Detta självständiga arbete handlar om idén om den kulturkanon som ska införas enligt Tidöavtalet som publicerades 2022. Syftet är att belysa hur musiklärarstudenter reflekterar kring en kulturkanon och vilka implikationer den potentiellt skulle ha för musikundervisning utifrån forskningsfrågan; Vad karaktäriserar musiklärarstudenters utsagor om en potentiell kulturkanon och dess implikationer för deras framtida musikundervisning? För att besvara forskningsfrågan har sex musiklärarstudenter, från de senare årskurserna under höstterminen 2023 på Kungl. Musikhögskolan, intervjuats och deras utsagor har analyserats utifrån en kulturhistorisk teori. Resultatet visar på att det existerar en typ av outtalad kanon redan idag samt att innehåll från den används för att mediera förståelse för andra människor baserad på kollektiv kunskap. Resultaten visar även på att det existerar mindre kollektiv samt att ett sådant kan vara en outtalad kanon inom en uttalad kanon. Resultatet visar att informanterna anser det viktigt gällande representation i utförandet och innehållet av en uttalad kanon och vidare att en uttalad kanon kan användas för att styra historia och kollektiv kunskap. Avslutningsvis visar resultatet att en uttalad kanon kan verka hämmande för en musiklärare, men att den kan leda till aktiviteter för kreativitet och fantasi genom en gemensam förståelse av kollektiv kunskap. / This study is about the idea of ​​the cultural canon that’s going to be introduced according to the Tidö-agreement that was published in 2022. The aim is to highlight how music teacher students reflect on a cultural canon and what implications it would potentially have for music education while answering the research question: What characterizes music teacher students' statements about a potential cultural canon and its implications for their future music teaching? To answer the research question, six music teacher students, studying their later years during the autumn semester of 2023, were interviewed and their statements were analyzed from a cultural-historical perspective. The results show that a type of unexpressed canon already exists today and that content from it is used to mediate understanding for other people based on collective knowledge. The result also show that there are smaller collectives and that such can be an unexpressed canon within an expressed canon. The result show that the informants consider representation important in the execution and content of an expressed canon and further that an expressed canon can be used to control history and collective knowledge. In conclusion, the result show that an expressed canon can be inhibiting for a music teacher, but that it can lead to activities for creativity and imagination through a common understanding of collective knowledge.

This essay aims to examine which consequences a less-detail controlled curriculum has on English teachers’ choice of English-language literature. With support from the literature review, this essay argues that an unofficial, tacit school canon of English-language literature mainly composed of ten literary works seems to have been established in Swedish upper-secondary schools, despite the Swedish National Curriculum not naming specific literary works educators in Sweden are required to use in their teaching. Thus, this essay answers the following questions: 1) Which English-language literature do English teachers in Sweden use in their teaching? 2) Does a less-detail controlled curriculum contribute to English teachers in Sweden being more inclusive in their choice of literature in teaching? The results support the hypothesis; that despite the ten literary works found in the unofficial, tacit school canon might be vulnerable to the same criticism aimed at the “Western literary canon” and a “prescribed” curriculum. Yet, no evidence was found which would illustrate that a less detail-controlled curriculum does not contribute to English teachers in Sweden being more inclusive in their choice of literature in teaching since the inclusive classroom is not only a matter of what is being taught but also of how it is being taught. Additionally, the study shows that there are countries in the Western world that name literary works as a teaching requirement for educators that “silently” marginalize and privilege some voices. Despite educators not being able to influence what is being taught, educators have developed strategies and methods (critical literacy/pedagogy, and intersectionality) on how these literary works are taught to learners with the aim to make room for a spectrum of voices when being required to teach from a “prescribed” curriculum.