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<aside> ✔️ Presentation Formats

• Oral presentations should be 20 mins followed by 20 mins for questions.
• Performance presentations can be in the form of a lecture recital or performance with reflection, and should be 20 mins followed by 20 mins for questions.
• Pre-recorded Presentations: Oral or performance presentations can be pre-recorded and submitted as digital media. These should be a maximum of 25 mins**.** Prerecorded  presentations will be available to  view before the event and the full 40 mins of the session will be used for feedback and questions.

Pre-recorded presentations must be submitted by 31st May 2023.

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<aside> ℹ️ What to expect from this event:

• The course platform will go live on Notion on 2nd June. You will receive a link to access all course materials and information. Before the event you will be able to prepare by viewing digital presentations and find out more about other participants .
• Music4Change event is an international, interdisciplinary learning environment where music-focused researchers from a wide range of fields and methods come together to discuss their work and exchange knowledge. When preparing your presentation please consider how to communicate your project with people who may be outside your specific area of study and/or geographical location.
• We encourage active participation, discussion and dialogue during the event, accordingly we hope that contributors will attend the majority of the sessions across the three days. If you plan to only be present for your own presentation, please let us know in advance.
• If you wish to take 3 or 5 ECTS credit points for this event please make sure you register in advance. </aside>

Synnøve Kvile PhD Candidate, Western Norway University of Applied Sciences

The Spacetimematterings of music and child(ren)

child, music, agential realism, diffraction, spacetimematter, stories, posthumanism

https://vimeo.com/840877432?share=copy

Visiting family homes to interview children about their relations to music opens doors into family houses, digitisation of music and children, trampolines, composing songs to stop climate changes, and bodies/sound waves/pixels dancing before the researcher’s and iPhone’s gaze. In an agential realist account (Barad, 2007), the interviews can never re-present a reality ‘out there’ but is instead a performative doing that keeps on becoming and making worlds of knowledge in a relational way. It matters how the interviews were conducted, but also by whom, where and when it happened, and how human and more-than-human materials are involved in the process. Although the term ‘children’ might imply all children, and ‘music’ might indicate that music is something fixed and stable that ‘everyone’ understands as music, these terms will not be taken for granted in this presentation. By re-turning to three individual interviews done with children about their personal relations to music, temporal diffractions (Bozalek & Murris, 2023) are made through (re)telling stories from the interviews and diffract them through the concept of ‘spacetimematter’ (Barad, 2007, 2014). By doing so, the aim is to explore how time, space and materiality are entangled in child(ren)’s relations to music and what this means for music education.

References

• Barad, K. 2007. Meeting the Universe Halfway. Quantum physics and the entanglement of matter and meaning. Durham & London: Duke University Press.
• Barad, K. 2014. Diffracting Diffraction: Cutting Together-Apart, Parallax 20 (3), 168-187, DOI: 10.1080/13534645.2014.927623
• Bozalek, V. & Murris, K. 2023. Chapter Night Sky. Temporal Diffractions. A Constellation *** of ‘New’ Electrifying Insights in Conversation with Karen Barad. In In Conversations with Karen Barad. Doings of Agential Realism, edited by Vivenne Bozalek & Karin Murris, 21-40. London & New York: Routledge. DOI: 10.4324/978100328287-2

About Synnøve

Synnøve Kvile is a PhD Candidate in music education at the Western-Norway University of Applied Sciences. Her doctoral research concerns children’s relations to music. Kvile is experienced as a lecturer and researcher in higher music education and has been involved in research projects such as Improvisation in Teacher Education (2012-2016) and School and concert – from transmission to dialogue (2017-2020). Her research interests include music in schools, child and childhood studies, music education, posthumanism and new materialism.