The purpose of this study is to investigate the children’s mathematics learning through play. The questions to be answered are: how can teachers facilitate children’s mathematics learning through play? How can play affect children’s math learning? Are the children aware of the role of play in their mathematics learning? My method is based on interviews and observations. My informants are three teachers who work in two different preschools. I have interviewed the teachers and have been allowed to observe their work with the children. I have chosen to document the interviews and the observations with the help of a Dictaphone and digital camera. In the interviews, the teachers tell me that they try to capture and use mathematics in different contexts in everyday activities. They add that their duty is to actively work to draw the children’s attention to mathematical problems in an enjoyable and fun way. In my study, I clearly see that plays can facilitate the learning of mathematics.

Syftet med arbetet är att bidra till ökad kunskap om hur kontrabaspedagoger utformar gruppundervisning i sitt arbete med kontrabaselever. Det tycks finnas en stor brist på studier som behandlar gruppundervisning på kontrabas. I bakgrundskapitlet belyses därför gruppundervisning med dess för- och nackdelar, olika gruppundervisningsmetoder för stråkpedagoger samt forskning som visar positiva effekter av gruppundervisning. Föreliggande studie grundar sig på det designteoretiska och multimodala perspektivet. Datamaterialet består av två videodokumentationer från två olika kontrabaslärare. I resultatet redovisas hur lärarna använder tal, sång, specifika kontrabasord, gester och instrumentet kontrabas som resurser i undervisningen. Resultatet visar även att lärarna designar sina lektioner på olika sätt samt att de använder sig av olika tekniker vid spel. I det avslutande diskussionskapitlet lyfts de olika resurser lärarna använder sig av och hur de designar sina lektioner i relation till det designteoretiska och multimodala perspektivet. En av slutsatserna i diskussionen är att lärarens position gentemot eleven har betydelse för elevernas förmåga att imitera och transformera lärarens gester. / The purpose of this study is to contribute to further knowledge of how double bass teachers design their group lessons for double bass students. There seems to be a lack of studies that treat group tuition for double bass. The background chapter therefore provides pros and cons about group tuition, different methods for group tuition used by string teachers and previous research in the field that shows the positive effects of group tuition. The theoretical starting point of this study is based upon the design theoretical and multimodal perspective. The collected data material consists of two video documentations from two different double bass teachers. The result chapter describes how the teachers use speech, song, double bass words, gestures and the double bass as resources in teaching. The result also shows that the teachers design their lessons differently and use different kinds of techniques when playing. In the concluding discussion chapter the teachers’ different resources and how they design their lessons is lifted as the main topics according to the design theoretical and multimodal perspective. One of the conclusions in the discussion is that the teachers’ position towards the students is significant for the students’ ability to imitate and transform gestures from the teacher.

This thesis is an investigation of the use of various infection control practices, including hand hygiene, in companion animal veterinary clinics and a public petting zoo. Video observation of petting zoo visitors found overall hand hygiene compliance was 58% (340/583). Improved signage with offering hand sanitizer (odds ratio (OR) 3.38, p<0.001) and verbal hand hygiene reminders (OR 1.73, p=0.037) had a significant positive association with compliance. Video observation of preoperative preparation practices in ten veterinary clinics found contact times with preparatory solutions were often shorter than recommended: 10-462s for patients and 7-529s for surgeons using soap and water. Practices that did not conform to guidelines available in major companion animal surgical textbooks were commonly observed. A survey of veterinary staff found that over 80% of respondents ranked hand hygiene as of high importance in all clinical situations queried. The most frequently reported reason for not performing hand hygiene was forgetting to do so (40%, 141/353). Video observation of various infection control practices in 47 veterinary clinics found that poor sharps handling practices were common, yet only one needlestick injury was observed. Exam tables were cleaned following 76% (2015/2646) of appointments, and contact time with spray used to do so ranged from 0-4611s (mean 39s, median 9s). Appropriate personal protective clothing was worn for 72% (3518/4903) of staff-animal contacts. Video observation of hand hygiene practices in 38 veterinary clinics found overall hand hygiene compliance was 14% (1473/10894). Soap and water was used for 87% (1182/1353) of observed hand hygiene attempts with a mean contact time of 4s (median 2s, range 1-49s). A hand hygiene poster campaign had no significant effect on compliance. There is clearly room for improvement with regard to many frequently used infection control measures in veterinary clinics in Ontario. Use of active interventions to improve practices such as hand hygiene should be investigated in clinics, as such measures have been effective in other settings. The video monitoring system used in this research may be a useful tool for conducting these and similar studies in the future. A better infection control culture needs to be established in veterinary medicine. Accompanying data files are located at: http://hdl.handle.net/10864/10445 / Canadian Institutes of Health Research (CIHR), Ontario Veterinary College Pet Trust, Canada Foundation for Innovation

Studiens syfte är att utforska en musikers kroppsspråk vid instuderingen av en orkesterstämma. Detta har observerats under instuderingen av förstaflöjtstämman i fjärde satsen av Brahms andra symfoni. Studien har sin utgångspunkt i det designteoretiska perspektivet och har genomförts med hjälp av videoobservationer under repetitionsperioden av verket. Jag har även fört loggbok under processen av självobservationen. Resultatet av studien visar att de kroppsliga resurserna kan hjälpa, men också stjälpa, den musikaliska processen och dess uttryck. I diskussionen tar jag bland annat upp hur resurserna används sett ur det designteoretiska perspektivet. / The purpose of this study is to explore a musician's body language when studying an orchestral part. The observation took place during my own practice of the first flute part in the fourth movement of Brahms' second symphony and also during the rehearsal with the orchestra. The study has its basis in the perspective of design theory and I have used video observations during the rehearsal period of the work. I have also written a logbook during the process of self-observation. The result shows that the physical resources can help, but also hinder the musical process and its expression. In the end I discuss among other things how resources are used, seen from the design theory perspective.

Detta arbete är en självstudie i att utveckla improvisation på saxofon. Syftet är att utforska hur det är möjligt att uppnå en nivå av frihet i det improviserade spelet. En grundtanke som presenteras i inledningen är att all musik egentligen kommer ur improvisation. För att improvisation i nuet skall vara en reell komposition krävs en utvecklad förmåga att spela utifrån en inre musikalisk intuition, snarare än att enbart utgå från vad som är teoretiskt korrekt. Metoderna som används är dagliga anteckningar om den egna utvecklingen i en loggbok samt videoinspelning av mitt eget improviserande vid några tillfällen. Det teoretiska utgångsläget är fenomenologiskt. I fenomenologisk tradition ställs frågan vad som visar sig vara väl fungerande metoder eller redskap i att utveckla improvisation, för att uppnå ett ”flow” av komponerande i nuet. Dessa metoder och redskap har praktiserats och dokumenterats under några månader. Arbetets resultat utgår från loggbok och videoinspelningar. Där presenteras och utvärderas olika metoder för att öva improvisation. Vidare granskas improvisation utifrån enklare musikaliska ramar till att ta svårare utmaningar och utvecklas mer. Uppmuntrande för den som vill improvisera, är att resultatet visar att det går att få flow i sitt improviserade spel utifrån den kunnighet som finns etablerad, men att det sedan behövs träning för att improvisera utifrån mer och mer avancerade musikaliska förutsättningar. Viktigt för utvecklingen är att improvisera med andra och gärna inför publik. För att våga göra detta krävs mod. Till sist diskuteras resultatet tillsammans med de metoder som använts för att utveckla improviserat spel, liksom begreppet ”flow”. / This is a self-study in how to become a skilled improviser on saxophone, with the purpose of researching how to develop a higher level of freedom in improvising. A view introduced in the introduction of the study, is that all music basically generates from improvisation. For an improvisation to be a real composition in the now, it demands a highly developed skill, with the ability to play out from an inner creative intuition, rather than only from what might be theoretically correct. The methods used for the research are daily notes about the process in a journal and video-recordings of me improvising. The theoretic eyeglasses that are used are phenomenological. What kind of methods or tools will appear beneficial in developing improvisation skill to a level of reaching a ”flow” of composing music here and now? This is the question asked according to a phenomenological tradition. These methods and tools have been practiced and documented in about four months. The final result is based on the notes in the journal and the video-recordings. Different methods in how to develop improvisation is presented and evaluated. The result shows a development of improvising from musical frames more easy to manage, as well as taking challenges and train for more advanced skills. Encouraging for everyone, who wants to improvise, is that the result shows that it is possible to find a flow in improvising on the base of skill already established. To be able to improvise in a more and more advanced way, practice is of course necessary. Important for developing improvisation skills is to play together with others and preferably with an audience. To be able to do that courage must be added. Finally the result is discussed together with the methods used to develop improvisation, as well as the meaning of flow.

Självstudien har som syfte att skapa en fördjupad förståelse av vad det innebär att öva etyder. Utgångspunkten är tre etyder för cello som övas vid tio tillfällen var. Dessa övningstillfällen har dokumenterats med videoobservation och loggboksskrivande som metoder. Studien har ett fenomenologiskt perspektiv som utgångspunkt och i arbetet belyses även relevant litteratur och forskning inom området övning. Resultatet av studien beskrivs i olika teman utifrån de mönster som synliggjorts i loggbok och videoupptagningar. Temana handlar om delar och helhet som en strategi, generella och etydspecifika övningsstrategier, övning och spel, upplevelser av övningspassen samt reflektioner och lärdomar. Dessa visar att övning av etyder påverkas av val av övningsstrategier, relationen mellan del och helhet samt balansgång mellan övning och spel. Den sammantagna upplevelsen av övandet av etyder i relation till ovannämnda faktorer utgör en grund för egna reflektioner och idéer om fortsatta forskningsområden. / The self-study has the purpose of creating a deeper understanding of what it means to practice etudes. The base materials of the study are three etudes for the cello that have been practiced on ten occasions each. The practice occasions has been documented through the method of video observation and the writing of logbook.The study occurs through a phenomenological perspective and uses relevant literature on the topic of practice. The results are depicted as themes deriving from the patterns that have been made visible through video observation and writing of logbook. The themes deal with parts and the whole as a strategy, general and etude specific practicing strategies, practicing and playing, experiences of practicing sessions, and reflections as well as lessons learned. These themes show that practicing of etudes is affected by choices of strategy, the correlation between the whole and the part and the weight put into either playing or practicing. The combined experience of practicing etudes in relation to the factors mentioned above form a foundation for self-made reflections and ideas for future research.

I detta självständiga arbete utforskar jag min egen lärandeprocess i en komposition för violin, flöjt och piano. Studien utgår utifrån ett designteoretiskt perspektiv och grundar sig även i litteratur och forskning inom ämnet komposition och musikskapande. Denna självstudie baserar sig på observationer från flera videofilmade, ljudinspelade och loggbokförda kompositionstillfällen under höstterminen 2017. Resultatet är indelat i tre olika faser av kompositionsprocessen: Kompositionens början, Utvecklingen av kompositionen ochSlutskedet av kompositionen. I resultatet presenteras svaret på mina frågeställningar om vilka resurser jag använder när jag skriver musik och hur själva kompositionsprocessen ser ut för mig. I diskussionen sätts dessa resultat i relation till vald litteratur, forskning och det designteoretiska perspektivet. / In this self-study, I explore my own learning process while writing a composition for violin, flute and piano. The study is based on the perspective of design theory and is also based on literature and research in the subject of composition and music-making. This self-study is also based on observations from several video, sound and log recorded compositional events during autumn 2017. The result chapter is divided into three different stages of the process of the composition: The beginning of the composition, The development of the compositionand The final phase of the composition. The result answers the two research questions and the purpose of this study: What resources do I use when writing music and how the actual process of my composition takes place. In the discussion, these results are set in relation to the selected literature, research and the design theory perspective.

Denna studie syftar till att undersöka förskollärares arbete för att stödja barn med språklig sårbarhet. Genom semi-strukturerade intervjuer med drag av tolkande hermeneutik har vi fått en inblick i hur åtta förskollärare på sju olika förskolor i Mellansverige upplever att de arbetar för att stödja barn med språklig sårbarhet. I den hämtade video-observationen ges exempel på strategier för hur förskollärare kan arbeta i praktiken för att stimulera språkutvecklingen hos språkligt sårbara barn. Den insamlade datan i första delstudien har analyserats utifrån ett sociokulturellt perspektiv för att synliggöra och beskriva hur förskollärare upplever att de arbetar med språklig sårbarhet i spontana respektive planerade undervisningssituationer. Den andra delstudien tar utgångspunkt i ett sociokulturellt och samtalsanalytiskt perspektiv för att besvara hur arbetet kan ta sig uttryck i praktiken. Studiens resultat pekar på att förskollärarna arbetar med att stödja barn med språklig sårbarhet i spontana undervisningssituationer genom att använda planerade undervisningsmaterial. Vi tolkar också att det finns en medvetenhet hos förskollärarna när det gäller betydelsen av deras roll i den sociala interaktionen för att främja språkligt sårbara barns språkutveckling. I analysen av resultatet från de olika delstudierna tolkar vi att förskollärarna använder olika strategier i arbetet för att stödja barn med språklig sårbarhet. Vidare förekommer det ringa variation i hur förskollärarna upplever att de arbetar för att realisera läroplansmålen i Lpfö18.

The overall purpose of this study is to gain knowledge about dialogues in the setting of the preschool. The more in-depth purpose is to highlight what happens in dialogues between a teacher and a child when more children join the situation of interaction in which the dialogue is taking place. A further purpose is to attempt to understand what it is that influences change in the dialogue and what significance the actions of the teacher can have for this change. The study is based on several questions that concern interaction in preschools, who it is that initiates an increase in the number of participants in those situations that involve dialogue, and what happens with the dialogue when more children join and what causes the change in the dialogue. The study is based on video observations from a preschool; approximately 10 teachers and 50 children between the ages of one and six took part in the study. The situations that were observed and documented in video format were everyday activities (both indoor and outdoor) that were led at a nominal level by teachers. In total, 40 films were recorded. Film length was between one and 60 minutes. In 32 of the films, there was interaction between a teacher and several children, and 18 of these included dialogues between a teacher and several children. Dialogue is here given a specific significance and refers to the interaction that can be described in terms of presence, listening, reciprocity, and extending. This definition of dialogue derives from a combination of Martin Buber’s philosophy of dialogue and aspects of interaction that earlier research found to be significant for children’s learning. In two of the 18 films that showed dialogue, no other children became part of the situation of interaction; the remaining 16 films were transcribed; and both verbal and non-verbal events were made apparent in the transcriptions. Analyses of the recorded material and of the transcriptions were conducted using analytical terms borrowed from conversation analysis as well as the central term for this study dialogue.  The results demonstrate a complex practice and also demonstrate that dialogues in the sense given in this study take place between children and teachers. Situations of interaction also occur where dialogues take place in which a number of children join. It can be the child joining the situation of interaction who takes the initiative to an increased number of participants; however, it can also be the teacher or the child in the dialogue. The initial address can take place during a moment of transition in the interaction or at the same time as another participant is talking. The dialogue often changes when more children join the situation where the dialogue is taking place. The dialogue can end completely or be interrupted and resume. The results further demonstrate that the dialogue can continue without seemingly being affected by the fact that more children join. This happens when the child joining and the teacher in the dialogue interact in a non-verbal manner at the same time as the teacher is talking with the child in the dialogue. The dialogue can also be continued with more participants. Who takes the initiative, how the initial address occurs, and which content is given focus by the different participants are all factors that seem to affect what happens to the dialogue. How the teacher acts when more children join also appears to be significant in terms of what happens with the dialogue when more children join. In those situations where the teacher begins talking with a number of children about different subjects, the interaction ceases to be dialogic. When the teacher asks the joining child to wait, the dialogue is both interrupted and resumed, and on those occasions when the dialogue continues with more participants, the teacher listens to the joining child and the participants take turns speaking. / <p>Licentiatuppsatsen har författats inom forskarskolan "Utforskande lärprocesser och literacy: förskolebarns lärande i språk, matematik och naturvetenskap" som genomförts i samarbete mellan Stockholms universitet, Uppsala universitet, Umeå universitet och Högskolan i Dalarna.</p>

The overall purpose of this study is to gain knowledge about dialogues in the setting of the preschool. The more in-depth purpose is to highlight what happens in dialogues between a teacher and a child when more children join the situation of interaction in which the dialogue is taking place. A further purpose is to attempt to understand what it is that influences change in the dialogue and what significance the actions of the teacher can have for this change. The study is based on several questions that concern interaction in preschools, who it is that initiates an increase in the number of participants in those situations that involve dialogue, and what happens with the dialogue when more children join and what causes the change in the dialogue. The study is based on video observations from a preschool; approximately 10 teachers and 50 children between the ages of one and six took part in the study. The situations that were observed and documented in video format were everyday activities (both indoor and outdoor) that were led at a nominal level by teachers. In total, 40 films were recorded. Film length was between one and 60 minutes. In 32 of the films, there was interaction between a teacher and several children, and 18 of these included dialogues between a teacher and several children. Dialogue is here given a specific significance and refers to the interaction that can be described in terms of presence, listening, reciprocity, and extending. This definition of dialogue derives from a combination of Martin Buber’s philosophy of dialogue and aspects of interaction that earlier research found to be significant for children’s learning. In two of the 18 films that showed dialogue, no other children became part of the situation of interaction; the remaining 16 films were transcribed; and both verbal and non-verbal events were made apparent in the transcriptions. Analyses of the recorded material and of the transcriptions were conducted using analytical terms borrowed from conversation analysis as well as the central term for this study dialogue.  The results demonstrate a complex practice and also demonstrate that dialogues in the sense given in this study take place between children and teachers. Situations of interaction also occur where dialogues take place in which a number of children join. It can be the child joining the situation of interaction who takes the initiative to an increased number of participants; however, it can also be the teacher or the child in the dialogue. The initial address can take place during a moment of transition in the interaction or at the same time as another participant is talking. The dialogue often changes when more children join the situation where the dialogue is taking place. The dialogue can end completely or be interrupted and resume. The results further demonstrate that the dialogue can continue without seemingly being affected by the fact that more children join. This happens when the child joining and the teacher in the dialogue interact in a non-verbal manner at the same time as the teacher is talking with the child in the dialogue. The dialogue can also be continued with more participants. Who takes the initiative, how the initial address occurs, and which content is given focus by the different participants are all factors that seem to affect what happens to the dialogue. How the teacher acts when more children join also appears to be significant in terms of what happens with the dialogue when more children join. In those situations where the teacher begins talking with a number of children about different subjects, the interaction ceases to be dialogic. When the teacher asks the joining child to wait, the dialogue is both interrupted and resumed, and on those occasions when the dialogue continues with more participants, the teacher listens to the joining child and the participants take turns speaking.