Syftet med denna studie var att undersöka vilka didaktiska strategier en lärare använder sig av i ensembleundervisning på gymnasiets estetiska program, med främst fokus på arbetet med sångare. Forskningsfrågorna som lade grund för studien var: Hur inkluderar lärare sångare i ensemblen? Vilka utmaningar upplever lärare med att undervisa sångare i ensemble? Skiljer sig arbetet med sångare jämfört med ensemblens resterande instrumentalister? Med observation av tre ensemblelektioner och kvalitativa intervjuer med tre verksamma ensemblelärare som metod fick jag resultatet från att ha sett lärarnas arbetssätt och hört deras tankar och upplevelser. Resultatet visar att lärarna till viss del ser på sångare som ett annorlunda instrument och att sångare har en annan typ av roll i ensemblen i jämförelse med de andra instrumentalisterna. Lärarna upplever en del utmaningar med att undervisa sångare på grund av att sång är ett instrument som sitter inuti kroppen och är unikt för varje person, det är inget en person varken kan gömma sig bakom eller gå iväg från. Resultatet visar att lärarens arbete med att skapa trygga grupper tillsammans med eleverna är nödvändigt för gruppens musikaliska och konstnärliga utveckling.

One important aspect of stage performance for non-classical singers is stage monitoring. Amplified instruments along with drums often compete in frequency and sound level which affects the audibility on stage, both in detail and as a whole. This study qualitatively examines the non-classical singer’s creation of vocal expression linked to stage monitoring by collecting experiences from both singers and sound engineers. A survey answered by 40 singers, equal men and women, and interviews with 2 sound engineers aims to display the conditions of the matter where the ability to skilled and responsive communication is essential. This is the main theme of the study. The topics discussed are non-classical singers’ creative expression linked to audio technology and vocal pedagogy, conditions of audibility in stage performance such as acoustics, genre and technical equipment used for stage monitoring. Due to audibility on stage, changes occur in the voice’s amplitude, dynamic range, timbre and pitch. Poor monitor sound make singers uncomfortable when the focus gets placed on problem-solving rather than creating an artistic expression for the audience. Adjustments in stage monitoring during a live show requires communication between the singer and sound engineer, either hidden or in plain sight, depending on the overall condition of the performance. This study suggests that stage monitoring therefore affects the quality of stage performance. Loudspeaker monitoring tends to create high sound levels on stage and due to the directional characteristics of these speakers, the singer is limited to the “sweet spot”. In-ear monitoring on the other hand is less harmful to the ears, provides a more detailed monitor-mix independent of a sweet spot. However, this creates a sense of absence as well as musical and social disconnection. A design study has therefore been constructed using a stage monitor with an unconventional directional characteristic both vertically and horizontally.

Monitoring is hugely important for musicians in any type of live situation for them to provide a good musical performance, and In-ear Monitoring (IEM) is increasingly popular among both musicians and audio engineers. Despite this, there has been little research on the topic and musicians and audio engineers would benefit from knowing more about the system, to utilize it in the best way possible. Because of the potentially added issues with structure borne sound, the study has chosen to focus on vocalists that use IEM. Through interviews with both Less experienced IEM users and Experienced IEM users, this study aims to find out what issues IEM users experience in live situations. Other than perceived issues, the study investigates how issues evolve with increased experience, comparing the two user groups, what solutions can be found and how an IEM mix should be for a vocalist. Through a Thematic analysis, the study reaches the conclusion that the main issue with the IEM system for vocalists is isolation from the surrounding world, and that the isolation leads to other perceived issues such as worsening the live feeling and obstructing contact with the audience. The study also concludes that there is a clear connection between monitoring and musical performance with poor monitoring leading to worse performance. The main solution observed is habit with the system, good communication between the audio engineers and musicians and an understanding for both sides workflow to increase efficiency in mixing. With this knowledge, further research can be made to increase the understanding for musicians and audio engineers respectively, and audio engineers and musicians can already focus on increasing cooperation.