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This dissertation explores the perceived readiness of potential violin majors (PVMs) in the United States for university-level violin study. The purpose of this study was to explore violin professors’ expectations of PVMs in the United States, their perceptions of how these expectations are being met, and how PVMs can be prepared to meet these expectations. A lack of research into how PVMs in the United States are being prepared for the rigors of university-level violin study warranted investigation to define violin professors’ expectations and their perceptions of the preparedness of PVMs. A descriptive instrumental exploratory study was conducted using qualitative and descriptive statistical data with 121 participants (n = 121). The participants were tenure-track and tenured violin professors in the United States who have taught for at least three years at universities accredited by the National Association of Schools of Music (NASM) and whose teaching loads consist of a minimum of 75% applied violin lessons. Participants were asked to define their ideal expectations of PVMs, their perceptions of how these expectations have been met, and advice they have for the adults who help prepare PVMs. Data were collected online through a Qualtrics survey and Zoom video interviews. The findings indicated that violin professors generally agreed upon their expectations of PVMs, which include having a solid technical foundation, performing repertoire that is aligned with their technical development, and being open-minded. Violin professors perceived that less than 50% of PVMs have a solid technical foundation and less than 50% perform developmentally appropriate repertoire, though most PVMs were perceived to demonstrate an openness to learning. Most violin professors accept PVMs into their studios whom they perceive to be unready for university-level study, usually due to administrative pressure. To meet violin professors’ expectations, they suggest that PVMs work with private violin teachers outside of the K-12 music classroom. Private violin teachers should hold PVMs to a high performing standard, be familiar with violin professors’ expectations, and have the subject matter knowledge and pedagogical content knowledge necessary to develop a solid technical foundation and assign level-appropriate repertoire. Other influential adults include K-12 music teachers, although learning outcomes for K-12 music classes differ significantly from violin professors’ expectations. Overall, this study demonstrated a clear disconnect between violin professors’ expectations and how PVMs are being prepared to meet them. The data showed that participants made the following assumptions: (a) PVMs take private lessons and are already “apprentices” working with a “master,” (b) audition websites present adequate information for PVMs, and (c) private teachers have the subject matter knowledge to prepare PVMs to meet technical expectations and perform with high standards. There appears to be an overall lack of communication and collaboration not just from violin professors, but also from private teachers and K-12 classroom music teachers. Recommendations for practice and implementation are offered to the three identified populations that interact with PVMs: violin professors, private teachers, and K-12 classroom music teachers.

Syftet med studien är att få reda på hur olika fiollärare arbetar med improvisation inom den klassiska musiken i grundskolan, kulturskolan och gymnasiet. Vilka faktorer som påverkar lärarens syn på improvisation och användningen av det i undervisningen redovisas i studien. Intervjuer av sju fiollärare som är verksamma som fiolpedagoger och musiker redovisas i studien och har analyserats genom kulturhistoriskt perspektiv. Intervjuerna behandlades med en tematisk analys som omfattar lärarnas bakgrund, utbildning, arbetsuppgifter och improvisationens användning i undervisningen. Denna studie tar upp hur lärarnas bakgrund påverkar deras syn och användning av improvisation. Vygotskijs kulturhistoriska perspektiv följs och redovisas genom redogörelse av hans böcker och artiklar. Frågor om hur civilisationen ständigt förändrar människans psykiska egenskaper och beteende tas upp och Vygotskyjs idéer redovisas. Improvisationens användning är mycket bred och används i poesi, dans, teater och musik. Olika musikgenrer som grundas på improvisation har undersökts i studien. Under 1900-talet försvann improvisation från musikutbildningarna och tonade ner i de musikaliska framträdandena. Vilka faktorer som har påverkat försvinnandet av improvisation i den klassiska musiken är något som i denna uppsats lyfts fram. Fyra av sju fiollärare använder improvisatoriska moment i undervisningen. Det framkom inte någon koppling mellan användning av improvisation i undervisningen samt fiollärarnas bakgrund och utbildning. De fiollärare som är intresserade av improvisation som fenomen, undervisningsmetod och ämne av personliga skäl eller eget intresse för ämnet använder improvisation i sin undervisning. / The purpose of the study is to find out how violin teachers work with improvisation in classical music education. What factors affect the teacher's view of improvisation and the use of improvisation are presented in the study. Interviews of seven violin teachers who are working as violin teachers and musicians are reported in the study. The interviews have been analysed through a cultural-historical perspective and were issued as a thematic analysis that includes teachers' backgrounds, education, essential tasks as teachers and use of improvisation in teaching. This study reveals how teachers' backgrounds affect their interpretations and use of improvisation in teaching. Vygotsky's cultural-historical perspective is followed and stated by the report of his books and articles. Vygotsky's ideas about how civilization constantly affects the mental characteristics and behaviour of man are reported. Improvisation's use is very wide and used in poetry, dance, theatre and music. Different music genres based on improvisation have been investigated in the study. During the 20th century improvisation disappeared from music education and tinted down in the musical performances. The elements, which have influenced the disappearance of improvisation in classical music and theories about these facts, are highlighted in this study. Four out of seven violin teachers use improvisational moments in the classroom, but there was no connection between the use of improvisation in teaching as well as performance and the background of the teachers. The violin teachers who are interested in improvisation as phenomena and subjects for personal reasons use improvisation in their teaching.