Bachs cellosviter är ofta föremål för lärande för elbasister. Detta trots att verket skrevs för över två hundra år sedan och elbasen bara har funnits sedan mitten av 1900-talet. Verket är skrivet för en cello, ett instrument som inte har mycket gemensamt med elbasen.  Utifrån intervjuer med fem elbasister, vill denna studie redogöra vad som har motiverat dem att lära sig alternativt inte lära sig att spela verket. Fokus är därmed på motivation och lärande. Genom att tillämpa förväntan/värde-modellen analyseras materialet. Fyra faktorer definieras för individens motivation i denna modell, nämligen interna och externa faktorer, förväntan/värde samt kostnader.  I tre av fem fall som studeras är motivationen till lärandet av cellosviterna något som äger rum inom högre utbildningskontexter. Här betraktas dessa utbildningskontexter som legitimt perifert deltagande i praxisgemenskap enligt Lave och Wengers teori om situerat lärande och cellosviterna blir del av kunskapsinnehållet.  Studien visar både att motivationen till lärande av cellosviterna kan analyseras genom förväntan/värde-modellen, och att modellen ger svar på varför andra elbasister väljer att inte lära sig stycket. De som väljer bort att lära sig cellosviterna gör det eftersom det hos dem saknas en av de ovannämnda faktorerna, nämligen värde.

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The Uppsala music group LöstFolk has in various ways distinguished itself and become identified with protest music in Sweden. Their approach goes beyond simply singing and presenting texts that express their dissatisfaction with contemporary injustices and their message is strengthened by their use of visual and new media technologies. With a mix of music consisting of reggae, gospel, rap, and Latin sounds, they flag up both with gravity and humour, the dangers towards which they think society is heading, such as the polarizations and divisions between different ethnicities. By giving their songs incisive texts, visually reinforced by symbols and metaphors, they have succeeded in achieving their goal, ”protesting”. The aim of this bachelor’s thesis is to highlight the relationships between music and social problems, through the way in which LöstFolk express their protests, and to show how this is expressed in today’s Sweden. How does the music group demonstrate its protest and what are they actually protesting about? To answer these questions, I have chosen to make a qualitative analysis of available materials, such as song texts, articles, interviews, and music videos. The result of the study shows that LöstFolk makes protest music in a personal way. The members’ mixed ethnic and musical backgrounds are part of their core message, a message aimed at politicians at different sectors of society and, not least, at us. Additionally, the group puts forward some solutions to the problems.

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Music can play an essential and often sensual part in the construction of a city’s identity. Borlänge, a small industrial city in Sweden has, for quite some time, been recognised as a music city. Through ethnographic fieldwork in Borlänge this research aims to come closer to how music can be studied as a part of larger collective identity and the function it brings to the social, economical and cultural activities in the city as well as the general public’s notions of a local musical identity. Drawing from perspectives of one of the leading music city-researchers, Sara Cohen, this research emphasises the symbolic construction of a city identity, the music city as term of cultural regeneration and a phenomenological view of people’s subjective meaning making in regards to the music city identity itself. In this study Borlänge makes it’s unique claim as music city in terms of producing notions of a local musical identity together with other characteristic elements of the city as well as using music as a boosting mechanism for overcoming urban narratives and to strengthen local pride and local distinctiveness in Borlänge.

<p>Introduktion till rysk opera 2,ht-2023</p><p>Handledare: Irina Karlsohn</p>

This study aims to investigate how teachers in instrumental teaching in different school forms work with assessment, planning and goals. Of interest are the prerequisites of the teaching, the teachers' musical and educational backgrounds and where the goals of the teaching come from and how they are designed. This has been investigated through qualitative semi-structured interviews to share the teachers' stories. In the analysis work, the collected empiricism is related to a socio-cultural perspective on learning. During the interviews, teachers emphasized the importance of the social relationship between teacher and student and that the goals arose in the discourse between them. This was the case regardless of school form. These agreed goals also form the basis for the teachers' continuous assessment work and planning. The results of the investigation show that the teachers interviewed decide the contents of the lessons based on discussions with the students, in order to work with student motivation in mind in practice and in planning. The contents of the education should aim to be of practical use and to be enjoyable for the students. Assessment of the student learning occurs in two aspects; formative and summative. These were applied by the teachers continuously in their daily assessment processes, in order to monitor not only how the students develop, but also in order to assess what should be involved next in the planning process. In addition, the results also showed that the teachers who shared students with colleagues discussed with these colleagues in order to give an accurate assessment of the students skills and learning, by minimizing the role played by the teacher and students social relationship.