Jag har genom en självobservation studerat hur jag som värmländsk spelman har jobbat för att lära mig Ranungspolskorna av Jon Erik Öst. Syftet har varit att studera min egen läroprocess genom att tillägna mig musik från en annan tradition med noter som mästare. En central fråga i mitt arbete har varit om de förkunskaper jag haft räcker för att spela den nya traditionen eller om jag behöver addera ny kunskap, och i så fall vilken, för att lyckas. Jag har använt mig av videofilmning, ljudinspelning och loggboksskrivande för att dokumentera vad som hänt, och detta material ligger till grund för mitt resultat. Det teoretiska perspektiv som arbetet bygger på är mästarläran, dock med fokus på att det bara har varit jag, instrumentet och noterna som har samarbetat, och inte en ytterligare människa som har agerat mästare. I och med att det bara har varit jag, instrumentet och noterna som samarbetat så har inte ytterligare en människa agerat mästare i studien. Slutligen presenteras resultatet av studien under två rubriker där den första rubriken presenterar läroprocessen och den sista ger konkreta exempel på skillnader och likheter mellan Värmlands och Hälsinglands folkmusikgenre. Resultatet diskuteras därefter i relation till tidigare forskning och bakgrundslitteraturen som använts i föreliggande studie. / I have by a self-observation studied how I as a fiddler from the province of Värmland have worked to learn to play the Ranungspolskorna by Jon Erik Öst. The aim has been to study my own learning process by studying music from a different tradition with sheet notes as a master. A central issue in my work has been to find out if the previous knowledge I already have is enough to play the new music tradition or what new knowledge I need to add to succeed. I have been using video recording, audio recording and writing logbook to document what has happened, and this material forms the basis of my results. The theoretical perspective underpinning the work is master learning, but with focus on the cooperation between myself, my instrument and the sheet notes, and no another person acting as the master in the study. Finally I present the result of the study under two headings. The first one presents the learning process and the second gives concrete examples of the differences and similarities between the folk music genre from the provinces of Värmland and Hälsingand. The result is then discussed in relation to the previous research and background literature used in the present study.

O objetivo deste estudo foi investigar o efeito do controle do aprendiz sobre a auto-observação na aprendizagem motora. Quatro experimentos foram realizados considerando aprendizes em estágios inicial (Exp. 1) e intermediário de aprendizagem (Exp. 2), a quantidade de prática (Exp. 3) e a mudança de escolha (Exp. 4). Os participantes foram 110 adultos universitários. As escolhas foram a auto-observação do melhor desempenho ou do desempenho global. O delineamento contou também com três grupos (escolha, espelho e controle) e com três fases (pré-teste, aquisição e retenção). A tarefa foi o nado crawl, cujo desempenho foi avaliado por um check list específico. A crença de autoeficácia e os relatos dos aprendizes enquanto assistiam aos vídeos também foram avaliados. Os resultados mostraram que: (i) para iniciantes, ter controle sobre a escolha possibilitou melhor aprendizagem; (ii) para aprendizes em estágio intermediário, o controle sobre a escolha só foi eficaz com o aumento da prática; (iii) mudar a escolha não implicou melhor aprendizagem; (iv) os tipos de auto-observação não puderam ser comparados em função das escolhas que foram feitas; e, (v) a auto-observação melhorou a crença de autoeficácia, independente da escolha / The aim of this study was to investigate the effect of learner control on self -observation on motor learning: Four experiments were conducted by considering learners at initial (Exp. 1) and intermediate (Exp. 2) stages of learning, the amount of trials (Exp. 3), and the changing of choice (Exp. 4). Participated 110 students college adults. The choice was of the best performance or global performance. The design also involved three groups (choice, yoked, and control) and three phases (pretest, acquisition, and retention). The task was crawl swim, whose performance was evaluated by a specific check list. The belief of self-efficacy and reports of the learners were also evaluated. Results showed that: (i) beginners who had control on the choices also had the best learning, (ii) for intermediate learners, the control on the choices was only effective when with the amount of trials was increased, (iii) to change the choice not implied better learning, (iv) the types of self-observation couldnt be compared with each other on the basis of the choices that have been made; and (v) self-observation improved self belief, but not independent of choice

O objetivo deste estudo foi investigar o efeito do controle do aprendiz sobre a auto-observação na aprendizagem motora. Quatro experimentos foram realizados considerando aprendizes em estágios inicial (Exp. 1) e intermediário de aprendizagem (Exp. 2), a quantidade de prática (Exp. 3) e a mudança de escolha (Exp. 4). Os participantes foram 110 adultos universitários. As escolhas foram a auto-observação do melhor desempenho ou do desempenho global. O delineamento contou também com três grupos (escolha, espelho e controle) e com três fases (pré-teste, aquisição e retenção). A tarefa foi o nado crawl, cujo desempenho foi avaliado por um check list específico. A crença de autoeficácia e os relatos dos aprendizes enquanto assistiam aos vídeos também foram avaliados. Os resultados mostraram que: (i) para iniciantes, ter controle sobre a escolha possibilitou melhor aprendizagem; (ii) para aprendizes em estágio intermediário, o controle sobre a escolha só foi eficaz com o aumento da prática; (iii) mudar a escolha não implicou melhor aprendizagem; (iv) os tipos de auto-observação não puderam ser comparados em função das escolhas que foram feitas; e, (v) a auto-observação melhorou a crença de autoeficácia, independente da escolha / The aim of this study was to investigate the effect of learner control on self -observation on motor learning: Four experiments were conducted by considering learners at initial (Exp. 1) and intermediate (Exp. 2) stages of learning, the amount of trials (Exp. 3), and the changing of choice (Exp. 4). Participated 110 students college adults. The choice was of the best performance or global performance. The design also involved three groups (choice, yoked, and control) and three phases (pretest, acquisition, and retention). The task was crawl swim, whose performance was evaluated by a specific check list. The belief of self-efficacy and reports of the learners were also evaluated. Results showed that: (i) beginners who had control on the choices also had the best learning, (ii) for intermediate learners, the control on the choices was only effective when with the amount of trials was increased, (iii) to change the choice not implied better learning, (iv) the types of self-observation couldnt be compared with each other on the basis of the choices that have been made; and (v) self-observation improved self belief, but not independent of choice

The phenomena of self-awareness and self-observation are thought by many to be uniquely human qualities, and questions about how they develop have engaged philosophers and spiritual thinkers throughout history. More recently these issues have come to interest psychologists, psychotherapists, and researchers of diverse clinical psychology orientations as well. This dissertation explored conceptual issues and empirical measurement methods related to self-awareness and self-observation capacities. The four studies approached this from different angles: Study I used mainly qualitative methods to study post-treatment processes related to continuing clinical improvement after termination of long-term psychotherapeutic treatments. The main finding was that self-analysis seemed to be related to continued improvement after ending of therapy, but contrary to our hypothesis there was no difference between psychotherapy and the more intensive psychoanalysis in this regard. Study II tested the measurement of mindfulness by self report in a sample of experienced Buddhist meditators. The findings confirmed relationships between mindfulness and psychological well-being, but raised doubt about the instruments’ sensitivity to change. Study III compared different methods for measuring theoretically related concepts of self-observation: mindfulness, mentalization, and affect consciousness. This study showed surprisingly little common variance between affect consciousness and mentalization/mindfulness. Finally, the results of Study IV showed that in patients diagnosed with clinical depression, mentalization about depressive symptoms predicted aspects of the initial psychotherapy process better than mentalization about attachment. Taken together, these studies show the complexity of the phenomenon of self-observation and the corresponding complexity of research on it. The relationships between variables related to self-observation, their measurements, and their relationships to the psychotherapy process seem more complex than would be expected from current theories. A model for types of self-observation in the process of change in psychotherapy is tentatively proposed. / Förmågan till självmedvetande och självobservation brukar sägas vara unik för människan, och frågor om hur den uppstår och utvecklas har engagerat filosofer och andliga tänkare genom historien. Under de senaste årtiondena har detta även kommit att intressera psykologer, psykoterapeuter och forskare inom olika kliniska psykologiinriktningar. I denna avhandling utforskades konceptuella frågor och empiriska mätmetoder relaterade till självobservationsförmåga. De fyra studierna tog sig an detta från olika utgångspunkter: I Studie I användes främst kvalitativ metod för att undersöka processer relaterade till fortsatt klinisk förbättring efter avslutning av längre psykoterapeutisk behandling. Beskrivningar av självanalys var relaterade till fortsatt förbättring efter avslutad terapi, men i kontrast till vår hypotes syntes ingen skillnad mellan psykoterapi och den mer intensiva psykoanalysen ur denna aspekt. I Studie II prövades mätning av medveten närvaro (mindfulness) genom självrapport på ett urval erfarna Buddhistiska meditatörer. Resultaten bekräftade samband mellan medveten närvaro och psykologiskt välmående, men visade på osäkerhet kring instrumentens känslighet för förändring. I Studie III jämfördes olika metoder för mätning av teoretiskt relaterade självobservationsbegrepp: medveten närvaro, mentalisering och affektmedvetenhet. Resultaten visade på förvånansvärt liten gemensam varians mellan affektmedvetenhet och mentalisering/medveten närvaro. Slutligen visade resultaten i Studie IV att hos patienter diagnostiserade med klinisk depression predicerade mentalisering om depressiva symptom aspekter av den initiala psykoterapiprocessen bättre än det vanliga måttet på mentalisering utifrån anknytningsintervju. Sammantaget visar dessa studier på komplexiteten i fenomenet självobservationsförmåga och dess utforskande. Relationerna mellan variabler relaterade till självobservation, mätning av dem och samband med psykoterapiprocessen tycks mer komplexa än förväntat utifrån nuvarande teorier. En tentativ modell för samband mellan typer av självobservation i den psykoterapeutiska förändringsprocessen presenteras.

Detta arbete handlar om hur jag som folkmusikslagverkare genom självobservation kan lära mig en speciell spelteknik för att framkalla melodier på ostämda slagverksinstrument med fokus på tamburinen och hur denna kan simulera ett helt trumset med samma spelteknik. Syftet har varit att undersöka om det som slagverkare går att komma från rollen som en ackompanjemangsmusiker och istället ses som en melodispelare samt att se hur man kan utnyttja tamburinens fulla kapacitet för att hitta nya spelsätt och nya möjligheter.  För att göra detta arbete, och för att observera mig själv i min lärandeprocess, har jag använt mig av videoinspelning, ljudinspelning och kontinuerligt loggboksskrivande. Min teoretiska utgångspunkt i detta arbete är mästarläran och det är utifrån den teorin jag har bearbetat mitt datamaterial. I resultatet presenterar jag processen när jag, i relation till folkmusikgenren, har lärt mig att spela melodier på ostämda slagverksinstrument och att simulera att helt trumset på endast en tamburin. Jag har tydligt visat de tekniker jag har övat på för att lyckas med detta. I resultatet framkommer också att det har varit en stor fördel att redan ha vana från andra slagverksinstrument och att jag har haft två olika mästare under arbetsprocessen, själva folkmusiktraditionen och spelmannen på slagverk, Petter Berndalen. / This work is about how I as a folk music percussionist through self-observation can learn a special playing technique for inducing melodies on untuned percussion instruments with a focus on the tambourine and how this can simulate a full drum kit with the same playing technique. The aim was to examine whether as a percussionist is able to go from the role as an accompaniment musician and instead be seen as a melody player and to see how to exploit tambourines full capacity to find new ways of playing and new opportunities. To make this work, and observing myself in my learning process, I have used the video recording, audio recording and continuous logbook writing. My theoretical basis of this work is master-learning and it is from that theory I have analysed my data material. In the result, I present the process when I, in relation to traditional music genre, have taught myself to play melodies on untuned percussion instruments and to simulate the whole drum kit with only one tambourine. I have clearly demonstrated the techniques I have practiced in order to succeed. This result also reveals that there has been a great advantage to already have experience from other percussion instruments and that I have had two different masters during the working process, the traditional music genre and the traditional music percussionist, Petter Berndalen.

Dans cette recherche en psychologie clinique et en psychopathologie, nous interrogeons la nature et les caractéristiques de la position « méta ». Nous étudions plus spécifiquement le phénomène d’auto-observation qui constitue la position « méta », mais aussi les mécanismes psychiques qui sous-tendent ce fonctionnement : l’introjection du regard de l’autre, l’identification d’une part de soi à un autre, une dissociation fonctionnelle (ou une dissociation non-pathologique du Moi), l’auto-observation (où une part de soi observe une autre part de soi), la réflexivité, un dialogue interne. Nous nous intéressons également à l’évolution de la position « méta » au sein d’un dispositif de psychodrame psychanalytique de groupe composé de patients psychotiques, au regard des interactions avec les membres du groupe. / In this research in clinical psychology and psychopathology, we question the nature and characteristics of the « meta » position. We study more specifically the phenomenon of self-observation, which is the position « meta », but also the psychological mechanisms that underlie this operation : introjection the eyes of others the identification of a part of oneself to another, a functional separation (or non-pathological dissociation of the self) , self-observation (where self-hand observed another part of oneself) , reflexivity, an internal dialogue. We are also interested in the evolution of the position "meta" in a psychoanalytic psychodrama device group of psychotic pateints, in terms of interactions with group members.

Watching oneself on video (self-observation) compared to self-observation coupled with a skilled model video (mixed-models) was examined in a gymnastics environment to determine whether combining two model types would be better than just one. Twenty-one gymnasts learned one gymnastics skill with mixed-models and a second skill with self-observation across pre-test, three learning sessions, and post-test. Physical performance, scored by two evaluators, revealed a significant condition by session interaction (F(3,51) = 3.329, p = .027). At session 3 and post-test, scores obtained with mixed-models were significantly higher than those with self-observation. Cognitive representation of the skills was measured at pre-test and post-test via error detection and recognition tests, analyzed using signal detection. Participants had significantly higher response sensitivity scores with mixed-models (F(1,14) = 10.810, p = .005) compared to self-observation. The conclusion drawn is that it is better to incorporate self and skilled models in a gymnastics setting than self-observation alone.

I denna studie har jag genom att observera mig själv utforskat hur jag som blivande musiklärare undervisar vuxna, som har funktionsnedsättningar, i ensemble. Syftet har varit att undersöka vilka semiotiska resurser jag använder mig av då jag undervisar, hur de används och hur de förändras under arbetets gång. Som metod har jag använt mig av videoinspelning och kompletterande loggboksanteckningar. Ensemblegruppen bestod av ca tio vuxna med funktionsnedsättningar och två till fem lärare som vanligtvis arbetar med gruppen. Tillsammans hade vi fyra lektioner där jag undervisade i sång, instrument och ensemblespel. Resultatet presenteras med hjälp av följande teman: Lektion 1, Lektion 2 & 3 och Lektion 4. Vilka resurser jag använder mig av och hur dessa används beror i dessa fall främst på vilka instrument gruppen spelar. Resultatet diskuteras därefter utifrån vilka förutsättningar jag haft, det multimodala perspektivet och tidigare forskning. / In this study I have, by observing myself, analysed how I as a future music teacher educates adults with learning disabilities in ensemble situations. The purpose has been to study which semiotic resources I use during classes, how they are being used and in which way they are changing as the lessons progresses. My method has been video recordings and supplementing logbook notes. The ensemble group consisted of approximately ten adults with learning disabilities and two to five teachers who usually work with the group. Together we had four lessons in which I taught them about singing, instruments and playing in ensemble. In the result I have used the following themes: Lesson 1, Lesson 2 & 3 and Lesson 4. Which resources I use and how they are being used depends in these cases foremost on which instruments the group are playing. The result is discussed subsequently based on preconditions, the multimodal perspective as well as previous research.

Syftet med föreliggande studie är att studera min lärandeprocess vid instuderingen av en modern operaaria. Studien utgår från ett designteoretiskt perspektiv på lärande med begreppen design, multimodalitet och semiotiska resurser i fokus. Processen pågick under tre veckor under hösten 2017 med totalt 14 övningspass. För att dokumentera lärandeprocessen under dessa övningspass användes metoderna videoobservation och loggbok. I resultatet beskrivs lärandeprocessens design med hjälp av två teman: Kreativt ostrukturerad och Strävan efter helhetsupplevelsen. Resultatet visar också att kroppsliga resurser användes under lärandeprocessens gång för att förkroppsliga musikaliska parametrar, medan materiella resurser användes för att på ett konkret sätt komplettera de kroppsliga resurserna. I diskussionen diskuteras resultatet i förhållande till ett designteoretiskt perspektiv på lärande samt till tidigare forskning om övning och instudering. Några aspekter som berörs är betydelsen av en ljudande förlaga att lyssna till kopplat till helhetsaspekten samt den kreativt ostrukturerade lärandeprocessens inverkan på progressionen i övningen. / The purpose of the present study is to examine my own learning process with a modern opera aria. The study is based on a design theoretical perspective on learning with focus on the concepts design, multimodality and semiotic resources. The process went on for three weeks during the autumn 2017 with a total of 14 practising sessions. To be able to document the learning process during these practising sessions, the methods video observation and logbook were used. The design of the learning process is described in the result by two different themes; Creatively unstructured and The endeavour to the overall experience. The result also shows that physical resources were used during the learning process to embody musical parameters, while material resources became a complement to the physical resources in a concrete way. In the last section, the result is discussed relative to a design theoretical perspective on learning and to previous research on practise and rehearsal methods. Some aspects are the meaning of a sounding example to listen to relative to the aspect of the overall experience, and the creatively unstructured learning process and its impact on the practice progression.

Syftet med föreliggande studie är att, genom självobservation, få en ökad förståelse för tidig utveckling på ett brassinstrument samt studera tillägnandet av instrumentspecifika tekniker. Studien behandlar en lärandeprocess i trombon på nybörjarnivå under instrumentallektioner och enskild övning som ägt rum på en svensk musikhögskola. Metoden som använts i föreliggande studie är självobservation genom videodokumentation. Bearbetning och analys av videodokumenterat material har genomförts med utgångspunkt i ett sociokulturellt perspektiv, i vilket lärande förstås genom socialt samspel och användande av medierande redskap. Resultatet presenteras utifrån transkriptionsanteckningar från det observerade videomaterialet med betoning på hur centrala redskap använts under processens inledning, mitt och slutskede. Resultatet visar en påtaglig relation mellan svårigheters uppkomst och tillägnande av nya färdigheter. I diskussionen diskuteras slutligen studiens resultat i förhållande till det sociokulturella perspektivet. / The aim of the present study is to, through self-observation, obtain a deeper understanding of early progress on a brass instrument and to study the acquisition of instrument specific techniques. The study processes a learning process in trombone at the beginner level during instrumental lessons and individual exercise, both of which have taken place at a Swedish academy of music. The method used in present study is self-observation through video documentation. Processing and analysis of the video content is based on a sociocultural perspective, in which learning is comprehended by social interaction and the use of mediating tools. The presented result is based on transcription notes from observation of the video content with focus on how tools have been used during the prelude, the middle and the final stage of the process. The result shows a remarkable relation between the appearance of difficulties and the acquisition of new abilities. The result of the study is eventually discussed in relation to the sociocultural perspective on learning.