När jag blickar tillbaka på när jag själv gick på kulturskola och spelade cello som barn var det inte mycket fokus på hur jag skulle öva, bara att öva. Med denna studie har jag valt att undersöka hur stråkinstrumentlärare ger ut övningsstrategier och hur de motiverar sina elever till att öva. Den tidigare forskning som lyfts fram visar att elever ska få metoder för att kunna arbeta självständigt och att elever ska kunna utveckla en förståelse för vilken typ av övning som bör betonas. Ansvaret för lärande ligger hos elever men att dom är beroende av musiklärare för vägledning och motivation. Genom semistrukturerade intervjuer som datainsamlingsmetod syftar föreliggande studie till att studera stråkinstrumentlärares syn på övning och motivation. Forskningsfrågorna som ligger till grund för arbetet berör hur stråkinstrumentlärare erfar och uppfattar elevers övning och motivation i sin egen musikundervisning, vilka ideal och förväntningar lärarna har på sina elever samt lärares metoder för att lära ut. Metodmässigt har studien sin grund i kvalitativa ansatser med en fenomenologisk utgångspunkt. Resultatet av studien visar att stråkinstrumentlärare uppfattar övning som ett stort begrepp och att det finns många vinklar att se övning på. Det framkommer att elevers önskan på vad de själva vill spela är oerhört betydelsefullt för eleverna. Ett till resultat visar på genom att öva utvecklar sig elever på sitt instrument och stycke, därmed kan elever tycka det är roligare att spela ihop med andra människor just för att de har övat på sina stycken, vilket kan bli motivation till att öva. Avslutningsvis förs en diskussion kring studiens resultat och huruvida övning och motivation kan hänga ihop och hur stråkinstrumentlärare motiverar genom löften. Själva övandet i sig självt är en inre drivkraft som är motiverande samt att övandet innehåller en bekräftelse på att det är någonting elever kan, vilket ger ett löfte på att elever kommer kunna klara av det dom spelar.   Nyckelord: Övning, motivation, stråkinstrumentlärare, fenomenologiskt perspektiv, intervjuer / When I look back on when I went to music school and played the cello as a child, there was not much focus on how I should practice, just to practice. I have with this study chosen to investigate how string instrument teachers publish practice strategies and how they motivate their students to practice. Previous research that highlights shows that students should be given methods to be able to work independently and that students should be able to develop an understanding of the type of exercise that should be emphasized. It is the student’s responsibility to learn, but they are dependent on music teachers for guidance and motivation. Through semi-structured interviews as a collection method of data, this essay aims to study string instrument teachers views on practice and motivation. The research questions that form the basis of the study concern how string instrument teachers experience and perceive students practice and motivation in their own music teaching, what ideals and expectations teachers have of their students and teacher’s methods of teaching. Methodologically, the study is based on qualitative approaches with a phenomenological starting point. The result of the study shows that string instrument teachers perceive exercise as a big concept and that there are many angles to look at practice. It turns out that student’s desire for what they themselves want to play is extremely important for them. Another result shows that by practicing, students develop on their instrument and piece, thus students may find it more fun to play with other people precisely because they have practiced their pieces, which can be motivation to practice. Finally, there is a discussion about the results of the study and whether practice and motivation can be connected and how string instrument teachers motivate through promises. The practice itself is an inner driving force that is motivating and to practice contains a confirmation that it is something students can do, which gives a promise that students will be able to cope with what they play. Keywords: Practice, motivation, string instrument teacher, phenomenological perspective, interview

The research presented by this dissertation is linked to the Research Line of Education and Arts, part of the Graduation Program in Education of the Federal University of Santa Maria, and had the main goal of comprehending the interfaces between the consolidation of a double bass school and professor Milton Romay Masciadri. In a broader view, it also has been pursued to know and spread the professor Masciadri‟s practices in the course of more than 30 years of teaching and performance with the double bass at the state of Rio Grande do Sul; to highlight some of his pedagogical and professional strategies; to contribute for the composition of the history of musical instruments teaching in Brazil; and to approximate the educational studies about teachers to the music education and instrument teaching universe. The Teacher‟s Identitary Process, theorized by NÓVOA (1992; 1995), the biographical method of FERRAROTTI (2014), and studies about conservatorial music teaching by KINGSBURY (1988), NETTL (1995), VASCONCELOS (2002) and BURWELL (2013) are significant examples of references hereby approached. The inquiry has been developed from (auto)biographical research references (NÓVOA; FINGER, 2014; BOLÍVAR, 2002; ABRAHÃO, 2004; FERRAROTTI, 2014; DOSSE, 2009) as well as from narrative inquiry studies (STAUFFER; BARRETT, 2009; CLANDININ, 2006; LOURO; TEIXEIRA; RAPÔSO, 2014), based on the Thematic Oral History methodology (MEIHY, 2005). From a scope of six semi structured interviews, the narratives of family members and ex-students of professor Masciadri had provided the necessary subsidy for an investigation about interfaces between accessions, actions and self-awareness (NÓVOA, 1992; 1995) along with the conservatorial system of double bass teaching, and the social, political and educational contexts in issue. As results we can list a deepened understanding of the intricate bonds among identitary elements of the instrument teacher‟s self, of the one-to-one pedagogy on the conservatorial music teaching, and of the hereditary consolidation of an instrument school. The conclusions that had emerged from reflections about and from narrative data point out to the contemporaneity of the educational phenomenon of musical instrument teaching, likewise to the applicability of the present assignments to the double bass teaching today. / A pesquisa apresentada nessa dissertação está vinculada à Linha de Pesquisa Educação e Artes LP4, do Programa de Pós-Graduação em Educação da Universidade Federal de Santa Maria, e teve como objetivo central compreender as interfaces entre a consolidação de uma escola de contrabaixo e a pessoa do professor Milton Romay Masciadri. De forma mais ampla, buscou-se também conhecer e divulgar as práticas do professor Masciadri no percurso de mais de 30 anos de ensino e performance contrabaixística no Rio Grande do Sul, destacar algumas de suas estratégias pedagógicas e profissionais, contribuir para a escrita da história do ensino de instrumentos no Brasil, e aproximar os estudos educacionais sobre professores ao universo do ensino de música e de instrumentos musicais. O Processo Identitário do Professor, teorizado por NÓVOA (1992; 1995), o método biográfico de FERRAROTTI (2014), e os estudos sobre ensino conservatorial de Música de KINGSBURY (1988), NETTL (1995), VASCONCELOS (2002) e BURWELL (2013) são exemplos significativos dos referenciais abordados nesse texto. A presente pesquisa desenvolveu-se a partir de referenciais da pesquisa (auto)biográfica (NÓVOA; FINGER, 2014; BOLÍVAR, 2002; ABRAHÃO, 2004; FERRAROTTI, 2014; DOSSE, 2009) e narrativa (STAUFFER; BARRETT, 2009; CLANDININ, 2006; LOURO; TEIXEIRA; RAPÔSO, 2014), com base na metodologia de História Oral Temática (MEIHY, 2005). A partir de um escopo de seis entrevistas semiestruturadas, as narrativas de familiares e ex-alunos do professor Masciadri forneceram os subsídios necessários à investigação acerca das interfaces existentes entre as adesões, ações e autoconsciência (NÓVOA, 1992; 1995) com o sistema conservatorial de ensino de contrabaixo e os contextos sociais, políticos e educacionais em questão. Como resultados, podemos destacar um entendimento aprofundado das intrincadas ligações entre elementos identitários da pessoa do professor de instrumento, da pedagogia de-um-para-um no ensino conservatorial de música, e do fenômeno da consolidação hereditária de uma escola de instrumento. As conclusões que emergiram da reflexão sobre e a partir dos dados narrativos apontam para a atualidade do fenômeno educativo do ensino de instrumento musical, bem como para a aplicabilidade desses apontamentos para o ensino de contrabaixo hoje.

Syftet är att studera instrumentallärares syn på hantering av elevers internalisering av musikaliska uttryck. Det sociokulturella perspektivet med fokus på hur redskap påverkar internaliseringen är utgångspunkt för studien. Metoden utgörs av semistrukturerad intervju där fyra formellt och reellt utbildade instrumentallärare som arbetar på musik- eller kulturskola har intervjuats om vilka musikaliska uttryck de har i fokus i undervisningen och deras syn på hur elever lär sig musikaliska uttryck. Resultatet visar att det finns flertalet olika redskap för att nå musikaliska uttryck, bland annat eleven själv, musiken som sådan och den sociala omgivningen. Det viktigaste musikaliska uttrycksmedlet är rytm i förhållande till tempo. Resultatdiskussionen fokuserar på redskapens möjligheter och hinder för att internalisera musikaliska uttryck. Det sociala samspelet på lektionstid och i orkester samt fantasi, kreativitet och bilder framhålls som möjligheter för att internalisera musikaliska uttryck. Notläsning och musikaliska uttryck som sekundärt mål framhålls som hinder för att internalisera musikaliska uttryck. Det finns också varierande metoder att ta sig förbi hindren. / The purpose of the study is to gain an understanding of instrumental teachers’ view on the management of internalization of musical expressions by pupils. The theoretical starting point of the study is the sociocultural perspective, with a focus on how tools influence the internalization. The method used was semi-structured interview. Four formally educated and experienced instrumental teachers who work in music or culture schools were interviewed about which expressions they focused on in teaching, and their view on how pupils internalize musical expressions. The results indicate that there are many tools to learn musical expressions; the pupil, the music itself and the social interaction, among others. The most important expression is rhythm related to tempo. The discussion focus on the possibilities and obstacles of tools to internalize musical expressions. The social interaction during the music lesson and in the orchestra, and fantasy, creativity and images are emphasized as possibilities to internalize musical expressions. Reading music and musical expressions as a secondary goal are emphasized as obstacles which can avert internalization of musical expressions. However, there are also a variety of methods to get pupils past such obstacles.

Syftet med denna studie har varit att undersöka på vilket sätt Learning study kan fungera som modell för att utveckla kollegialt lärande och bidra till utbyte av erfarenheter mellan lärare i kommunal musik- och kulturskola. För att undersöka detta har ett arbetslag bestående av fyra gitarrlärare vid en kommunal musikskola fått genomföra en gemensam Learning study, med författaren som handledare. I studien användes en kombination av observation och intervju som metod för att följa arbetet och ta del av de deltagande lärarnas upplevelse av Learning study. Resultatet visade att det, genom att använda modellen Learning study, skapades kollegiala samtal och erfarenhetsutbyten som de deltagande lärarna knappt upplevt tidigare, trots lång erfarenhet i yrket. Likaså är ett resultat att modellen inspirerat lärarna till att prova nya idéer i den egna undervisningen. / The purpose of this study was to investigate how Learning Study can act as a model for developing collegial learning and contribute to experience-sharing between teachers in the Community School of Arts and Music. In order to investigate this, four guitar teachers at a Community School of Music has participated in a joint learning study, with the author as a researcher/facilitator. To evaluate the process and taking part of the participating teachers’ experience of learning study a method combining observation and interview was used. The result shows that by using the learning study method a kind of collegial conversations and experience-sharing was created, which the participating teachers had not experienced before. It also inspired the teachers to try new ideas in their own teaching.