The purpose of my study is to illumine the aesthetic learning process significant in the preschool. Focus has been on allowing educators in different preschools to answer questions valid the use of aesthetic learning processes. I chose to do my study using an opinion poll and a literature review.   The result shows that the preschools use aesthetic learning processes and according to the educator’s aesthetic learning process is a very important tool for education in the preschool.  The notable in this study is that the educators have different views of what aesthetic means. The first view is that you only work with aesthetic subjects. The other view about aesthetic learning process is that it is about gathering theoretic knowledge’s with help of aesthetic activities. Furthermore in the result you can see that the aesthetic learning processes are not getting the time that is needed. Instead of letting the children get the whole knowledge the educators must have short teaching elements where they often use activities that they are comfortable with and also knows how long time it takes. It is important not to interrupt the aesthetic learning processes too early. The children must take part of the entire education, where reflections and interpretation of the result is listed. As all education in the preschool, aesthetic learning process require their own rhythm and tempo. It is important that all children participate in the aesthetic learning from their own conditions. In order to obtain the positive effects of aesthetic learning in the preschool it requires that the aesthetic learning process can be given place in the education and that the educators challenge their self and the children in different aesthetic activities.

Syftet med detta examensarbete har varit att få en klarare bild över vad begreppet estetiska läroprocesser innebär, varför ett estetiskt arbetssätt kan vara bra för inlärningen, vad som förväntas av mig som lärare och vad lärarens roll är i en undervisning med ett estetetiskt arbetssätt samt hur en undervisning med ett estetiskt förhållningssätt kan se ut. Jag gick in i denna undersökning med ett grundantagande om att ett estetiskt arbetssätt påverkar elevers inlärning på ett positivt sätt. Mitt examensarbete grundar sig på en litteraturundersökning och ett antal intervjuer gjorda med relativt nyexaminerade yrkesverksamma lärare, som alla gått en estetisk inriktning under sin lärarutbildning. Det finns olika sätt att inkludera de estetiska ämnena i undervisningen, ett av dem är att arbeta med tema. Under ett temaarbete skapas många möjligheter för eleverna att använda sig av de estetiska uttryckssätten för att skapa, få syn på och utveckla sin kunskap. Resultatet av min undersökning visar att estetiska läroprocesser och ett estetiskt arbetssätt kan påverka elevers inlärning på ett positivt sätt, under förutsättningarna att läraren har stor kunskap kring de estetiska ämnena och ett estetiskt arbetssätt. Under min litteraturundersökning och under mina intervjuer visar det sig att både de intervjuade lärarna och författarna har liknande åsikter kring och syn på lärarens roll i undervisningen. Något de alla nämnde var vikten av att göra eleverna delaktiga i processen fram till sin kunskap. De intervjuade lärarna har dessutom liknande uppfattning om varför de estetiska ämnena kan påverka elevernas inlärning positivt, men det visar sig att de alla har olika sätt att utföra sin undervisning på. En slutsats som kan dras utifrån materialet är att om eleverna blir känslomässigt berörda av det de lär sig, så blir kunskapen personlig och stannar kvar längre i deras kroppar och hjärnor. Om de också får vara delaktiga i processen fram till kunskapen, får de möjligheten att genom de estetiska ämnena, skapa sitt eget kunnande. / The aim with this essay has been to get a clearer picture over what the term aesthetic learning processes means, why an aesthetic approach can be good for the students learning, what is expected of myself as a teacher and what teacher's role is in an education with an aesthetic approaches and what an education with an aesthetic attitude can look like. I started this survey with the presupposition that an aesthetic approach influences students' learning in a positive way. My essay is based on a literature survey and a number of interviews with relatively new examined professionally active teachers, who all have a teachers education based on aesthetic learning. There are various ways to include the aesthetic subjects in the education; one of them is to work with themes. During these theme works there is many opportunities for the students to use the aesthetic subjects in order to create, gain sights on and develop their knowledge. The result of my survey shows that aesthetic learning processes and an aesthetic approach can influence students' learning in a positive way, under the conditions that the teacher has great knowledge about the aesthetic subjects and an aesthetic approach. During my literature survey and during my interviews, it shows itself that both the interviewed teachers and the authors have similar opinions about and point of views on the teacher's role in that’s kind of education. Something they mentioned was the importance of making the students involved in the process of making their knowledge. The interviewed teachers has similar views on why the aesthetic subjects can influence the students' learning in a positive way, but they all have different ways of executing it into their teaching. A conclusion that can be drawn on the basis of this material is that if the students become emotionally affected off what they are learning, then the knowledge becomes personal and stays longer in their bodies and their brains. If the students also are being involved in the process of getting their knowledge, they are given the possibility that through the aesthetic subjects, create their own know-how.

The purpose of this thesis is to investigate how teachers perceive that they work with science in preschool through aesthetic learning processes as tools both in the indoor and outdoor environment and make visible what the educators' underlying beliefs are that affect how they perceive aesthetic learning processes as tools used to deepen children's understanding of different scientific phenomena. This is an interview study using the phenomenographic approach as a means and method to make visible and report on teachers' views on how aesthetic learning processes can be used to extend preschool children's learning about science. The results are analyzed and discussed based on John Dewey's theoretical ideas about children's learning, aesthetics and science. The study clearly shows that teachers' views on aesthetic learning processes and how they can be used in the work whit science is very divided and in some cases unreflective. The most striking results are that teachers often are unaware that they make use of aesthetic learning processes because they have a more limited view of what it is than we have in the paper. All informants have science as a core subject. Their focus of the activity is located at the showing and visualizeing of scientific phenomena and some of them express that they submit the aesthetic learning processes to their colleagues or that they collaborate with someone who has training in some art form. During these collaborations the educators are responsible of their respective subjects, and rarely have deeper knowledge about the other topic.

Uppsatsen behandlar musiklärares användning av, eller delaktighet i, ämnesövergripande arbeten i år 6–9 i grundskolan. Studien utfördes under läsåret 2012/2013. Syftet med studien var att undersöka vad det är som påverkar en musiklärare att arbeta ämnesövergripande eller inte. Metoden som tillämpades var kvalitativa halvstrukturerade intervjuer. I studien har åtta musiklärare intervjuats. Informationen från musiklärarna sammanställdes i Engeströms verksamhetsteoretiska modeller. En jämförelse genomfördes mellan en analys av de delar inom verksamheten där musiklärarna upplevde att det inte fanns några ämnesövergripande arbeten alls, eller mycket få sådana, med en där de upplevde att det fanns ämnesövergripande arbeten. Ytterligare en jämförelse skapades genom en analys av hur två av musiklärarna hanterat sitt ämnes delaktighet i ämnesövergripande samarbeten när det gått från en fungerande ämnesövergripande verksamhet till en mindre väl fungerande ämnesövergripande verksamhet. Genom dessa jämförelser framkom att det är främst de skrivna och de oskrivna reglerna på skolan som påverkar om en musiklärare är delaktig eller inte i ämnesövergripande arbeten. Det visas i studien att det oftast inte är den enskilde musiklärarens övertygelse om ämnesövergripande arbeten som är den mest tongivande faktorn ifall de blir av eller inte. / ”Kaleidoscope – a research of music teachers interdisciplinary studies in year 6 – 9” is an independent study at the Master´s level (15 credits) at the Royal College of Music in Stockholm. This study explores music teachers’ involvement in, or usage of, interdisciplinary studies in year 6–9 in Swedish compulsory schools. The research was done during the school year 2012/2013. The purpose of the research was to understand what it is that affect a music teacher to arrange interdisciplinary studies for their students or not. The method used was qualitative semi structured interviews. In the research, eight music teachers have been interviewed. The information from them was put together in Engeströms activity system. A comparison of an analysis, between a system that explains an activity where their does not exist any, or rarely exist any, interdisciplinary studies for the students, and a system where there does exist interdisciplinary studies, was done. Also a comparison of the analysis between two of the music teachers when they move from a system that is arranging interdisciplinary work to one that does not, was done. Thru this comparison reveals that it is mainly the written and non-written rules of the school that affect the presence of interdisciplinary studies or not. The research shows that it is not the individual music teacher’s engagement in the interdisciplinary work, which is the main factor if interdisciplinary studies are done, or not.

This degree project essay examines the literary culture phenomenon known as poetry slam, a competitive format for performance poetry, with the purpose of discussing whether poetry slam could contribute to upper secondary school Swedish teaching or not. The essay consists of two parts, one where poetry slam is presented and one where poetry slam is discussed from a didactic perspective. In the first part, a brief history of poetry slam and its origins in the U.S. is presented, followed by a discussion of the ideology within the slam movement. Furthermore, the set of rules that regulate poetry slams are presented and finally the first part of the essay is ended with a discussion of poetry slam as a poetic genre of its own. The second part starts by presenting and discussing the concept of aesthetic learning processes and how poetry slam might enable such processes. Poetry slam is then related to the Swedish subject syllabus for upper secondary school in order to analyse whether there is any rationale for poetry slam in Swedish teaching or not. Furthermore, poetry slam is related to literacy development, first by discussing creative writing and then by discussing oral performance. The results of the analysis shows that poetry slam is foremost motivated in Swedish teaching as a literary historical content, partly as an opportunity to work with oral performance, and also to cultivate students’ linguistic subjectivity. Poetry slam could possibly enable aesthetic learning processes, although it may be questioned whether poetry slam qualifies as an artistic community professional enough to provide artistic working methods. The very concept of a school poetry slam could also be seen as a contradiction, when considering the slam movement’s self image of counter culture, as schools themselves could be interpreted as dominant literary establishments. Possible pitfalls related to poetry slam in Swedish teaching are the competitive format’s effect on students socio-emotional safety and the scoring system that may be hazardous for students’ linguistic subjectivity. Also, poetry slam may not meet the curricular demands on rhetoric performances which are mandatory in the upper secondary school Swedish courses, and thus questions may be raised if oral poetic performances can be prioritised at the expense of oral rhetoric performances. Moreover, the free, creative space provided to students within creative writing processes puts high demands on the teacher balancing students’ creative freedom, in order to possibly articulate hidden knowledge, with making sure that students do not spend time procrastinating.

<p>The licentiate thesis focuses on young people’s dramatisation and reflections on the reception of theatre in schools as part of aesthetic learning processes. Its main objective is to describe and analyse how theatre can be used in teaching as a means to create meaning and knowledge in practice. The theatre’s relation to the Swedish subject is discussed from different aspects.</p><p>The empiric survey was conducted at three 6–9 schools in the south of Sweden, referred to in the study as Österskolan, Norrskolan and Söderskolan. The survey is designed as a multiple case study. Two cases consist of individual classes with supplementary work based on the students’ reception of A Midsummer Night’s Dream, the other two on stage productions that include acting. The material consists of video recordings of teaching processes, rehearsals and performances; notes from observations, interviews with teachers and pupils, a questionnaire regarding theatre habits, as well as documents such as theatre programmes and home pages. The cases are contrasted in order to extend the analysis, distinguish between mutual and contrasting patterns, and to some extent also to explain concepts used for description and analysis.</p><p>The thesis aims to answer the following questions:</p><p>• What is required in order for theatre to create meaning and knowledge in practice within a school’s framework?</p><p>• How do form, content and use, and also production, reception and reflection cooperate in various media in the aesthetic learning processes and what didactical potential is the result of this cooperation?</p><p>The result of the survey shows that a teacher’s patterns for verbal and physical interaction and his or her media specific competence strongly influence the terms for the aesthetic learning processes. The nature of the theatre culture’s meeting with the school culture at the individual school determines the possibilities for the participation in creation of meaning and knowledge in practice that are offered to pupils. Financial conditions, support from the school management, collaboration between subjects, functioning rooms, and the school’s gender practice are other important factors.</p><p>The conditions for the theatre’s creation of meaning and knowledge differ significantly between the three schools included in this study. At Österskolan the theatre culture is a fairly unfamiliar element in the school culture. The teacher who supervises the supplementary work for A Midsummer Night’s Dream, however, possesses good media specific competence in the theatrical field and is able to generate possibilities for reflections on experience pedagogy based on the theatrical performance and actual participation in the theatrical practice for the pupils. For a number of years, the theatre culture at Norrskolan has been included in an integrated part of the school culture. A Midsummer Night’s Dream becomes the basis for verbal, dialogue-oriented discussions in the classroom. The pupils’ performance at the school strengthens the school culture and the pupils learn how to cooperate and take responsibility. The cultural profile at Söderskolan collaborates with professional cultural workers and regional cultural institutes in a theatrical project that invites both schools and the general public. In this case, all media is integrated in the creation of meaning and there is great didactical potential.</p><p>In the intended doctoral thesis the analysis of the terms and the design of the aesthetic learning processes will be further discussed.</p>

The purpose of this study is to investigate how teachers work with basic mathematics combined with aesthestic learning processes such as arts and music in grades F-1. The essay will compare teachers’ perceptions regarding aestethic learning processes when using art and music are used in the teaching of mathematics. We have used the following questions: Do teachers use aesthetic learning processes in the forms of arts and music in the basic teaching of mathematics and if so, how and in what way? What importance has aesthetic learning processes in the forms of arts and music in basic teaching of mathematics according to the teachers? What advantages and disadvantages do the teachers find with combinding the basic mathematics with arts and music? The study is based on a qualitative method with five interviews and eight observations. Our theoretical approach in this study is grounded on the phenomenological perspective and John Deweys progressive pedagogy about children’s learning processes. The result shows that the teachers have a positive attitude towards aesthetic learning processes when combining the basic mathematics teaching with arts and music. When comparing the different mathematics teaching methods it shows similarities and differences in the way teachers use art and music in the teaching of basic mathematics. Another result is that all of the teachers in some extent use arts in the teaching of mathematics, however there are only two teachers that combines the teaching of mathematics with music.

The licentiate thesis focuses on young people’s dramatisation and reflections on the reception of theatre in schools as part of aesthetic learning processes. Its main objective is to describe and analyse how theatre can be used in teaching as a means to create meaning and knowledge in practice. The theatre’s relation to the Swedish subject is discussed from different aspects. The empiric survey was conducted at three 6–9 schools in the south of Sweden, referred to in the study as Österskolan, Norrskolan and Söderskolan. The survey is designed as a multiple case study. Two cases consist of individual classes with supplementary work based on the students’ reception of A Midsummer Night’s Dream, the other two on stage productions that include acting. The material consists of video recordings of teaching processes, rehearsals and performances; notes from observations, interviews with teachers and pupils, a questionnaire regarding theatre habits, as well as documents such as theatre programmes and home pages. The cases are contrasted in order to extend the analysis, distinguish between mutual and contrasting patterns, and to some extent also to explain concepts used for description and analysis. The thesis aims to answer the following questions: • What is required in order for theatre to create meaning and knowledge in practice within a school’s framework? • How do form, content and use, and also production, reception and reflection cooperate in various media in the aesthetic learning processes and what didactical potential is the result of this cooperation? The result of the survey shows that a teacher’s patterns for verbal and physical interaction and his or her media specific competence strongly influence the terms for the aesthetic learning processes. The nature of the theatre culture’s meeting with the school culture at the individual school determines the possibilities for the participation in creation of meaning and knowledge in practice that are offered to pupils. Financial conditions, support from the school management, collaboration between subjects, functioning rooms, and the school’s gender practice are other important factors. The conditions for the theatre’s creation of meaning and knowledge differ significantly between the three schools included in this study. At Österskolan the theatre culture is a fairly unfamiliar element in the school culture. The teacher who supervises the supplementary work for A Midsummer Night’s Dream, however, possesses good media specific competence in the theatrical field and is able to generate possibilities for reflections on experience pedagogy based on the theatrical performance and actual participation in the theatrical practice for the pupils. For a number of years, the theatre culture at Norrskolan has been included in an integrated part of the school culture. A Midsummer Night’s Dream becomes the basis for verbal, dialogue-oriented discussions in the classroom. The pupils’ performance at the school strengthens the school culture and the pupils learn how to cooperate and take responsibility. The cultural profile at Söderskolan collaborates with professional cultural workers and regional cultural institutes in a theatrical project that invites both schools and the general public. In this case, all media is integrated in the creation of meaning and there is great didactical potential. In the intended doctoral thesis the analysis of the terms and the design of the aesthetic learning processes will be further discussed. / <p>Licentiatavhandling i litteraturvetenskap: alternativet Svenska med didaktisk inriktning.</p>

“The beautiful, as a complement to the true” A study of the student's learning, participation and development - through dance, rhythmic and music as aesthetic learning processes at the after-school center. The purpose of the study was to investigate how the teachers in after-school centers work with students' learning, development and participation through aesthetic learning processes, and also to investigate how the work looks from a gender equality perspective. My research questions were: How do teachers work with students' learning and participation through aesthetic learning processes such as dance, rhythmic and music in the after-school center? Also: Does it look different when it comes to boys and girls participation in aesthetic learning processes? How and why in such a case? The method I used in my study was a qualitative research study with semi-structured interviews with two teachers in after-school centers and with a dance teacher and a rhythmic and music teacher. In the analysis of my material and as a theoretical perspective, I have used the knowledge forms episteme, techne and fronesis, as well as from a gender equality perspective.The results of the study show that the aesthetically trained teachers had a lot of experience and many thoughts about how to work with learning around aesthetic learning processes and from a subject-integrated way, including through language and mathematics. Unlike afterschool teachers who partly felt that there was a certain resistance or difficulty in working with dance, music and rhythmic as aesthetic learning processes at the after-school center, when the feeling of not feeling comfortable or not having the right knowledge existed. However, the teachers could see great joy and learning in the students in working with the aesthetic forms. Here, the most common aesthetic subject was arts and craft, which they started from at the after-school center. There were also many thoughts and ideas on how the work with dance, rhythmic and music could be developed more at the leisure center. When it comes to looking at it from a gender equality perspective, the answer was largely that the majority of girls choose the activity, but that the desire to work more with a broader gender equality perspective was present in everyone.

Syftet med vår undersökning är att ta reda på hur pedagogerna arbetar med dans som uttrycksform och estetisk lärprocess och vilka utmaningar detta kan medföra. Denna undersökning har utgått ifrån ett fenomenologiskt perspek-tiv för att ta reda på pedagogernas erfarenheter och upplevelser idag. Under-sökningen har genomförts genom kvalitativa intervjuer med fem verksamma pedagoger som sedan transkriberats och analyserats för att hitta centrala be-grepp. Resultatet visar på omfattande möjligheter som dans kan ha i förskolans verksamhet och vilka områden som kan utvecklas. Det är viktigt att pedagoger integrerar hela läroplanen (Skolverket, 2018) i förskolan och tar vara på alla möjligheter till lärande. Därför behöver pedagoger få tillgång till grundläg-gande kunskap om dans och andra uttrycksformer för att kunna utmana barnen i deras lärande. / The purpose of this study is to find out how educators in preschool use dance as a form of expression and as an aesthetic learning process and what chal-lenges this may result in. The study is based upon a phenomenological per-spective to find out the educators personal and professional experiences today. Through qualitative interviews with five active educators which have been transcribed and analysed we found some key concepts to our study. The results show extensive opportunities that dance can have in the preschool's activities and which areas can be developed. It is important that educators integrate the entire curriculum (Skolverket, 2018) in preschool and take advantage of all opportunities for learning. Therefore, educators need to have access to basic knowledge about dance and other forms of expression in order to challenge children in their learning.