The book is available in both German and English. It can be utilised in two ways: On one hand, it provides an exemplary application of a method developed by Olle Zandén for research in comparative music education, by which dialogue-like and musical-nonverbal “didactical encounters“ are transcribed into quantifiable codes. On the other hand, the book provides complete codes of eight multi-angle-videos recorded in seven countries, which have previously been published in 2018 within the book “Comparing International Music Lessons on Video“, edited by Christopher Wallbaum. These codes may be applied as a concrete handout; to be in turn compared with interpretations of national experts or interpretations conducted by the readers themselves.

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Using the Compassionate Music Teaching (CMT) framework as a lens, in this study I explored the ways that teachers of adults learning recreationally in music lessons may align their teaching approaches to learners’ adult-specific needs. Adult education scholars have accentuated the need for facilitators of adult learning to consider adult learners’ life experiences, circumstances, and identities (Merriam & Baumgartner, 2020). Researchers studying adults learning music have similarly identified the ways in which adults appreciate opportunities to ask questions, share in discussions, and be a part of the decision-making processes related to their music learning (Creech et al., 2020; Creech et al., 2014; Rohwer, 2012). In alignment with adult education and music education scholarship, the CMT framework offers an approach through which teachers may connect with learners as people to support their musical and personal growth (Hendricks, 2018). However, as Roulston et al. (2015) identified, an approach has not yet been proposed specifically for the teaching and learning of adult music learners. Whereas one might assume that a lack of adult-specific teaching techniques may not pose an issue in a one-on-one setting, there is evidence that even when teachers make efforts to meet adult learners’ needs in lessons, they are not always successful (Leahy & Smith, 2021). Therefore, the purpose of this study was to explore the ways, if any, that teachers of adults engaged and empowered adults learning in recreational music lesson settings. Through the process of narrative inquiry, I engaged with participants in guided conversations to explore their processes of becoming musicians and educators and the ways they engaged compassionately with their adult students. I share the findings of the narrative inquiry through a series of re-storied vignettes. The findings of this study highlighted adult-specific needs that arose from the participants’ narratives and the ways that the teachers enacted qualities of CMT (trust, empathy, patience, inclusion, community, authentic connection) as they worked to meet those needs. I explore these needs under four categories: (a) following learner goals and objectives, (b) acting as a guide, (c) respecting learners’ full humanity, and (d) supporting musical belonging. The results of this study contribute to extant research by offering further insight into adults’ music learning needs, offering teachers of adults approaches through which may better meet learner needs, and expanding the CMT framework to include the experiences of adults learning recreationally.

Studiens syfte är att studera musiklärares syn på högstadiets läromedel i musikämnet; läromedlens fördelar och nackdelar samt vad som anses vara ett ”idealt” läromedel. Studiens teoretiska utgångspunkter utgörs av ett didaktiskt perspektiv. Resultatet baseras på en enkätundersökning av 27 musiklärare från hela landet med olika bakgrunder och yrkeserfarenheter. Studiens resultat visar att de tillfrågade musiklärarna anser att de färdiga eller tryckta läromedel de känner till är otillräckliga och blir snabbt föråldrade. En övervägande majoritet föredrar därför sitt egengjorda material framför ett färdigt eller tryckt material. Det ”ideala” läromedel som tycks vara det mest önskvärda bland majoriteten av lärarna är ett digitalt/IT-baserat sådant, gärna i form av någon sorts databas med lektioner och ensemblelåtar. / The purpose of this study is to explore music teachers’ views on teaching materials for music in compulsory school; the advantages or disadvantages of this material, and what might be considered as an “ideal” teaching media or teaching aid. The theoretical base of the study consists of a didactic perspective. The investigation is based on a survey among 27 music teachers, with different backgrounds and professional experience. The result shows that the music teachers consider that the printed materials they know tend to the insufficient and quickly out of date. The vast majority of the teachers prefer therefore their own-made teaching media instead of printed ones. The “ideal” teaching media that seems to be the most desirable among the majority of the teachers is digital/IT-based, preferably in the form of some sort of database containing lessons and songs.

Darbe aptariama kūrybiškumo samprata, kūrybiškumą lemiantys ir skatinantys veiksniai bei plėtotės būdai, mokinių požiūris į kūrybiškumo ugdymą muzikos pamokose. Baigiamojo darbo tikslas – ištirti mokinių požiūrį į kūrybiškumo plėtotės galimybes muzikiniame ugdyme. Darbo tikslui pasiekti iškelti šie uždaviniai: atskleisti kūrybiškumo sampratą ir jo svarbą šiandieninėje visuomenėje; išaiškinti, kas būdinga kūrybingiems ugdytiniams; išanalizuoti kūrybiškumą lemiančius ir skatinančius veiksnius bei plėtotės būdus, leidžiančius optimizuoti muzikos ugdymo procesą; išaiškinti mokinių požiūrį į kūrybiškumo ugdymą muzikos pamokose. Tyrimo objektas yra mokinių požiūris į kūrybiškumo plėtotės galimybes muzikiniame ugdyme. Pasitelktas anketinės apklausos metodas, kuriame dalyvavo 100 respondentų iš aštuonių Panevėžio bei vienos Šiaulių bendrojo lavinimo mokyklos. Išanalizavus mokslinę literatūrą gautos šios išvados: nėra vieno tikslaus kūrybiškumo apibrėžimo. Kūrybiškumo esmė aiškinama kaip kūrybos proceso dalis, išskirtinis gebėjimas, asmenybės savybė ar kūrybos rezultatas. Ryškiausiomis kūrybingo žmogaus savybės yra originalumas, sklandumas, lankstumas, įžvalgumas, smalsumas, jautrumas, energingumas, savarankiškumas. Kūrybiškumo plėtotei palanki aplinka saugi ir negrėsminga, joje palaikomos originalios idėjos, suteikiama dvasinė ir fizinė laisvė, neribojamas laikas, skatinamas savarankiškumas ir pasitikėjimas savo jėgomis, rodoma pagarba ir dėmesys tiek asmenybei... [toliau žr. visą tekstą] / The aim of the paper is to investigate students’ approach to the development of creativity in musical training opportunities. The following tasks have been set in order to achieve the aforementioned aim: to reveal the concept of creativity and its importance in today's society; to find out typical characteristics of creative personalities; to analyze the determinants, the factors influencing and encouraging creativity and the development methods which allows to optimize the process of music education; to ascertain students’ approach to creativity in music education. Research subject is the attitude of the students towards the possibilities of the creativity development in comprehensive school. The questionnaire method was used which involved 100 respondents from eight Panevėţys and one Šiauliai district secondary schools. Upon analysis of research works the following conclusions was obtained: there is no single precise definition of creativity. The essence of creativity is interpreted as a creative process, exceptional ability, personality characteristic feature or the result of creative process. The main characteristic features of creative personality are originality, fluency, flexibility, insight, curiosity, sensitivity, vitality, and independence. Environment conducive to the development of creativity is a safe and non-threatening, where original ideas are supported, spiritual and physical freedom provided, independence and self-confidence promoted, respect and... [to full text]

This thesis deals with the theme of teaching music lessons at the upper primary schools. The theoretical part of the thesis contains a chapter dealing with the paedagogy of music as a theoretical basis for music education. The following chapters provide resources for music education and problems of psychological aspects of music-related activities. The last chapter of the theoretical part is devoted to a concrete music lesson. The practical part introduces individual teachers and students, giving their view of teaching music and bringing their opinions on particular goals solved.

I denna studie undersöks hur olika erbjudna redskap och metoder används i en students egen övning med syfte att undersöka hur de bidrar till möjligheten att agera som lärare till sig själv. Undersökningen dokumenterades i en loggbok som även hade funktionen som övningsjournal. I analysen av den insamlade dokumentationen användes en tematisk analysmetod. Undersökningen vilar på ett sociokulturellt perspektiv. Resultatet belyser hur redskap och metoder i form av muntliga och kroppsliga instruktioner samt klingande musik bidrar till och påverkar en students lärandeprocess samt hur de bidrar till möjligheten att agera lärare till sig själv. I diskussionen diskuteras resultatet i relation till bakgrundslitteraturen med fokus på resultatets slutsatser om reflektion och egen bedömning, identifiering och problemlösning samt kontroll och behärskning. Resultatet relateras även till begrepp som den proximala utvecklingszonen, scaffolding, appropriering och mediering. / This study examines how different tools and methods are used in a student’s own practice with the aim of examining how they contribute to the possibility of acting as a teacher for oneself. The study was documented in a journal that also functioned as a practice journal. The analysis of the collected documentation used a thematic analysis method. The survey is based on a sociocultural perspective. The result illustrates how tools and methods in the form of spoken and physical instructions as well as sounding music contribute to and affect a student´s learning process as well as how they contribute to the possibility of acting as a teacher for oneself. In the discussion, the results are discussed in relation to the background literature with a focus on the results´ conclusions about reflection and self-assessment, identification and problem solving as well as control and mastery. The result is also related to concepts such as the proximal development zone, scaffolding, appropriation and mediation.

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.

The content of this Diploma Thesis is dedicated to the listening activities in Music lessons at primary schools. The Diploma Thesis summarizes the history of listening activities in Music lessons. It deals with the position of Musical education in Framework Educational Programme. The Diploma Thesis comprises the overview of all the most frequently used music textbooks for primary schools. The textbooks are sorted according to the publisher. The Diploma Thesis examines whether the music textbooks for primary schools include listening activities, which music pieces appear in the music textbooks, how the textbooks dispose with the music pieces and whether the textbooks provide enough amount of topics for a creative work with listening to music. The following part of the Diploma Thesis describes the general structure of a music lesson focused on listening to music. It deals with an integrative approach to teaching Music and curricular relationships. The Diploma Thesis offers a well-arranged division of listening activities to several groups according to various criteria. The aim of the division is to ease preparations for music lessons focused on listening activities and to ease the choice of a music piece. The research exposes preparations for twelve lessons focused on listening activities and a...

This ethnographic study describes the teaching and learning experiences of private music teachers, students, and students’ parents among the Taiwanese Canadian community in Greater Vancouver, British Columbia, Canada. The following elements are examined in this study: the context of private music lessons of Taiwanese Canadians; the private music teaching and learning experience of Taiwanese Canadians; the cultural beliefs underpinning Taiwanese Canadian private music lessons; and the valuing of private music lessons by Taiwanese Canadians. Five Taiwanese Canadian private music teachers and five of their students and the students’ parents living in Greater Vancouver, British Columbia participated in this research. Data were collected through formal and informal interviews and observations of video-recorded lesson. The findings indicate that the context of Taiwanese Canadian private music lessons is similar to that of the Western private music lessons, a consequence of the emphasis on the talented and Western teaching styles in private and school music education in Taiwan. Cultural values nevertheless have a strong but unacknowledged influence in the private music lessons of Taiwanese Canadians. The Confucian value of obedience to authority and a desire for Western independence are the two seemingly conflicting values that surfaced in the study. Taiwanese Canadians private music teachers teach to remove students’ doubts about music. The students, on the other hand, learn to put the skills and knowledge they have acquired during their private music lessons into practice. In addition, parents were involved in the private music lessons through various interactions associated with “pei.” Engaging their children in private music teaching and learning represents a status symbol for Taiwanese Canadians. Lastly, teaching privately is often a fall back job which provides financial security for private music teachers.