A major dilemma for music teachers in Sweden is that the educational system since 15 years dictates that local adaptations should be made, since all students shall be assessed equivalently. In this study I have examined what strategies music teachers have in the grading process, and specifically how they do to grade equivalently. Previous research shows that Swedish music teachers have difficulties when it comes to make use of regulatory documents. Working conditions for Swedish music teachers also often differ from other teacher groups (e.g. it is usually only one music teacher at a school) and therefore, and because of the fact that the area is largely unexplored, new knowledge and understanding is needed.The thesis consists of two parts: A web survey (quantitative and qualitative parts) and core questions in the survey (on how to grade equivalently in music). I emanate in my reasoning from a music teacher’s awareness but with an open approach. With socioculture influences and a critical approach I question the prevailing circum- stances. With the qualitative approach, I aim to get close to the material and identify music teachers' strategies for assessment in accordance with the requirements of national equivalence.More than 600 music teachers contributed to the survey, representing around 50% of all final grades that are written each year in Swedish compulsory school music. The outcomes show that during the last decade an ongoing professionalization has taken place among music teachers. The findings also include knowledge about how impor- tant note taking is for equivalence and the problems music teachers have with physi- cal conditions for the teaching (such as group sizes and instrumentation). Also the gut felling, as a cultural tool, is observed in a particular way in the assessment work. Last, the picture of “music teachers as their own curriculum” is suggested to be revised. Since music teachers need to adjust to local conditions, and now have a greater knowledge and experience in the mechanism of grading equivalently, it is suggested that music teachers are forced to be their own curriculum.

Syftet med undersökningen är att ta reda på vilka synsätt på musikämnet som framträder i den nya kursplanen för musik i grundskolan från år 2011, samt jämföra dessa synsätt med de som framträder i den äldre kursplanen från år 2000. Resultatet har uppnåtts genom en diskursanalys av de båda kursplanernas texter. Det vittnar om att det i den äldre kursplanen finns en tydlig diskrepans mellan å ena sidan de texter som motiverar ämnets existens i skolan och hur undervisningen skall utföras samt å andra sidan den som handlar om hur bedömningen och betygsättningen skall gå tillväga. Kursplanen från 2011 visar dock inte upp några större sådana tendenser. Diskussionskapitlet tar utöver denna diskrepans även upp vilka samband det finns mellan de olika musikdiskurserna och de som förekommer inom annan forskning samt hur den nya kursplanen kan relateras mot tidigare läroplanskoder. / The purpose of the study is to find out attitudes to the subject music which can be found in the curriculums of the Swedish elementary schools from 2000 and 2011 and to establish a comparison between both. The conclusions are achieved through a discourse analysis of curriculums and reveals a major discrepancy in the document from 2000 between on one hand the text that concerns the purpose of the subject and its implementation and on the other hand its instructions concerning assessment and grading. Meanwhile, the curriculum from 2011 shows a relatively consistent attitude to all aspects of the subject. This aforementioned discrepancy is further explored in the discussion chapter along with parallels in other research’s discourses concerning the music subject and the historical views of the Swedish elementary schools music subject.

Studiens syfte är att få en inblick i hur musikämnet på två grundskolor i västra Sverige hanteras. För att undersöka detta har fyra kvalitativa intervjuer genomförts med en musiklärare och en rektor på respektive skola. Studien utgår ifrån teorier som handlar om skolans kulturella förändring och den politiska styrningen av skolan. Musikämnet i skolan har genomgått en stor förändring under 1900-talet, från att vara starkt knutet till kyrkan och dess nytta, till att på 2000-talet vara ett ämne vars egenvärde betonas. Genom de historiska perspektiven är det möjligt att se och förstå varför musikämnet är utformat som det är idag. I resultatet visas rektorernas och lärarnas syn på hur musikämnet hanteras, vilken status ämnet har och vilka resurser ämnet ges. Där framkommer att musikämnet under senare tid fått ett större egenvärde och att ämnet anses ha relativt hög status. Det framkommer också att ämnet ses som en hjälpande funktion till andra mer teoretiska ämnen. Diskussion förs om vilka förändringar skolan genomgått, på vilka sätt de påverkar musikämnet samt även hur decentraliseringen av skolan och den politiska styrningen påverkar undervisningen. / The purpose of this study is to get an insight into how the subject of music is handled at two different elementary schools in western Sweden. To investigate this, four qualitative interviews with one music teacher and one principal at each school have been implemented. This study is based on theories that involve the school’s cultural change and the political control of the primary school. During the 20th century the subject of music has gone through quite some changes, for example being very associated with the church and to where it stands today with high intrinsic value. With these historical perspectives it is possible to come to an understanding why the subject of music is designed the way it is today. The result of this study shows the principals’ and teachers’ views about how the subject of music is handled, the status of the subject and what resources it is given. As it shows, the subject of music has over the last years been given a greater space and is even believed to have quite high status. It also appears to be known as a helping function to other more theoretical subjects. A discussion about what changes the school has gone through, how the decentralization of the school and the political control and how it affects the teaching and subject of music is held.

Orientador: Walter Moreira / Resumo: A divisão referente à música (780) da CDD foi completamente revisada em sua 20ª edição, recebendo elogios e críticas por diversos bibliotecários; porém, profissionais da área de música como professores e estudantes apreciaram as modificações. Uma característica interessante dessa revisão foram as categorias elaboradas a partir das divisões para melhor compreensão de conceitos principais da área, sendo divididas em quatro principais: 780 para subdivisões padrão, 781 para princípios, 782 a 788 para mídias de performance e 789 para compositores individuais. Considerando as mudanças realizadas em música, enfatiza-se a importância da compreensão do conhecimento representado na divisão da CDD e a partir das modificações apresentadas, questionam-se quais conceitos se consolidaram na estrutura em música. O problema que se destaca e que orienta a presente pesquisa, portanto, é: quais as mudanças realizadas na divisão de música da CDD a partir da 20ª edição e quais os reflexos dessas alterações? Essa pesquisa define como objetivo geral: identificar as mudanças que a divisão de música (780) apresentou nas revisões da 19ª, 20ª e 23ª edição. E para tal, foram estabelecidos os seguintes objetivos: a. revisar conceitos considerados fundamentais para a realização do trabalho; b. investigar estudos que realizaram análise através da Ontogenia em sistemas de classificação para posteriormente aplicá-la como método nessa pesquisa; c. analisar as subdivisões padrão da divisão de música (780) nas e... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: The DDC's music division (780) was completely revised in its 20th edition, receiving praise and criticism from several librarians; however, music professionals such as teachers and students appreciated the changes. An interesting feature of this review was the categories elaborated from the divisions to better understand the main concepts of the area, being divided into four main ones: 780 for standard subdivisions, 781 for principles, 782 to 788 for performance media and 789 for individual composers. Considering the changes made in music, the importance of understanding the knowledge represented in the division of the DDC is emphasized and, based on the modifications presented, it is questioned which concepts were consolidated in the structure in music. The problem that stands out and which guides this research, therefore, is: what changes have been made in the DDC music division since the 20th edition and what are the consequences of these changes? This research defines as a general objective: to identify the changes that the music division (780) presented in the revisions of the 19th, 20th and 23rd edition. To this end, the following objectives were established: a. review concepts considered fundamental for carrying out the work; b. investigate studies that performed analysis through Ontogeny in classification systems to later apply it as a method in this research; c. analyze the standard subdivisions of the music division (780) in the 19th, 20th and 23rd editions of the D... (Complete abstract click electronic access below) / Mestre

Die vorliegende Arbeit – eine deskriptive qualitative Studie – befasst sich mit theoretischen, konzeptionellen und praxisbezogenen Grundlagen des interaktiven musikalischen Lernens, dargestellt am Beispiel des Komponierens mit Kindern in der Grundschule. Um die Besonderheiten deutscher Bildungskonzeptionen klarer zu erfassen, werden dabei ausgewählte Grundschullehrpläne für das Fach Musik allgemeinbildender Schulen mit curricularen Vorgaben des Bildungssystems in Chile – Heimatland der Verfasserin – verglichen. Konkret geht es um die Untersuchung, inwieweit komplexe musikalische Problemstellungen in einer interaktiven Lernsituation eigenständige Wissenskonstruktionen herausbilden, musikalische Kompetenzen entwickeln und Motivation aufgrund von positivem emotionalem Erleben fördern. Die Ergebnisse der Studie belegen, dass „interaktives musikalisches Lernen“ ein mehrdimensionales pädagogisches Lernkonzept kennzeichnet, das den Anspruch sozialer inklusiver Heterogenität erfüllt. Aus didaktischer Sicht bestätigt es sich als eine besonders geeignete Lernstrategie zur Gestaltung miteinander vernetzter Lernprozesse, die auf die Voraussetzungen des Musiklernens eingehen. Für die Praxis bedeutend, lässt sich Komponieren in der Gruppe als eine sinn- und wertstiftende musikalische Arbeit sowie als eine autotelische Aktivität charakterisieren, die jedem Einzelnen differenzierte Teilhabe und Flow-Erlebnisse ermöglicht. Ergo wird sie als ein problemlösender, sozial- interaktiver und selbstinszenierter Prozess betrachtet, der die Grundlage für erfolgreiches lustvolles musikalisches Lernen bildet. Des Weiteren führt die Forschung zu der Erkenntnis, dass die kompositorische Tätigkeit der Kinder ein Kontinuum zwischen Komposition und Realisation erweist. Der musikalisch produktive Aspekt (kreative Interaktion) ist daher vom reproduktiven (Interpretation) nicht zu trennen. Dies versetzt die Schüler gleichermaßen in die Rolle der Erfinder, Spieler und kritischen Rezipienten. Demzufolge wird Gruppenkomposition als eine „performative Ko-Konstruktion“ verstanden, die auf gegenseitiger Unterstützung und Kollaboration der Beteiligten beruht. Komponieren in interaktiven Lernarrangements erfordert von Lehrern – in diesem Fall Musiklehrern und Komponisten – gefühls- und situationsmäßig die Funktion eines „Lernpartners“ und „Ko-Erfinders“ zu übernehmen. Diesbezüglich stellt diese Arbeit erweiternde Konzepte des traditionellen Lehrerverhaltens zur Diskussion. In der Dissertation werden die Vorteile des interaktiven Lernens im Allgemein und die Möglichkeiten des Komponierens in der Gruppe als besondere Form der Realisierung vielseitig begründet. In diesem Sinne leistet sie einen Beitrag zur Weiterentwicklung der Grundschuldidaktik im Musikunterricht und verweist auf offene Fragen musikpädagogischer Forschung.

Primary art schools enjoy a long tradition in our country. The Primary Art School ``Kochana z Prachové{\crqq} in Strakonice celebrates already the 70th anniversary of its foundation. It is surprising that nobody has attempted to elaborate a comprehensive work concerning its history for the whole period. With respect to the fact that I have been teaching the piano playing here since 2006 and therefore I have become a part of it, I have chosen just the history thereof as the subject of my thesis. The Primary Art School participates in many cultural activities of the town of Strakonice and it is an important educational institution because it provides education to 750 pupils in four subjects - the musical, graphic, dancing and literary-dramatic ones and it prepares talented pupils for the study at secondary schools, colleges and universities focused on arts.