Syftet med studien är att undersöka hur musiklärare inom musikskola, gymnasiet och högskola ser på och arbetar med nervositet och scenskräck i undervisning. Studiens teoretiska grund utgörs av diskurspsykologi. Fokusgrupper har tillämpats som datainsamlingsmetod vilket inneburit två olika gruppsamtal där lärare diskuterat om ämnet scenskräck och nervositet. Samtalen spelades in, transkriberades och analyserades utifrån en diskurspsykologisk synvinkel i ett sökande efter tolkningsrepertoarer. Resultatet presenteras utifrån tolkningsrepertoarer om hur lärarna formulerade sin syn på nervositet. Två motstridiga repertoarer framkom i resultatet: nervositet som plötsligt angripande och nervositet som kan bemästras där nervositet konstruerades som både ett störningsmoment och som något önskvärt. Ålder, mognad och musikalisk utveckling formulerades påverka nervositet genom tolkningsrepertoaren nervositet ur ett mognadsperspektiv. Vidare formulerade respondenterna sitt arbete med nervositet och scenskräck i undervisning vilket synliggjorde tolkningsrepertoaren genre och arbete med nervositet. I denna tolkningsrepertoar lyftes genre som påverkande för arbetet med nervositet. I repertoaren läraren som terapeut konstruerade lärarna sig som inkännande utifrån samtal som metod. Repertoaren mental träning som fenomen formulerade ett förebyggande arbete som något värdefullt men tidskrävande, vilket kan ställas emot repertoaren nervositet som tidskrävande arbete där lärarna formulerade en tidsbrist och en känsla av otillräcklighet i arbetet med nervositet. Diskussionen lyfter resultatet i förhållande till tidigare forskning och litteratur där fyra områden diskuteras: Lärares syn på nervositet och elevpåverkan, hantera nervositet genom samtal, arbetet med nervositet i förhållande till tidsamt syn på nervositet och genrers påverkan. / The purpose of this study is to investigate how music teachers in music school, upper secondary school and music college view and work with nervousness and stage fright in teaching. The theoretical framework of the study is discourse psychology. Focus groups have been used as a data collection method, which has involved two different group discussions where teachers discussed the topic of stage fright and nervousness. The conversations were recorded, transcribed and analyzed from a discourse psychological point of view, in search of interpretative repertoires or small discourses. The result is presented through different interpretive repertoires on how teachers formulated their views on nervousness and stage fright. There, two contradictory repertoires emerged: nervousness as suddenly attacking and nervousness that can be mastered, where nervousness was constructed as both a disturbing moment and as something desirable. Age, maturity and musical development were formulated to influence nervousness through the interpretative repertoire nervousness from a maturity perspective. Furthermore, the respondents formulated their work with nervousness and stage fright in teaching, which made visible the interpretation repertoire genre and work with nervousness. There, the genre was emphasized as influencing the work on nervousness. In the repertoire teacher as a therapist, teachers constructed themselves as empathetic through conversation as a method. The repertoire mental training as a phenomenon formulated a preventive work as something valuable but time-consuming, which can be put opposite the repertoire nervousness as time-consuming work, where the teachers formulated a lack of time and a feeling of insufficiency. The discussion lifts the result in relation to previous research and literature where four areas are discussed: Teacher’s view on nervousness and student influence, dealing with nervousness through conversations, work with nervousness in relation to time and views on nervousness and the influence of genres.

This study examines how singing teachers experience students' nervousness and performance anxiety, what physical and intellectual tools they use to work with it and how they have learned to deal with students' nervousness and performance anxiety. The profession of a vocal coach is a socio-cultural profession – they learn from each other, from their students and through individual studies and education. This study consists of three semi-structured interviews and two exploratory interviews. Qualitative interviews were chosen as method to be able to take part in informants' experiences and knowledge of the subject in a deeper way. Sociocultural perspective was applied as a theoretical angle. What can be deduced from the results is that vocal coaches work with students' performance anxiety and nervousness continuously. The interviewed experienced that there has not been much talk about the subject during their education, but that they themselves have found different ways and strategies to help students with these challenges. The result shows that visualization, the use of metaphors, bodily exercises, involvement of students in concert preparation, "tricking" students into learning, creating a calm, safe and humorous environment, de-dramatization, dialogue with students and self-reflection are used by vocal coaches as tools to handle students' performance anxiety and nervousness

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