It is common to learn to play an orchestral musical instrument through regular one-to-one lessons with an experienced musician as a tutor. Intuition suggests that the principal activity during these meetings would be playing, however conversation is important, not just as a way to analyse musical contributions, but to organise them within the lesson flow. Activities are managed conversationally, discussion interleaved with performance, demonstration and musical experimentation, resulting in a rich multi-modal social interaction. This thesis presents a detailed ethnographic study of five one-to-one clarinet lessons. Conversation transcription notation was developed specifically to capture the musical sounds produced alongside dialogue. Analysis of the shape and timing of the musical contributions shows that many aspects of music produced in this context are shaped by the way that playing can function as a conversational turn. For example, during student performance the volume, duration and timing of the tutor's utterances, in relation to the student's musical phrasing, determines whether they are interpreted as encouraging backchannels, or a bid for the floor to provide immediate feedback. Non-verbal behaviours such as gaze and changes in posture are used to encourage a student to self-repair and continue with their performance, despite mutual acknowledgement that a problem has occurred. Fine-grained analysis of a video-mediated remote lesson reveals what happens when this organisation is disturbed. The change in medium reduces the availability of non-verbal cues, and the disruption caused by latency has divergent effects on the sequence and placement of turns, as they are experienced at each location. For example, students find it more difficult to anticipate tutor interruption of their performance or correctly identify backchannels, leading to miscommunication. Our understanding of the importance of these phenomena to lesson flow leads to recommendations for tools to better support student-tutor interaction during the remote lesson experience.

Syftet med föreliggande studie är att ur ett elevperspektiv undersöka vad relationskompetens kan innebära i enskild musikundervisning på gymnasium. Det empiriska materialet som ligger till grund för studiens resultat är inhämtat genom fokusgruppssamtal med elever från en gymnasieskola med musikprofil. Empirin har sedan analyserats utifrån ett relationellt perspektiv. Tidigare studier inom området visar att goda lärare-elev-relationer har positiv inverkan på elevers lärande och sociala utveckling. Utmärkande för sång- och instrumentalundervisning är att undervisningen ofta sker en-till-en, och därför framstår det särskilt relevant att utforska relationer mellan lärare och elev i detta specifika sammanhang. Resultatet visar att förtroende är centralt för goda lärare-elev-relationer och föreslår strategier för att uppnå detta. Förutsättningar för förtroende är enligt resultatet exempelvis lärarens musikaliska kompetens, lärarens förmåga att bemöta elevens behov och främja dennes självförtroende samt att läraren anpassar kommunikation och musikaliskt innehåll efter varje elevs individuella nivå. Relationskompetens i enskild musikundervisning på gymnasium kan således innebära att läraren individanpassar kommunikationen och den musikaliska nivån, respekterar elevens fysiska och mentala integritet samt främjar elevens tilltro till sin egen förmåga och på så vis skapar en förtroendefull relation. / The purpose of this study is to examine from a student perspective what relational competence can mean in on-to-one music tuition in upper secondary school. The empirical material that forms the basis for the study's result has been obtained through focus group discussions with students from a school with a music profile. Data has been analyzed from a relational perspective. Previous studies show that good teacher-student relationships have a positive impact on students' learning and social development. The result shows that trust is essential to good teacher-student relationships and suggests strategies to achieve this. Prerequisites for trust are according to the result for instance the teacher's musical competence, the ability to meet the student's needs and promote the student's self-confidence, adapted communication and musical content according to each student's individual level. Relational competence in one-to-one music tuition in upper secondary school can thus mean that the teacher individually adapts the communication and the musical level, respects the student's physical and mental integrity and promotes the student's confidence in their own ability and thus creates a trusting relationship.

Syftet med denna studie är att utifrån Paul Ricoeurs trefaldiga mimesis-begrepp, utforska hur några musiklärare integrerar och motiverar komposition som ett inslag i instrumentalundervisning. För att nå studiens syfte har kvalitativa forskningsintervjuer genomförts med fyra musiklärare som aktivt använder sig av komposition i sin instrumentalundervisning. I resultatet framkommer att informanterna betraktar komposition som en viktig del i skapande av musikalisk identitet och musikaliskt omdöme, de jämför musik med språk och ser komposition och improvisation som nära besläktade. Det framkommer även ett antal konkreta arbetssätt, bland annat beskrivs hur informanterna arbetar med improvisation som ett verktyg för komposition.  I studiens sista kapitel diskuteras bland annat synen på skapande, musik som språk och musikalisk identitet och omdöme. / The purpose of this study is that based on Paul Ricoeur threefold mimesis-concept, exploring how some music teachers integrate and motivate composition as an element of instrumental tuition. To achieve the purpose of the study qualitative research interviews were conducted with four music teachers who actively use composition in their instrumental tuition. The result shows that the informants consider the composition as an important part in the creation of musical identity and musical judgement, they compare music with language and sees composition and improvisation as closely related. It also reveals a number of specific approaches, including how the informants use improvisation as a tool for composition. The study's final chapter includes a discussion of the view of creativity, music as a language and musical identity and judgement.