Studien påbörjades hösten 2012 och är ett försök att hitta olika pedagogiska verktyg och förhållningssätt genom strukturerade intervjuer med 3 pedagoger som arbetar eller har arbetat med barn och ungdom med diagnosen ADHD. Studien belyser hur dessa olika pedagoger uppfattar sin undervisning, sin roll som lärare och vad deras generella erfarenheter av att arbeta med ADHD-elever är. Genom intervjuer skapas en bild av lärarna som arbetar med ADHD-elever och deras pedagogiska attribut, och med klusteranalys bestäms deras musiklärartyp. I resultatet framkommer bl.a. vikten av att möta ADHD-eleven här och nu, att varje elev är unik och att vid arbete med ADHD-eleven är tålamod, intuition, kreativitet och samt att vara en flexibel lärare viktiga egenskaper. Musiklärare som arbetar med ADHD-barn verkar passa in i en särskild lärartyp. / This study began in the autumn of 2012 as an attempt to find different didactical tools and approaches through structured interviews with three teachers, who work or have been working with children and youth diagnosed with ADHD. The study illustrates how these different teachers perceive their teaching, their role as teachers and what their general experiences in working with ADHD students are. An “image” of the teachers working with these students and their educational attributes is created through interviews, and by cluster analysis their music “teacher-type” is determined. The result shows the importance of meeting the ADHD student here and now; that every student is unique and when working with this students, patience, intuition, creativity and capability to flexible teaching are important skills of the teacher. Music teachers who work with ADHD children seem to fit into a particular music “teacher type”.

<p>Tivenius, Olle (2008): Musiklärartyper: En typologisk studie av musiklärare vid kommunal musikskola. (Music Teacher Types: A Typological Study of Music Teachers at Municipal Music Schools.) Örebro Studies in Music Education, 230 pp.</p><p>The aim of this study is to establish a typology for instrumental music teachers at Swedish municipal music schools, and to describe different types, generated from questionnaire-answers, regarding how their attitudes and valuations in matters concerning democracy in broad sense are reflected in their pedagogical activity.</p><p>I address the following concrete questions.</p><p>• From where do music teachers at Swedish municipal music and culture schools get their attitudes and valuations, what circumstances lie behind, and are there specific circumstances that explain attitudes and valuations that are not embraced by most of them?</p><p>• How can different types of music teachers be described?</p><p>• How do the attitudes and valuations differ between different types?</p><p>• How are the attitudes and valuations of the different types reflected in their respective work?</p><p>In the first place I try to answer the questions by using questionnaires which I analyse with methods including factor and cluster techniques. In order to generate intelligible pictures of the types I also interpret, by mean value and correlation analyses, quantitatively dependent data with hermeneutical tools.</p><p>The population is about 5 000 individuals, represented by 834 informants.</p><p>The results show that each subject (singing, strings, brass, etc.) has its own inherited culture, with its own set of attitudes and valuations These attitudes and valuations are, in the first place, transmissioned within the subjects.</p><p>The questionnaire answers have generated eight different types: MISSIONARY, GATE KEEPER, MUSIC MAKER, MASTER TEACHER, MUSIC DIRECTOR, REFORMIST, ANTI-FORMALIST, and PEDAGOGUE. Each of them has their own set of attitudes and valuations, which are based on the four factors MISSION, FEELING, FOUNDATION, and STUDENT-FOCUS. The eight types and their significant qualities, can be described, in reasonable and recognized ways. Different discourses can also be discerned.</p><p>Most types seem to have a given position at music school. THE REFORMIST, however, appears to be dissatisfied. He or she is rooted in classical music, but wants to teach the children to play music of their own, although he or she is lacking the didactical tools for this kind of teaching. THE REFORMIST constitutes 19 % of the population and is thereby the largest group.</p><p>Among other things, one conclusion drawn from the discussion is that the conservatory discourse is a cement keeping together the whole field of music education, and without it the structure and organisation of music school as well as college of music would collapse into a messed-up activity beyond defini¬tion. Another conclusion is that education of music teachers must be reformed with the starting point in democracy and philosophy, if discoursive isolation of music school should not become total—with fatal consequences for music school. These two conclusions stand for opposite poles, which must be balanced to each other.</p>

The aim of this study is to establish a typology for instrumental music teachers at Swedish municipal music schools, and to describe different types, generated from questionnaire-answers, regarding how their attitudes and valuations in matters concerning democracy in broad sense are reflected in their pedagogical activity. I address the following concrete questions. • From where do music teachers at Swedish municipal music and culture schools get their attitudes and valuations, what circumstances lie behind, and are there specific circumstances that explain attitudes and valuations that are not embraced by most of them? • How can different types of music teachers be described? • How do the attitudes and valuations differ between different types? • How are the attitudes and valuations of the different types reflected in their respective work? In the first place I try to answer the questions by using questionnaires which I analyse with methods including factor and cluster techniques. In order to generate intelligible pictures of the types I also interpret, by mean value and correlation analyses, quantitatively dependent data with hermeneutical tools. The population is about 5 000 individuals, represented by 834 informants. The results show that each subject (singing, strings, brass, etc.) has its own inherited culture, with its own set of attitudes and valuations These attitudes and valuations are, in the first place, transmissioned within the subjects. The questionnaire answers have generated eight different types: MISSIONARY, GATE KEEPER, MUSIC MAKER, MASTER TEACHER, MUSIC DIRECTOR, REFORMIST, ANTI-FORMALIST, and PEDAGOGUE. Each of them has their own set of attitudes and valuations, which are based on the four factors MISSION, FEELING, FOUNDATION, and STUDENT-FOCUS. The eight types and their significant qualities, can be described, in reasonable and recognized ways. Different discourses can also be discerned. Most types seem to have a given position at music school. THE REFORMIST, however, appears to be dissatisfied. He or she is rooted in classical music, but wants to teach the children to play music of their own, although he or she is lacking the didactical tools for this kind of teaching. THE REFORMIST constitutes 19 % of the population and is thereby the largest group. Among other things, one conclusion drawn from the discussion is that the conservatory discourse is a cement keeping together the whole field of music education, and without it the structure and organisation of music school as well as college of music would collapse into a messed-up activity beyond defini¬tion. Another conclusion is that education of music teachers must be reformed with the starting point in democracy and philosophy, if discoursive isolation of music school should not become total—with fatal consequences for music school. These two conclusions stand for opposite poles, which must be balanced to each other.