Föreliggande självständiga arbete har sitt ursprung i en nyfikenhet på den praktiska potentialen i musikteoriundervisning på gymnasienivå. Enligt forskning blir musikteoriundervisning ofta teoretisk utan tydliga kopplingar till autentiskt musikutövande. Syftet med denna uppsats har varit att få djupare insikt i hur gymnasielever uppfattar det musikteoretiska begreppet funktionsanalys och vad det kan användas till. Material har samlats in genom sex intervjuer med gymnasielever och en före detta gymnasieelev som läser eller nyligen har läst Gehörs- och musiklärakurser. Materialet har därefter analyserats ur ett fenomenografiskt perspektiv. Resultatet visar att funktionsanalys och dess praktiska användning kan uppfattas på några olika sätt. Exempelvis är en uppfattning av funktionsanalys att det är en akademisk musikbeskrivning som inte är särskilt praktiskt tillämpbar. En uppfattning av vad funktionsanalys kan användas till är att motivera vilken karaktär något ska spelas med. I diskussionskapitlet diskuteras resultatet utifrån litteratur och mina egna tankar, inte minst ur ett pedagogiskt perspektiv hur undervisning skulle kunna anpassas för att elever ska erhålla så bred och djup förståelse för funktionsanalys som möjligt. / The present degree project has its origins in a curiosity about the practical potential of music theory teaching at the upper secondary school level. According to research, music theory teaching often becomes theoretical without clear connections to authentic music practice. The purpose of this essay has been to gain a deeper insight into how upper secondary school students perceive the music theoretical concept of functional harmony and what it can be used for. Materials have been collected through six interviews with upper secondary school students and one former upper secondary school student who are taking or recently have taken Pitch and music theory courses at upper secondary school in Sweden. The material has been analyzed from a phenomenographic perspective. The results show that functional analysis and its practical use can be perceived in some different ways. For example, one perception of functional analysis is that it is an academic music description that is not very practically applicable. One perception of ​​what functional analysis can be used for is to motivate with which character something should be played. In the last chapter the result is discussed based on literature and my own thoughts, not least from a pedagogical perspective how teaching could be adapted so that students receive as broad and deep understanding of functional analysis as possible.

Denmark has a long tradition of teaching aural skills i.e. ear training and to educate ear training teachers. Books from Danish authors are still extensively being used within the Nordic countries. The function analysis system was introduced the same year in Denmark and Sweden, but Denmark has developed more terminology than its Swedish counterpart. The purpose of this study was to research how music majors are expressing themselves about newly introduced function analysis terminology and how they experience the use for the terminology in their profession as musicians. The study was made through a survey and a semi structured interview with six participants and the data was analysed according to the social cultural theory. The participants expressed themselves mainly positive about the new terminology and said it gave them a more nuanced picture of the harmony. They also found the new terminology useful for their profession as musicians. The results suggest that music majors would be interested in having a more comprehensive system as they use in Denmark and that teachers in aural training should consider incorporating this new terminology in their teaching.

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