The present research programme sought to further understanding of the neurophysiological mechanisms that underlie the effects of music on exercise. Five original experiments were conducted using a wide range of psychophysical, psychological, physiological, and psychophysiological techniques. The results of the first study indicated that music partially reallocates attention towards task-unrelated thoughts (i.e., external dissociation), suppresses the amplitude of low-frequency waves in the brain, and enhances task performance. The findings of the second study indicated that music can have a negative effect if delivered during the execution of highly-demanding cognitive-motor tasks. In such instances, the right parietal regions of the brain activate in response to the presence of auditory distractors and prevent task performance from being compromised. The third study shed new light on the neural control of working muscles and indicated that music has the potential to reduce the frequency of electrical outputs emitted to the musculature and reduce the communication between the central motor command and adjacent regions. The fourth study of this research programme was conducted in an ecologically valid environment, wherein participants walked at self-paced speeds in the presence of different auditory stimuli. The results of the fourth study indicated that music elicits more positive affective responses and up-regulates beta waves to a greater degree than no-music conditions. Finally, the fifth study of this thesis made use of functional magnetic resonance imaging to explore the brain regions that activate in response to exercise and music. The results of this final study revealed that the left inferior frontal gyrus is highly active when individuals execute part-body exercises with music. The present research programme provides a neurophysiological basis for the use of music in exercise settings. The findings presented herein support the use of music as a valuable tool to explore more complex psychophysiological phenomena such as attention, affect, and fatigue.

The aim of this study was to investigate why musical instruments are not used more freely and frequently during activities as recess or at the after-school centres. A survey was executed among primary school staff in Piteå municipality, Sweden. The survey addressed past experience of musical activities, interest in music as well as individual extent of musical education. Participants were further asked to give a recollection of the accessibility of musical instruments in their workplace and eventually to reflect upon how satisfied they were with current accessibilities and work procedures considering the use of musical instruments. The outcome of the survey shows that there is a high accessibility of musical instruments in the primary school organization of Piteå municipality and that elementary teachers, as well as after-school centre teachers, often have formal musical education in their professional training. Despite these seemingly good conditions regarding musical practice, music is still treated differently from other topics and school activities. This could indicate that there are other elements, apart from actual musical competence, that are the source of these misconceptions and insecurities concerning musical instruments. One such element could be the individual experience of musical training and views on musical competence mediated within former teacher-student relations. Other elements include discourse and social structures within the teaching community, connected to views in larger society on culture and musicality, that could be the real cause of musical instruments not being used outside of musical classes. This study raises the question of what is to be prioritized in the school system. Should music teachers still be the only ones “allowed” to play instruments? Or should school staff put aside their own opinions and insecurities so that children may have a rich learning experience in music which further promotes development and progress? / Denna studie började med observationen att musikinstrument, även om de finns tillgängliga i skolans lokaler, inte används i någon större utsträckning utanför de lektioner som hålls av musiklärare. Syftet med den här studien är att förstå varför musikinstrument inte används mer ofta, och mer fritt, inom de verksamheter inom skolan som skulle kunna ha utrymme för det, såsom under rasterna eller fritidshemmens aktiviteter. En enkätundersökning har genomförts med lågstadielärare, musiklärare och fritidspedagoger i Piteå kommun. Deltagarna fick svara på frågor om deras tidigare erfarenheter av musikaliska aktiviteter, deras intresse för musik samt omfattningen av individuell musikalisk utbildning. De blev vidare ombedda att uppskatta tillgången till musikinstrument på deras arbetsplats och fick slutligen reflektera över hur nöjda de var med verksamhetens förutsättningar för musicerande och musikskapande aktiviteter. Utfallet av enkätundersökningen visar att det finns en hög tillgänglighet av musikinstrument i grundskolans lokaler inom Piteå kommun samt att lärare och fritidspedagoger ofta har tagit del av viss akademisk musikutbildning i sin pedagogiska utbildning. Trots dessa goda förutsättningar för musikaliska aktiviteter och musikskapande är musik fortfarande, som ämne och aktivitet sett, annorlunda betraktat jämfört med andra ämnen och aktiviteter inom skolans verksamhet. Musikinstrument, vilka skulle kunna ses som viktiga verktyg för lärande, ses istället som exklusiv utrustning som bara får användas av den som redan behärskar musik som konstform - såsom musiklärare eller kulturskolelärare. Studien väcker frågan om vad som ska prioriteras i verksamheten. Ska musiklärare fortsätta vara de enda som “får” använda och spela på musikinstrument? Eller är det dags att lärare och fritidspedagoger lägger diskursen och osäkerheten åsido så att barnen kan få tillgång till en rikedom av erfarenheter av musik som vidare främjar lärande och utveckling?