The purpose of this thesis is to develop understanding about: in what ways Swedish music artists become leaders for their followers from theories of Educational/Pedagogical Leadership; Music Artists’ perceptions of leadership and influence in a music-artist-follower-context; And the preconditions, opportunities and needs of learning on this topic amongst music artists. The background of this research is the importance of understanding these aspects in a rapidly developing society, where music artists are gaining more prominent roles and influence. Music artists, as a part of the celebrity- and influencer body, are since long recognized to have important influence over many areas of followers’/fans’ lives. Music industry research indicates that due to the digital development, individual music artists are reinforcing and increasing their influence over followers which to some extent are exploited and monetized. Parallell with this, Swedish music artists are considered by practitioners and researchers not to have any obligations, responsibilities nor leadership roles regarding their influence over their followers due to democratic values and artistic freedom. The understanding and theorizing of leadership is developing in new directions. Yet no holistic, interdisciplinary leadership research that analyzes music artists as leaders towards their followers, based on influence has yet been conducted. Therefore the understanding of in what ways music artists can be considered leaders towards their followers, and the content of this leadership is limited. The purpose of this thesis is researched through qualitative, semi-structured group interviews and one individual interview with a total of seven music artists, based on the following research questions: In what ways do music artists in Sweden become leaders for their followers from theories of pedagogical leadership?; What perceptions do music artists have regarding leadership and influence from a music artist- follower-perspective?; What are the conditions, opportunities and needs for music artists to learn about this leadership towards their followers? The theoretical foundations and framework for this research is Methodological Individualism, Parasocial Relations Theory (PSR), Andersson et. al’s theoretical construct of Attributed, Informal Leadership and a theoretical framework constructed by different aspects within research of pedagogiskt ledarskap (Educational/Pedagogical Leadership). The inherent components in this framework are Practical Responsibilities; Leading in Fostering; Leading Through Relationships; Ethics and Morale; Leading Learning, Knowledge and Instruction; Personality and Characteristics; Collegial Learning and Learning Organization. Analysis and conclusion shows that music artists become leaders towards followers in many regards: They have practical responsibilities generating a leadership position towards followers, effecting leadership outwork and development; Lead by being role models, reproducing values, norms and characteristics; Influence and create exchange with followers through actual and perceived relationships; Practice ethical and moral aspects towards followers; Create conditions for- and lead processes of learning, knowledge- and meaning creation in followers; Shape artistry and practice influence from personality and characteristics; Practice collegial and organizational learning. Degree, effectiveness, practice, characteristics, perceptions and opinions of these leadership aspects vary greatly between artists and category. Swedish music artists perceive leadership and influence towards followers as role-model-ship, inspiration and encouragement, practical responsibility, authenticity and interaction. Regarding influence they show many nuances and variety in perceptions. Informants suggests that music artists don’t have leadership responsibilities towards society, but conclude that music artists possess undefined societal roles with potential significant societal influence. Music artists participate in learning initiatives but workload, isolation and financial aspects hinders learning. Forums for dialogue and reflection are missing.

The purpose of the study is to examine similarities between the role as a songwriter with the role as an entrepreneur, as well as the conceptions about working with songwriting. To examine this three questions was asked: What similarities are there between the role as a songwriter and the role as an entrepreneur? What characteristics are described as important to succeed as a songwriter compared to those of an entrepreneur? What conceptions are there about working with songwriting? As a foundation for the thesis the history of the music industry is depicted in its own chapter with focus on the sales of music from the 15th century until today. The chapter describes how the music industry for a long time used sheet music as the main way to distribute new music. In the end of the 19th century the record industry started to emerge with the development of record players. During the 20th century the industry went through a lot of changes where new technology like the radio and the TV became important channels to reach a bigger audience. In the beginning of the 21st century the record sales plummeted as the music market became more and more dominated by different streaming services. The thesis empirical data is based on eight interviews, including a group interview, conducted in Los Angeles with four Swedish and seven American informants. It is also based on a forum thread from a Swedish music forum on the internet. The results from the interviews are first described in an overview and then divided into three categories; aspiring songwriters, songwriters in the music industry and informants working with songwriters. The results from the interviews shows that a songwriter should be a good person to collaborate with, be good at establishing important contacts in the music industry, and pay attention the administrative work of accounting, contracts and agreements. From the forum thread of the music forum disappointment is expressed about how DJ’s do not single handedly write and produce all the music they are attributed to in the media.   The analysis shows that professional songwriters have much in common with entrepreneurs because they both need to take risks, be creative, and start business. The similarities between the conceptions of what is required to succeed as a professional songwriter with what it takes to succeed as an entrepreneur includes having a good idea, having a supportive environment as well as being involved in marketing, sales and administration. Furthermore, the analysis shows that the work of songwriting is often glorified or overlooked, which creates misleading representations of what the work of a songwriter actually consists of.