The purpose of this thesis is to develop understanding about: in what ways Swedish music artists become leaders for their followers from theories of Educational/Pedagogical Leadership; Music Artists’ perceptions of leadership and influence in a music-artist-follower-context; And the preconditions, opportunities and needs of learning on this topic amongst music artists. The background of this research is the importance of understanding these aspects in a rapidly developing society, where music artists are gaining more prominent roles and influence. Music artists, as a part of the celebrity- and influencer body, are since long recognized to have important influence over many areas of followers’/fans’ lives. Music industry research indicates that due to the digital development, individual music artists are reinforcing and increasing their influence over followers which to some extent are exploited and monetized. Parallell with this, Swedish music artists are considered by practitioners and researchers not to have any obligations, responsibilities nor leadership roles regarding their influence over their followers due to democratic values and artistic freedom. The understanding and theorizing of leadership is developing in new directions. Yet no holistic, interdisciplinary leadership research that analyzes music artists as leaders towards their followers, based on influence has yet been conducted. Therefore the understanding of in what ways music artists can be considered leaders towards their followers, and the content of this leadership is limited. The purpose of this thesis is researched through qualitative, semi-structured group interviews and one individual interview with a total of seven music artists, based on the following research questions: In what ways do music artists in Sweden become leaders for their followers from theories of pedagogical leadership?; What perceptions do music artists have regarding leadership and influence from a music artist- follower-perspective?; What are the conditions, opportunities and needs for music artists to learn about this leadership towards their followers? The theoretical foundations and framework for this research is Methodological Individualism, Parasocial Relations Theory (PSR), Andersson et. al’s theoretical construct of Attributed, Informal Leadership and a theoretical framework constructed by different aspects within research of pedagogiskt ledarskap (Educational/Pedagogical Leadership). The inherent components in this framework are Practical Responsibilities; Leading in Fostering; Leading Through Relationships; Ethics and Morale; Leading Learning, Knowledge and Instruction; Personality and Characteristics; Collegial Learning and Learning Organization. Analysis and conclusion shows that music artists become leaders towards followers in many regards: They have practical responsibilities generating a leadership position towards followers, effecting leadership outwork and development; Lead by being role models, reproducing values, norms and characteristics; Influence and create exchange with followers through actual and perceived relationships; Practice ethical and moral aspects towards followers; Create conditions for- and lead processes of learning, knowledge- and meaning creation in followers; Shape artistry and practice influence from personality and characteristics; Practice collegial and organizational learning. Degree, effectiveness, practice, characteristics, perceptions and opinions of these leadership aspects vary greatly between artists and category. Swedish music artists perceive leadership and influence towards followers as role-model-ship, inspiration and encouragement, practical responsibility, authenticity and interaction. Regarding influence they show many nuances and variety in perceptions. Informants suggests that music artists don’t have leadership responsibilities towards society, but conclude that music artists possess undefined societal roles with potential significant societal influence. Music artists participate in learning initiatives but workload, isolation and financial aspects hinders learning. Forums for dialogue and reflection are missing.

Undersökningens syfte är att redogöra för interaktionen på fyra svenska soloartister och sångares Instagramkonton, där fokus legat på att kartlägga interaktionen mellan musikartister och fans, samt fans emellan, för att sedan beskriva vilka mönster som förekommer i interaktionen vid en jämförelse mellan alla fyra konton. Målet med den kvalitativa undersökningen har varit att nå en övergripande förståelse för interaktionen, och undersökningen har därför genomförts med en induktiv forskningsansats, för att få en bred förståelse för materialet. Undersökningens empiri består av 240 publiceringar, hämtade från fyra olika Instagramkonton. Resultatet av den empiriska undersökningen visar på att interaktionen mellan artist och fans ofta är ensidig samt styrs av artisten, fans ger respons direkt kopplat till det som publiceras på artisternas konton och de får sällan svar på det de skriver till artisterna. Fansen får en varierande inblick i vilka artisterna är privat och vad de gör på sin fritid, och fansens engagemang är också som störst vid publiceringar som på detta sätt är kopplade till artisternas privatliv. Fansen kan sägas ha en bred kännedom om musikartisten som de är intresserade av, medan det står oklart huruvida musikartisten har kännedom om vilka deras fans är. Den interaktion som förekommer mellan fansen handlar närmast uteslutande om att de tipsar varandra om sådant som har publicerats på artisternas konton, utöver detta förekommer sällan någon annan form av interaktion fansen emellan.