<p>This study is based on discussions among Swedish brass teachers about teaching other brass instruments than their main instrument. Why do some choose to teach only with the help of their main instrument while others use their secondary instruments as well? What are the advantages and disadvantages and how do they look upon other ways of thinking in this matter?</p><p>In addition, the study examines brass teachers’ views on the balance between pedagogical and instrumental skill, as well as their views on teaching sound, technique and expression in relation to the age of the student.</p><p>A questionnaire was used and anwered by 24 teachers with teaching experience in municipal music schools ranging from 7 months to 35 years. The results indicate that pedagogical skill is always important, whereas the importance of instrumental skill increases as the student gets older and more experienced. The advantage of teaching with the help of the main instrument is that one always keeps a high musical and technical level. However, the advantage of always using the instrument taught is that the student gets the right sound ideal. Sound, technique and expression all become more and more important as the student progresses. According to the survey, sound is regarded as the most important thing to work with on all levels, followed by technique and last, expression.</p><p>The main part of the study is seen from a teacher perspective, however some student opinions are also included.</p>

This study is based on discussions among Swedish brass teachers about teaching other brass instruments than their main instrument. Why do some choose to teach only with the help of their main instrument while others use their secondary instruments as well? What are the advantages and disadvantages and how do they look upon other ways of thinking in this matter? In addition, the study examines brass teachers’ views on the balance between pedagogical and instrumental skill, as well as their views on teaching sound, technique and expression in relation to the age of the student. A questionnaire was used and anwered by 24 teachers with teaching experience in municipal music schools ranging from 7 months to 35 years. The results indicate that pedagogical skill is always important, whereas the importance of instrumental skill increases as the student gets older and more experienced. The advantage of teaching with the help of the main instrument is that one always keeps a high musical and technical level. However, the advantage of always using the instrument taught is that the student gets the right sound ideal. Sound, technique and expression all become more and more important as the student progresses. According to the survey, sound is regarded as the most important thing to work with on all levels, followed by technique and last, expression. The main part of the study is seen from a teacher perspective, however some student opinions are also included.

I denna uppgift kommer jag presentera resultatet av min självstudie där jag lär mig tekniken vandrande bas på elbas genom lärarledda elbaslektioner. Denna process är videoinspelad, semistrukturerad intervju har hållits och dokumentationen analyseras genom transkription. Jag kommer bearbeta begreppet kunskap och redovisa några teorier om vad kunskap är och hur man kan kategorisera detta begrepp genom antingen uppdelande av praktisk och teoretisk kunskap. Jag kommer också undersöka huruvida pragmatismens kunskapssyn är applicerbar på denna studie. Studien behandlar hur jag använt mig av mina kunskaper som klassisk gitarrist i min inlärning av elbas. Hur jag kan använda mina kunskaper funna i elbasspelet i mitt klassiska gitarrspel. Även hur de pedagogiska upptäckterna jag gör i elbasspel kan användas i min framtida roll både som elbaslärare och gitarrlärare. Detta behandlas med ett sociokulturellt perspektiv i grunden samt mästarlära. Resultatet visar att förkunskaper i klassisk gitarr är mycket användbart om man vill lära sig elbas och att flera aspekter av gitarrspelet är direkt eller indirekt överförbara till elbasen. Det kommer också visa sig att det finns flera olikheter som kan försvåra inlärandet av elbas. Jag har också hittat grundläggande kunskap i metodik för elbasspel på nybörjarstadium. / In this project, I will present the result of my self-study where I learn the technique of walking bass on electric bass through teacher-led electric bass lessons. This process is video-recorded, semi-structured interview has been held and the documentation is analyzed by transcription. I will process the concept of knowledge and report some theories on what knowledge is and how to categorize this concept through either the division of practical or theoretical knowledge. I will also examine whether the knowledge view of pragmatism is applicable to this study. The study deals with how I used my knowledge as a classical guitarist in my learning of electric bass. How I can use my knowledge found in the electric bass game in my classic guitar play. Even how the pedagogical discoveries I make in electric bass games can be used in my future role both as electric bass teacher and guitar teacher. This is dealt with a socio-cultural perspective in the basics and master-apprentice perspective. The result shows that prior knowledge of classical guitar is very useful if you want to learn electric bass and that several aspects of the guitar play are directly or indirectly transferable to the electric base. It will also show several differences between the instruments that can make learning electric bass more difficult. I have also found basic knowledge in methodology for electric bass games at the beginner stage.

I detta arbete undersöks instrumentalpedagogers syn på musikalisk bredd och dess betydelse för undervisningen. Genom intervjuer med yrkesverksamma instrumentalpedagoger och musiker utforskas frågor kring yrkesidentitet och yrkesroll med fokus på hur pedagogerna uppfattar sig själva som både pedagoger och musiker på sina huvud- och biinstrument, och hur detta påverkar deras undervisning. Resultaten från intervjuerna visade att en gemensam grundidé var att läraren bör behärska instrumenten de undervisar på, samtidigt som det är viktigt att förebilda och utstråla självförtroende på instrumenten för att skapa positiva upplevelser för eleverna. / This work examines instrumental educators views on musical breadth of musical knowledge and skills and its significance for teaching. Through interviews with professional instrumental pedagogues and musicians, questions regarding professional identity and role are explored, with a focus on how pedagogues perceive themselves as both educators and musicians on their main- and secondary instruments, and how it affects their teaching. Results from the interviews indicate a common idea: that pedagogues should be skilled on their instruments, but put more emphasis on the idea that you should be a role model and show self-confidence on the instruments to create positive experiences for their students.