This essay examines where students gain their knowledge of exercising a musical instrument before they choose aesthetic focus of music in high school, on an instrument used in today’s symphony orchestras. In elementary school curriculum there is no room for students to learn to play an orchestra instrument, you have to obtain your music lessons outside compulsory school. Despite this, there is a vocational training in music in high school where you get individual teaching on your musical instrument, the course Instrument or song. This can be understood through curriculum theory. I used a quantitative method. The empirical data is based on a survey. All students in this survey have received their education outside primary school. 73% of the students have received their education through the cultural school. 50% of the students that play a string instrument had taken Suzuki education and started their education in preschool age. The knowledge legitimized through the formulations of curriculums are political decisions that are about what the state believes citizens should be able to perform to develop a well functioning society. As long as the teaching is not free and does not fall under Swedish National Agency for Education's regulations, all children do not have the same opportunities for learning to play a music instrument. This becomes a social ethical problem when it comes to the accessibility for everyone to play a musical instrument and perhaps especially an orchestra instrument.

I detta arbete har musiklärares rolltagande undersökts i enskild musikundervisning på gymnasienivå. Hur lärarna skapar och upprätthåller sina roller har varit i fokus för undersökningen. De observationer som gjorts har analyserats med hjälp av Erving Goffmans perspektiv på sociala interaktioner, med fokus på framträdandet och fasaden. Resultaten visar att de lärare som observerats har gemensamma rollaspekter rörande musikalitet och positiv återkoppling. Implikationer för musikundervisning och förslag på vidare forskning diskuteras även i arbetet. / In this essay, music teachers' role-taking has been investigated in one-on-one music education at upper secondary level. How the teachers create and maintain their roles has been the focus of the investigation. The observations made have been analyzed using Erving Goffman's perspective on social interactions, with a focus on the performance and the front. The results show that the teachers observed have commonalities regarding musicality and positive feedback. Implications for music education and suggestions for further research are also discussed in the essay.