the pathway, which has led them to the Academy of Music. In addition, we also intend to have discussions about the learning that has taken place within the frame of non-denominational churches. These two studies are built on each other, utilizing quantitative and qualitative method, which is the strength of a mixed methods approach. As a theoretical framework, sociologist Pierre Bourdieu’s capital and field theories are useful. According to Bourdieu, social capital is one of several different forms of capital, which are linked to relationships in various forms. By using the concept of capital we show that relationships have a value in itself. According to Bourdieu, the formation of social capital may be seen as a deliberate investment. The concept of field is defined as a place for games, a place of objective relations between individuals or institutions in competition over the same object. According to Bourdieu, social interaction can only be understood from the field from which it is performed. We believe this study has Scandinavian relevance and that it may inspire similar studies in other Nordic countries.

Den här framställningen tar sin utgångspunkt i en presentation på Musik och Samhälle-konferensen 2013 kring musikens roll på förskolan vilket i sin tur var initierat ur arbetet med antologin Musikvetenskap på förskolan, som finns utgiven på Natur & Kultur (Riddersporre & Söderman, 2012). I texten argumenterar vi för musikens självklara del inom förskolans verksamhet och visar varför musik i förskolan bör grundas i tidigare och aktuell forskning. Musik finns i hela det samlade skolsystemet varav förskolan är den första delen. Här läggs grunden för barnets fortsatta musikaliska utveckling. Kapitlet är en bearbetning av Bim Riddersporres text om det nyfödda barnets musikaliska utveckling och Johan Södermans bidrag i samma antologi om hur musikaliska värderingar, kategorier och populärmusik påverkar förskollärarnas praktiska och musikaliska verksamhet.

Hip-Hop Within and Without the Academy explores why hip-hop has become such a meaningful musical genre for so many musicians, artists, and fans around the world. Through multiple interviews with hip-hop emcees, DJs, and turntablists, the authors explore how these artists learn and what this music means in their everyday lives. This research reveals how hip-hop is used by many marginalized peoples around the world to help express their ideas and opinions, and even to teach the younger generation about their culture and tradition. In addition, this book dives into how hip-hop is currently being studied in higher education and academia. In the process, the authors reveal the difficulties inherent in bringing this kind of music into institutional contexts and acknowledge the conflicts that are present between hip-hop artists and academics who study the culture. Building on the notion of bringing hip-hop into educational settings, the book discusses how hip-hop is currently being used in public school settings, and how educators can include and embrace hip-hop's educational potential more fully while maintaining hip-hop's authenticity and appealing to young people. Ultimately, this book reveals how hip-hop's universal appeal can be harnessed to help make general and music education more meaningful for contemporary youth.

Om musikaliska föreställningar, värderingar och kategoriseringar.

The purpose of this article is to show how the rappers' talk about hip-hop and its connection to pedagogy and social activism parallel the Scandinavian tradition of folkbildning. Scandinavian folkbildning can be seen as a movement to provide voluntary education for the general population. It can also be the name of the process of learning in which self-education is an important dimension. There has been an educational component to hip-hop culture since hip-hop was placed on the map as a vibrant subculture during the 1970s in New York City. In the same way as the Swedish working class once found a way out of their marginal position through folkbildning, today's immigrant youth, ‘new Swedes’ access Swedish society by articulating their position through hip-hop. In this article, interviews have been conducted with three rappers who follow the pedagogical way presented in hip-hop. Although, semi-structured and conversational, there was a clear focus on hip-hop and learning in the discussions. Each interview lasted for approximately one hour and was subsequently transcribed. The quotes of the rappers have been analysed and categorised into four themes. These themes are hip-hop as a political tool, marginalisation and exclusion, a voice for the weak, and the power of knowledge. The results show that the rappers can be seen as both culturally radical and culturally conservative, which is in line with the old tradition of Scandinavian folkbildning. The work of the rappers might be seen as not only as a barometer of our time and development of society in general, but also as a well-established practice of musical learning outside school. Finally, hip-hop has the potential to contribute valuable knowledge to teachers implementing what might be described as out-of-school musical activities in school.

How hip-hop culture meets the academic world: Hip Hop Academicus! Since hip-hop started over 35 years ago in New York, it has been associated with social activism and education. In addition, hip-hop pioneer Africa Bambaataa has argued for knowledge as the fifth element in hip-hop (e.g. rapping, deejaying, break- dancing, graffiti). Accordingly, it is not surprising that academic institutions in universities and K-12 schools are interested in hip-hop with regards to the history of this street culture. This article is aiming to highlight this “hip-hop academization” and analyze the mechanisms in these academization processes. The research ques- tions are as follows: Who is the expert and what is at stake? What symbolic fights are going on between pioneers of the culture and academics? How do hip-hop scholars talk about the academization? Theoretical framework stems from sociologist Pierre Bourdieu, including his work in cultural fields and capital forms. The empirical data, which have been collected with an ethnographical approach, are observations and recordings from academic events concerned with hip-hop and individual inter- views with hip-hop scholars in New York City during 2010. The results show how hip-hop at the university is an attractive label, a door opener for the scholars but at the same time regarded as low culture. The pioneers construct the scholars as outsiders in order to maintain themselves as foremost experts of the culture.

Avhandlingen baseras på fyra artiklar som behandlar hiphopmusikers konstnärliga och pedagogiska strategier i både amatöristiska och professionella sammanhang. I fokus för framställningen är kvinnor och män i Sverige och USA. Syftet är att (i)synliggöra hiphopmusikers kreativa strategier, estetik, identitetskapande, traditionsbärande funktion, fostran och folkbildning för att därmed öka förståelsen för det informella lärandets mekanismer och (ii)att belysa några av hiphopkulturens många olika kontexter för att därmed lyfta fram olika aspekter av en global musikkultur. Teori och metodologi är inspirerad av diskursanalys, speciellt den diskursanalytiska ansatsen kritisk diskurspsykologi. Resultaten beskriver hiphopmusikerna som affärsmän, konstnärer, specialister, folkbildare, traditionsbärare, fostrare, jazzmusiker, predikanter. De respektive artiklarnas olika språkliga omforumleringar av hiphopmusikerna visar på den komplexitet som finns i hiphopmusikers verksamhet. I den fjärde artikeln framträder tre rappare som använder hiphop som medel för musikaliskt hantverk, pedagogik och aktivism. De framstår som exempel på vår tids folkbildare med kopplingar till en nordisk folkbildningstradition där bland annat folkbildningens dubbla funktion synliggörs, vilket kan ses som ett av avhandlingens resultat. Utifrån Bourdieus fältteori och den tidiga Frankfurtskolans diskussioner kring konstens och populärkulturens samhälleliga roll och funktion diskuteras och analyseras avhandlingens resultat.

Social activism and education have been associated with hip-hop since it emerged in New York City 38 years ago. Therefore, it might not be surprising that universities have become interested in hip-hop. This article aims to highlight this ‘hip-hop academisation’ and analyse the discursive mechanisms that manifest in these academisation processes. The guiding research question explores how hip-hop scholars talk about this academisation. The theoretical framework is informed by the scholarship of sociologist Pierre Bourdieu. Hip-hop scholars were interviewed in New York City during 2010. The results demonstrate themes of hip-hop as an attractive label, a door opener, a form of ‘low-culture’, a trap and an educational tool.

Who is the expert? Hip-hop as university politics and progressive education. Since hip-hop started over 35 years ago in New York, it has been associated with social activism and education. Accordingly, it is not surprising that academic institutions in universities and K-12 schools are interested in hip-hop with regards to the history of this street culture. This article's aim is to highlight this “hip-hop academization” and analyze the academization processes. The research questions are: How is hip-hop legitimized in official webpage texts? Who is the expert and what is at stake? What symbolic fights are going on between pioneers of the culture and academics? How do hip-hop scholars talk about the academization? The theoretical framework stems from sociologist Pierre Bourdieu, including his work within cultural fields and capital forms. The empirical data, which has been collected with an ethnographical approach, are webpage texts, observations, recordings from academic events concerned with hip-hop and individual interviews with hip-hop scholars in New York City during 2010. The results show how hip-hop at the university is an attractive label and a door-opener for the scholars, but at the same time how hip-hop is regarded as low-culture within the university. Finally, the data shows how the pioneers of hip hop construct the scholars as outsiders in order to maintain themselves as foremost experts of the culture.

Research about non-institutional musical environments, like hiphop, is important when education and learning are being discussed. The literature on aesthetic informal learning is limited. We need to know more about how learning is organised in autonomous and musical contexts. In this article two female rappers from New York City are in focus. The rapper Jean Grae is a Grammy nominated rapper who is well-known around the world. Toni Blackman is a hiphop ambassador, appointed by the U.S. Department of State. Her different social and educational projects on hiphop have been given a lot of attention in the press. The purpose of this article is to study what kinds of learning aspects appear in the rappers’ talk about their work in interviews, group conversations, magazines and selfproduced texts. The results show how the rappers stand out like fosterers, popular adult educators, jazz musicians, tradition-bearers, specialists and artists. Linguistic reformulations are used to analyze the complexity of the rappers' activities. Finally, the article discusses how school can be a fosterer and a tradition-bearer and at the same time positive and open to new forms of popular culture.

The study of informal musical learning outside institutional settings, such as schools, has proved to contribute important knowledge to aspects of music education. Hip-hop, as an example of informal musical learning, has so far been quite an unexplored field for research. The present study investigates music creation within two hip-hop groups (communes) in Sweden. The focus is on the creative learning process and the meeting between music and lyrics (the texts). The groups were given a beat/background, composed by a 'beatmaker', on the basis of which they were asked to create a hip-hop tune. The process, which took place in a recording studio with a sound engineer, was observed and videotaped. After the recording sessions, both groups watched the videotape and made comments on their working processes (stimulated recall). Pre-interviews were carried out with both groups, and in addition, the 'beatmaker' was interviewed. The results show that in the creative process, which is collective in character, the lyrics are superior to the music. Although the groups use the same ready-made music backgrounds, the lyrics are different and very personal. The text, which includes music and lyrics, is cyclical and is made using a 'collage' method. It is full of intertextuality, i.e. references to other lyrics, movies and commercials.

I fokus för denna artikel står tre rappare som i sina respektive verksamheter använder hiphop som hantverk, pedagogik och aktivism. Forskningsfrågan formulerades: Hur talar rappare om hiphop, sin verksamhet och om lärande med utgångspunkt i begreppen musikaliskt hantverk, pedagogik och aktivism? Individuella intervjuer har genomförts med de tre rapparna. Intervjuerna var närmast ostrukturerade och kan betraktas som fria samtal även om samtalen fokuserade på lärande och hiphop. I den kvalitativa analysen framträder hur rapparna talar om hiphop som politiskt verktyg, om marginalisering och utanförskap, om hur de gör sig själva till röster för samhällets svagare grupper och om kunskapens kraft. Folkbildningens dubbla funktion synliggörs i rapparnas tal om sina respektive verksamheter. Ett radikalt bildningsideal med emancipatorisk målsättning framträder där rapparna kämpar för att marginaliserade grupper ska kunna höja sina röster och förändra sina respektive livssituationer. Samtidigt framträder konturerna av ett patriarkalt bildningsideal, där människor görs till objekt. De tre rapparna ansluter sig här till en tradition där folkbildning innebär att förkunna ”den goda smaken” vilket blir synonymt med den goda hiphoppen. Dessa folkbildande rappare framstår således både som kulturradikala och kulturkonservativa i sitt tal om den folkbildande verksamheten.

Since hip-hop first appeared in New York over 35 years ago, it has been associated with social activism and education. Accordingly, it is not surprising that academic institutions in universities and K-12 schools are interested in hip-hop. In this article, we will highlight the ‘hip-hop academisation’ and map out a new direction in a dialog between hip-hop and the academic world. By investigating the relation between hip-hop and pedagogy through interviews with prominent members of the hip-hop community in New York City as well as an analysis of ‘universal’, collective, and aesthetic learning processes in a local, Swedish youth-based hip-hop collective, we intend to open up a theoretical discourse on hip-hop and emancipatory pedagogy. Our empirical data are collected through ethnographical methods.