This qualitative study examines high school students´ views on independent practice in drums, as well as the drum students' experiences of strategies for practice. The study also intends to investigate which cultural tools the drum students use in their practice and whether any form of practice culture emerges. Previous research shows that independent practice in music is influenced by cultural context, knowledge of practice strategies, the quality of the exercise, teaching content, motivation and goals. In the present study, four semi-structured interviews were conducted with drum students in high school. The collected data underwent a thematic analysis from a sociocultural perspective. The result show that independent practice in drums in high school depends on physical and intellectual tools in the form of drumsticks, practice-pads, hands, feet, knees, thighs, drums, digital playback devices and headphones, motivation, social meetings with other musicians, role models, personal goals and practice strategies. The cultural tools are appropriated according to the aspect of the drumming that the informants intend to practice. The independent exercise also proves to be a cultural tool in itself that is used to handle ensemble practice as a social context. The rehearsal culture can thus be considered an important aspect of playing music with other musicians.

Denna studie syftar till att undersöka vilka roller DAW-program har inom undervisningen i musikproduktion på gymnasial nivå utifrån elevers och lärares perspektiv samt lärarens bild av hur diskrepans mellan preferenser kring DAW-program kan påverka elevers motivation för lärande i undervisning i musikproduktion. Datainsamlingen skedde genom en semistrukturerad intervju med två gymnasielärare och genom en enkätundersökning bland fyra gymnasieklasser från olika årskurser som studerar musikproduktion. För analysen av det kvalitativa materialet användes innehållsanalys för att hitta underliggande teman kopplade till studiens syfte och frågeställning. Resultatet har därefter diskuterats utifrån ett  sociokulturellt teoretiskt perspektiv. Resultatet av studien visar att diskrepanser mellan elevers tidigare erfarenheter av DAW-program kan påverka deras motivation då de saknar kunskap i hur de kan uttrycka sig musikaliskt med det DAW-program de förväntas använda i gymnasieundervisningen. Med rätt vägledning och stöttning kan eleverna dock övervinna denna inverkan på deras motivation och lyckas med sina studier.

<p>English title: Parents’ expectations of municipal school of music and of arts.</p><p>Thesis in Music Education by Jonathan Lilliedahl. Part of the work for the master´s degree. Studies from School of Music, University of Örebro, 2007. Available from School of Music, Örebro University, SE-701 82 Örebro, Sweden. Original in Swedish.</p><p>Keywords: parents’ expectations, municipal school of music and of arts, music education, childrens’ development, creative activity, parental influence, municipal activity.</p><p>The essay concerns parents’ expectations within municipal school of music and of arts. The main aim is to elucidate and understand parents’ expectations of the school and purposes about their childrens activity, and then, discuss the results towards the concept and the didactic of the school.</p><p>The method has been Grounded Theory. The results are grounded on qualitative interviews with twelve parents from different municipalities and the empirical material has been encoded into categories of various kinds.</p><p>The results, which have been encoded for a several times and on different levels, indicate that parents have different purposes to each other, but also that each parent has different purposes in various contexts. A joint comprehensive aim and expectation is that the school and their teachers should enable an all-embracing development. Underlying, there are musical targets and objectives towards music as means. The parents take both individual- and group perspectives.</p><p>The results can also illustrate that parents in many cases adapt their expectations to the existing structure of the school and that many of the parents are satisfied as long as everything works. Many of the parents consider that a municipal school should be responsible for a broad education of arts, characterized by democracy and availability.</p><p>As a conclusion it may be said, while the parents’ exceptions focus on the childs’ interest and development, the municipal school of music and of arts has even more interests to satisfy and comply with.</p>

English title: Parents’ expectations of municipal school of music and of arts. Thesis in Music Education by Jonathan Lilliedahl. Part of the work for the master´s degree. Studies from School of Music, University of Örebro, 2007. Available from School of Music, Örebro University, SE-701 82 Örebro, Sweden. Original in Swedish. Keywords: parents’ expectations, municipal school of music and of arts, music education, childrens’ development, creative activity, parental influence, municipal activity. The essay concerns parents’ expectations within municipal school of music and of arts. The main aim is to elucidate and understand parents’ expectations of the school and purposes about their childrens activity, and then, discuss the results towards the concept and the didactic of the school. The method has been Grounded Theory. The results are grounded on qualitative interviews with twelve parents from different municipalities and the empirical material has been encoded into categories of various kinds. The results, which have been encoded for a several times and on different levels, indicate that parents have different purposes to each other, but also that each parent has different purposes in various contexts. A joint comprehensive aim and expectation is that the school and their teachers should enable an all-embracing development. Underlying, there are musical targets and objectives towards music as means. The parents take both individual- and group perspectives. The results can also illustrate that parents in many cases adapt their expectations to the existing structure of the school and that many of the parents are satisfied as long as everything works. Many of the parents consider that a municipal school should be responsible for a broad education of arts, characterized by democracy and availability. As a conclusion it may be said, while the parents’ exceptions focus on the childs’ interest and development, the municipal school of music and of arts has even more interests to satisfy and comply with.

Felix Saul (1883-1942) var verksam som körledare, musikskribent och musikpedagog, och undervisade främst i sin egen musikskola, Stockholms privata konservatorium (SPK). Syftet med studien är att undersöka den pedagogik som Felix Saul tillämpade i sin musikundervisning i barngrupper på SPK. Empirin utgörs av intervjuer med Sauls tidigare elever, och av hans egna artikelserier om musikpedagogik. Materialet har analyserats utifrån ett övergripande kulturpsykologiskt perspektiv. Resultatet visar att Sauls undervisning som syftade till att utveckla elevernas musikalitet i stor utsträckning följde Tonika-do-metoden som den beskrivs av samtida litteratur, men att han lade större vikt vid ackordfunktioner och rytmikövningar, och att lek var en central del av undervisningen. Genom undervisningen fick eleverna tillgång till en omfångsrik verktygslåda med kulturella verktyg i form av konventioner att strukturera, uttrycka och representera musik, som de i fortsatt lärande kunde kombinera till individuella strategier för notläsning, interpretation och i musiklyssnande. Av studien har också framkommit att Saul var en betydelsefull musikpedagog trots att han inte fullt ut var accepterad av etablissemanget. / Felix Saul (1883-1942) was engaged as a choiremaster, music writer and music teacher, mainly at his own music school: Stockholms privata konservatorium (SPK). The purpose of this study is to describe how Felix Saul tought children's groups at SPK, and what pedagogy he employed. The empirical material consists of interviews with students who participated in Saul's children's groups and Saul's own series of articles about his music pedagogy. The material has been analyzed from a cultural psychological perspective. The result show that the teaching methods used by Saul to a large extent followed the Tonika-do method as it was described in the contemporary literature, but with a bigger emphasis on harmonic theory and eurhythmics, and that playing games was a central part of the educational activities. The education gave the students access to cultural tool-box a variety of tools in the form of established music-cultural conventions of structuring, expressing and representing music, that they could combine to create individual learning strategies for sight reading, interpretation as well as listening to music. In this study Saul has emerged as an influential music educator even though he was not fully accepted by the establishment.

Det övergripande syftet med denna studie är att undersöka hur musikundervisningen i El Sistema fungerar som ett socialt verktyg med utgångspunkt från en nyetablerad El Sistema-skola i en förort till Stockholm. Min utgångspunkt har varit att undersöka El  Sistemas arbetssätt som ett verktyg för social utveckling i samhället. För att kunna göra detta har jag försökt sätta mig in i de bakomliggande idéerna till El Sistema och förutsättningarna för undervisningen. Studien bygger på en kvalitativ forskningsmetod där observationer med låg struktur, deltagande observationer och en semistrukturerad intervju har används.  Undersökningen är gjord på en nyetablerad så kallad växtplats inom El Sistema, Sverige,  i en mångkulturell förort till Stockholm. De metoder jag har använt mig av har varit deltagande observationer av musiklärare i den dagliga musikundervisningen på en nyetablerad El Sistema-skola samt av så kallades VänsDays, musikträffar med fika för El Sistema-familjer på onsdagar samt en semi-strukturerad intervju med en El Sistema-pedagog. Litteraturgenomgången innehåller en historisk översikt om El Sistema, musik i skolan och musikpedagogisk idéhistoria. Vidare ingår också litteratur om didaktik, musikundervisning och interkulturell kompetens. El Sistema påtalar vikten av tid, kontinuitet och kontakt som tre nyckelfaktorer för framgångsrik undervisning. Musikundervisning i grupp, samspel och körsång samt att bygga upp en god föräldrakontakt är av stor betydelse för både den sociala och musikaliska utvecklingen i ett integrationssyfte.  Några faktorer som skiljer El Sistema från den traditionella kommunala Musik- och Kulturskolan har också berörts.   Resultatet av studien visar vid en analys med Varköys syfteskategorier att musikundervisning inom El Sistema framför allt fokuserar på  idén om musikens fostrande funktion. I undervisningen finns även idén om musik som medel för bildning och idén om musik som skapande individ tydligt representerad i studiens empiri. Musikundervisning i El Sistema ses som ett medel till något snarare än som ett mål i sig självt samtidigt som det finns en tydlig målsättning att nå en hög musikalisk nivå. / The overall aim of this study is to investigate how music education in El Sistema works as a social tool, based on a newly established El Sistema -school in a suburb of Stockholm. My starting point was to investigate the El Sistema approach as a tool for social development in the community. To do this I have tried to put myself in the underlying ideas to El Sistema and conditions for teaching. The study is based on a qualitative research method in which observations with low structure, participant observation and a semi-structured interview has been used. The survey was conducted on a newly established so-called nucléo, (center of education) within El Sistema, Sweden, in a multicultural suburb of Stockholm. The methods I have used have been participating observations of music teachers in their daily music instruction at a newly established El Sistema-school and so-called VänsDays, music meetings and refreshments for El Sistema-families on Wednesdays and a semi-structured qualitative interview with an El Sistema-teacher. The literature review provides a historical overview of El Sistema, music in schools and music educational history of ideas. Furthermore, it also includes literature on didactics, music education and intercultural competence. El Sistema comments on the importance of time, continuity and contact as three key factors for successful teaching. Music education in group interaction and choral singing and to build a good parental contact is of great importance for both social and musical development of an integration order. What separates El Sistema from the traditional communal Music and Arts School has also been affected. The result of analysis performed by Varköy´s purpose categories to music education within El Sistema mainly focuses on ​​the idea of ​​music's educational function. In teaching, there is also the idea of ​​music as means of formation and the idea of ​​music as a creative individual clearly represented in the study's empirical data. Music education in El Sistema is seen as a mean to something rather than as an aim in itself. At the same time there is a clear objective to achieve a high musical level.

I denna studie undersöks och jämförs tre vetenskapliga texter från 2000-talet som handlar om hur och när individuella flowupplevelser och gruppflow uppstår i musikundervisning på grundskolan. Fokus för studien är vilka metoder som har utvecklats för att främja flow i undervisning generellt och mer specifikt i musikundervisning. För att besvara studiens syfte och frågeställningar används metoden allmän litteraturstudie med systematisk ansats samt en informell intervju med två framstående forskare inom gruppflow och team flow samt flow i undervisning. De utvalda texterna har analyserats och granskats kvalitets- och kunskapskritiskt och studiens vetenskapliga ansats är Vygotskijs sociokulturella perspektiv på lärande. Föreliggande studies huvudsakliga resultat är att flow, gruppflow och team flow främjar barns engagemang och lust till lärande i musikundervisning på grundskolan. Det har publicerats väldigt lite forskning om flow i musikundervisning på grundskolan. Fortsatt empirisk forskning om hur flowmodellen ska tillämpas praktiskt i musikundervisning på grundskolan behövs därför för att fånga upp forskningsglappet. / This study examines and compares three scientific texts from the 21st century that deal with how and when individual flow experiences and group flow occur in music education at elementary schools. The focus in his study is which methods have been developed to stimulate flow in teaching in general and more specifically in music education. The method applied in this study is a general literature study with a systematic approach. Two informal interviews with prominent researchers on team flow and flow in education were carried out in order to meet the purpose of this study and answer its scientific questions. The three articles that were included for analysis have been critically reviewed in terms of scientific quality and knowledge. Vygotskijs socio-cultural perspective on learning was used as this studies approach. The main findings of this study are that flow, group flow and team flow as educational models are applicable and extremely useful in music education at primary schools and promote engagement and desire to learn for children. Proposals for application of the flow model in music education have been made, though future empirical research is needed to fill up the gap within flow research in music education at elementary schools. Flow in school, group flow and flow in music are well-researched areas. On the other hand, very little research has been published about flow in music education at elementary schools. Suggestions for future research are therefore discussed further on in this study.

I denna studie undersöks och jämförs hur rytmisk notläsning med barn, 5–8 år, framställs i vetenskapliga texter under 2000-talet. Fokus för studien är vilka strategier som skildras men även forskning om vilka effekter notläsning kan ha på läs- och skrivutveckling refereras. För att besvara studiens syfte och frågeställning används metoden allmän litteraturstudie med systematisk ansats samt en informell intervju med tre forskare inom neurologi. Fyra vetenskapliga artiklar är inkluderade i studien. Alla har granskats kvalitets- och kunskapskritiskt. Den vetenskapsteoretiska ansatsen för studien är kulturhistorisk men min långa bakgrund som rytmikpedagog, skolad och erfaren i Dalcroze-metodik, är den vinkel jag oundvikligen betraktar resultatet ur. Ett av studiens resultat är att ämnet inte ägnats någon större uppmärksamhet från forskare under 2000-talet och det därför finns mycket att göra för att utveckla praxis. De huvudsakliga resultaten i de studerade artiklarna är att a) barn tenderar att prioritera tonhöjd framför rytm i notbilden, b) underliggande puls på rytmens minsta värde, snarare än puls som motsvarar taktens värde, förenklar för notläsningsförmågans utveckling, c) god notläsning kräver tidigt utformade strategier snarare än övning och d) rytmisk notläsning kan utvecklas på ett likartat sätt som läs- och skrivförmåga och bör stödjas ur det perspektivet med aktiviteter som innefattar ljuda, skriva och läsa. I intervjudelen framkommer bland annat att rytmisk träning kan främja tal- och skriftspråklig utveckling men att det inte förekommer några direkta transfereffekter mellan läsning och notläsning. / In this study, the 21st century scientific literature addressing rhythmic music reading in children aged 5–8 is explored and compared. The described strategies are the main focus of the study but research on music reading´s effect on the development of reading and writing skills is also discussed. In order to meet the purpose of this study and answer the scientific question, the methods general literature study with systematic approach together with informal interviews with three neurology-scientists, are applied. Four scientific articles are included in the study. They were all thoroughly reviewed from a quality- and knowledge perspective. The scientific theory used for this study is Vygotskij´s cultural-historical psychology but my own background as a teacher of eurythmics, educated and experienced in Dalcroze´s methodology, is inevitably the light in which I view the results of this study. One of the study´s results, is that this subject did not yet render much attention from researchers during the 21st century, leaving a lot of room for further development of practice. The main results of the studied articles are that a) children tend to prioritize tone before rhythm when reading notated music, b) underlying beat on the shortest note-duration in the rhythm, rather than beat that corresponds to the “worth” of the bar, simplifies the development of music reading skills, c) accomplished music reading demands early developed strategies rather than practice and d) rhythmic music reading may develop in a trajectory similar to that of language and literacy acquisition and should be fostered within that perspective through all of the following: oral and aural exercises, writing and reading. The interview-section shows, amongst other things, that rhythmic training may promote the development of articulation and writing, but there are no direct transfer effects between reading and music reading.

This thesis’ purpose is to review how music in school settings contributes to children’s development, psychosocial health, and well-being. The undertaken method is a compilation of current research which focuses on different themes within the field of music in school settings: group processes, personality processes, cognitive processes, and contribution to society. The objective is to find out about how music lessons and music projects are being applied in school settings to support children’s health and development. The thesis answers the following research question: In which ways can the practice of music in school settings contribute to prevent psychosocial problems amongst children and youth? To answer this question, research published between 2006 – 2020 is studied and analysed with three theoretical perspectives to provide a better understanding of the material: social capital, cognitive theory as well as protective and risk factors for children’s development. The used method for carrying out this thesis is a research summary, which summarises the results within thematic units. The results of the study show that music in school settings can contribute to positive factors within groups such as social cohesion, communication, prosocial skills, and behaviour, generating a more positive social environment in schools with possibilities to encounter school problems related to aggression. Furthermore, music practice in school can enhance children’s learning processes within academic dimensions and aspects related to children’s self and well-being. Results also show music projects’ significance of contributing differentresources, especially to schools located in socio-economically poorer areas.

Föreliggande uppsats syftar till att undersöka vad fyra musiklärare på högstadiet har för musikalisk bakgrund och hur de använder sig av traditionell västerländsk notskrift i undervisningen. Tidigare forskning tar upp noters likhet med skriftspråk, noters roll i musikundervisning och identitet och förebilder i musik. Som teoretisk utgångspunkt har sociokulturellt perspektiv använts. Halvstrukturerade intervjuer genomfördes med fyra musiklärare i högstadiet och analyserades med tematisk analys. Resultaten visade att noter främst användes i undervisning i trumspel och melodispel på piano och mer sällan i undervisning i sång, gitarr och ackordspel på piano. Det framkom även att de musiklärare som hade en mer populärmusikalisk bakgrund tenderade att använda noter mindre i undervisningen än de med en klassisk bakgrund. Vidare diskuteras ur vilka perspektiv sambandet mellan musikalisk bakgrund och notanvändning kan förstås, praktiska aspekter av att undervisa med eller utan noter och hur musikundervisning speglar noters samhällsstatus. / This study aims to examine the musical background of four music teachers in lower secondary school and how they use traditional Western musical notation in their teaching. Previous research addresses the similarities of musical notation with written language, the role of musical notation in music teaching and identity and role models in music. Socio- cultural perspective has been used as a theoretical starting point. Semi-structured interviews were conducted with four music teachers in lower secondary school and analyzed using thematic analysis. The results showed that musical notation is mainly used in teaching drums and melody playing on piano but rarely when teaching singing, guitar and chord playing on piano. The study also showed that the music teachers who had a more pop musical background tended to use musical notation less in their teaching than those with a classical background. Furthermore, it is discussed from which perspectives the connection between musical background and the use of musical notation can be understood, practical aspects of teaching with or without musical notation and how music teaching reflects the social status of musical notation.