Music production is constantly evolving and new "gadgets" and "apps" to help the creation of music are continuously being released. They enable the music production, so even the most unskilled music maker can produce one ́s own slideshow from the vacation for example, or a digital Christmas card to send to the loved ones. But if we are to have education for future music producers in high school, then what are we going to teach the students, so that they are able to advance from the "everyday" use to a more professional level of music production. Are the goals that have been set up for the course music by the Agency for education really relevant to what will be expected of a music producer now and in the future? The survey that has been made by data acquisition of young people shows a picture of the progress and a future vision of the music creation. Additionally, interviews with practicing teachers and music producers have been made, where each and one are giving their personal view of music production around us today. What has emerged from these studies is that in spite of the democracy and availability, which is characteristic of today ́s music production, the need of experts who perform this profession is indeed still great. The objectives and requirements for music production in high school set by the Agency for education, reflects the realities of music producers today relatively well, but that’s mainly because the objectives are hugely extensive and interpretable. If we want a more democratic music production, the availability needs to improve further. / Musikproduktion är ett ständigt utvecklande område och för varje dag som går introduceras nya ”gadgets” och ”appar”, som möjliggör för gemene man att kunna göra sin egen musik, t.ex. till ett nyskapande bildspel från semestern eller varför inte ett digitalt julkort för att skicka till sina nära och kära. Men om vi nu ska ha utbildningar för kommande musikproducenter på gymnasiet, vad är det då som ska undervisas för att vidareutveckla sig från det ”vardagliga” användandet som enkelt går att lära sig på egen hand, till ett mer professionellt musikproducerande. Är de mål som skolverket har implementerat för kursen musikproduktion verkligen relevanta med vad som kommer att förväntas av en musikproducent, i nutid och i framtiden? Undersökningen som har gjorts genom datainsamling via enkät från ungdomar, visar en bild av utvecklingen och framtidsvisionen av musikskapandet. Vidare har intervjuer genomförts med verksamma lärare och musikproducenter, som har bidragit med sin egen uppfattning av dagens musikproduktion som finns runt omkring oss. Det som har framkommit i dessa undersökningar är att även om musikproduktionen är tämligen demokratisk och tillgänglig så finns fortfarande ett stort behov av experter som utför detta yrke professionellt. Skolverkets mål och krav för gymnasiet speglar hur verkligheten ser ut för musikproducenter idag relativt bra, men det har mycket att göra med att målen är enormt omfattande och tolkningsbara. Om vi vill ha en mer demokratisk musikproduktion behöver tillgängligheten bli ännu bättre.

In this study Learning study has been carried out as a model for skills development focusing teaching and learning processes for music teachers within the Community School of Arts. The model rests on variation theory to improve teaching and learning. The design of a Learning study consists of three video filmed lessons interwoven with continious monitoring and planning through collagiate dialogues. Work with Learning study starts from the choice of a certain aspect of knowledge, the learning object, and the identification of several critical aspects based on the pupil's current level of understanding. In the teaching situation, the teacher provides variation patterns to support the pupil’s learning.. The design of the model in this study is modified with a view to a better fit with the subject of music, and the context of teaching in the School of Arts. Starting from the cultural-psychological perspective on learning and a phenomenographic inspired method, this study aims to describe the participating teachers’ learning through their Learning study. The teachers have experienced a development of knowledge in themselves as well as in their pupils. They have assimilated a language for reflecting on the process of teaching. Reflected experience has made the didactic interaction in the teaching process visible. The collegiate dialogue has contributed to the development of more variation in the tools used for teaching. Learning study is therefore found be a useful tool in the development of music teaching in the context of Community School of Arts when enough time, continuity and a qualified coach are provided.

<p>Georgii-Hemming, Eva (2005): Berättelsen under deras fötter. Fem musiklärares livshistorier. (The Story Beneath Their Feet. Five music teachers’ life histories.) Örebro Studies in Music Education 1, 377 pp.</p><p>The dissertation concerns five music teachers who teach on the course Artistic Activity at upper secondary school and the main aim is to acquire an understanding of the teachers’ views of the core subject Music. A further aim is to describe the five teachers' personal experiences of music in various social, educational and musical contexts, and how these experiences affect their teaching.</p><p>The empirical material is designated life stories and comprises narratives, written by the teachers themselves and orally related to the researcher through conversations. The problem area concerns relations between life’s different directions in a number of interacting temporal and contextual dimensions. For this reason the interpretation of the teachers’ views of music as experience and as school subject is carried out on three levels of abstraction regarded as interacting with one another. The individual teachers’ narratives concerning their lives were on a first level of abstraction analysed and contextualised biographically, from which emerged five life histories which constituted the basis for in-depth hermeneutic interpretation. By way of interpretations on the personal, educational and institutional level the discussion concludes on the third level of abstraction, where focus is on the relationship between the teachers’ work and the broader educational discourse in society.</p><p>The study also offers a discussion of the possibilities and problems of hermeneutics as an overall theoretical frame of reference. Furthermore it takes up theoretical angles of approach concerning narratives, this in connection with life history method.</p><p>The study indicates that what is essential in the relationship between the five music teachers’ personal experience of music and their work is not the concrete experience of different types of music, of different musical contexts or of particular educational environments where such experience has been acquired. There is no straightforward relation of cause and effect and indeed there are certain differences between the teachers in this respect. However, there is a vital relation in that what</p><p>the teachers have derived from their own musical experiences – pleasure and play, skill, a sense of community, outlet for emotion – is what they want to pass on to the pupils. Musical knowledge is regarded as personal and as being generated in processes where the pupils’ everyday culture is reconstructed. When this basic attitude to music comes into conflict with the teacher’s work, there appears another, joint discourse which is considered distinctive of contemporary life. Accordingly, the discussion takes up the theme of the individual in the centre, both in education – where the focus is on the pupil’s resources, requirements and need to assume responsibility – and in society as a whole, where such values as freedom of choice have acquired greater importance than collective ones.</p>

Detta arbete består av en undersökning om hur en musiklärare och en idrottstränare jobbar med deras elever respektive spelare inför en prestation. Undersökningen inkluderar också hur musikläraren och idrottstränaren jobbar med efterarbetet av en prestation. Genom kvalitativa intervjuer och observationer har jag undersökt deras olika metoder. Resultaten visar att både musikläraren och idrottstränaren jobbar aktivt med både förberedelden och efterarbetet av prestationen. Det finns många likheter och olikheter i deras undervisningsprocess som kommer fram i resultaten. Men det går inte utifrån resultaten att dra några generella slutsater som likheter och olikheter för arbete med prestationer inom musik respektive sport. / This essay contains of a study on how a music teacher and a sports coach are working with their students and players before an achievement. The study also includes the music teacher and sports coach tuition with the after work of an achievement. I have investigated their different methods through qualitative interviews and observations. The results show that both the music teacher and sports coach works diligent with both the before and after work of an achievement. Many similarities and differences in their tuition process are shown in the results. However, based on the results of the study you cannot draw any general conclusions on how the work of an achievement differs between music and sport.

The dissertation concerns five music teachers who teach on the course Artistic Activity at upper secondary school and the main aim is to acquire an understanding of the teachers’ views of the core subject Music. A further aim is to describe the five teachers' personal experiences of music in various social, educational and musical contexts, and how these experiences affect their teaching. The empirical material is designated life stories and comprises narratives, written by the teachers themselves and orally related to the researcher through conversations. The problem area concerns relations between life’s different directions in a number of interacting temporal and contextual dimensions. For this reason the interpretation of the teachers’ views of music as experience and as school subject is carried out on three levels of abstraction regarded as interacting with one another. The individual teachers’ narratives concerning their lives were on a first level of abstraction analysed and contextualised biographically, from which emerged five life histories which constituted the basis for in-depth hermeneutic interpretation. By way of interpretations on the personal, educational and institutional level the discussion concludes on the third level of abstraction, where focus is on the relationship between the teachers’ work and the broader educational discourse in society. The study also offers a discussion of the possibilities and problems of hermeneutics as an overall theoretical frame of reference. Furthermore it takes up theoretical angles of approach concerning narratives, this in connection with life history method. The study indicates that what is essential in the relationship between the five music teachers’ personal experience of music and their work is not the concrete experience of different types of music, of different musical contexts or of particular educational environments where such experience has been acquired. There is no straightforward relation of cause and effect and indeed there are certain differences between the teachers in this respect. However, there is a vital relation in that what the teachers have derived from their own musical experiences – pleasure and play, skill, a sense of community, outlet for emotion – is what they want to pass on to the pupils. Musical knowledge is regarded as personal and as being generated in processes where the pupils’ everyday culture is reconstructed. When this basic attitude to music comes into conflict with the teacher’s work, there appears another, joint discourse which is considered distinctive of contemporary life. Accordingly, the discussion takes up the theme of the individual in the centre, both in education – where the focus is on the pupil’s resources, requirements and need to assume responsibility – and in society as a whole, where such values as freedom of choice have acquired greater importance than collective ones.

The aim of the study was to find out how working conditions in different music schools and schools of arts are, or has been, for teachers on oboe and bassoon, and how the conditions may affect the regrowth of these instruments. The interviews were performed with teachers on bassoon and oboe; two active teachers and one former teacher. Experience shows that it can be difficult to recruit these instruments to orchestra courses for young people. An assumption was made in the study that the conditions for these instruments in the schools of music and arts are not the best, which was indicative of the survey. The results of the study show that the interviewed teachers on these instruments struggle with a whole series of problems such as poor facilities, too short teaching time, few students that require many hourly based employments and many time consuming journeys. It also shows that adaption has occurred to different conditions on different schools where also the recruiting of students works differently. The problem can be traced to scarce financial resources, absence of a national structure for music development or principals with indifference, ignorance or lack of mandate from the politics to take responsibility for a good qualitative development that leads to diversity and a vibrant music scene. / Syftet med studien har varit att ta reda på hur arbetsförhållanden på olika musik- och kulturskolor, där några pedagoger verkar eller ha verkat, påverkar återväxten för instrumenten oboe och fagott. Intervjuer har genomförts med två aktiva pedagoger och en före detta pedagog. Erfarenheter visar att det kan vara svårt att rektytera dessa instrument till orkesterkurser för unga. Ett antagande gjordes i studien att förutsättningarna på musik- och kulturskolorna för dessa instrument inte är det bästa vilket var vägledande för undersökningen. Resultatet av studien visar att intervjuade pedagoger på dessa instrument brottas med en hel rad problem såsom dåliga lokaler, för kort undervisningstid, få elever som kräver många olika timanställningar och många tidskrävande resor. Den visar också att anpassning har skett till olika förhållanden på olika skolor där även rekryteringen ser olika ut. Problematiken kan härledas till för knappa ekonomiska resurser, avsaknaden av en nationell struktur för musikens utveckling, eller chefers ointresse, okunskap eller avsaknad av uppdrag från politiskt håll att ta ansvar för en god kvalitativ utveckling som leder till mångfald och ett levande musikliv.

Studien syftar till att få större förståelse av musiklärares perspektiv på betygsättning av elevers socioemotionella kompetenser och sociala omständigheter. Studien lyfter även musiklärares strategier för att uppnå en betygsättning som inte väger in elevers socioemotionella kompetenser. Tidigare forskning visar att det förekommer att lärare väger in elevers socioemotionella kompetens och sociala omständigheter i betyget och på vilka grunder det kan ske. Genom kvalitativa intervjuer av tre verksamma musiklärare, två högstadielärare och en gymnasielärare, lyfts deras perspektiv och erfarenheter av betygssättning fram. Resultatet visar, precis som tidigare forskning, att musiklärare ibland väger in elevers socioemotionella kompetens och sociala omständigheter i betygsättningen. I resultatet identifieras också strategier för att möjliggöra en betygsättning som väger in elevers ämneskunskaper. Exempel på strategier kan vara lärares resonerande om elevers ämneskunskaper sinsemellan och vikten av ett professionellt förhållningssätt från lärarens sida vid betygsättning. I diskussionen används ett relationellt perspektiv med hjälp av begreppet relationskompetens. Studien är av intresse för lärarstudenter och yrkeresverksamma lärare som vill ha större förståelse av betygsättning och vilka svårigheter som kan förekomma.

Studiens syfte är att ta reda på vad musiklärare på kulturskolor, utan tidigare erfarenhet av distansundervisning, har dragit för lärdomar av att undervisa på distans under pandemin covid-19. Dessutom undersöks på vilka sätt lärare kan tänka sig att undervisa på distans i framtiden samt vilka råd de vill ge till andra som ska ställa om till distans- undervisning. I bakgrundskapitlet ges en bild av hur situationen ser ut när det gäller distansundervisning på kulturskolor under pandemin, samt forskning som rör distans- arbete och undervisning med digital teknik. I teoridelen definieras lärdomar och lärande, samt lärande utifrån ett sociokulturellt perspektiv. Metoden som används för datainsamling är semistrukturerad kvalitativ intervju. Jag har intervjuat fem musik- lärare från fem olika kulturskolor. I resultatet kartläggs och kategoriseras de lärdomar som framkommit. Dessutom redogörs för olika användningsområden för distans- undervisning, samt råd som kan underlätta vid en framtida omställning. I diskussionen jämförs resultatet med den litteratur och den forskning jag använt mig av i studien. Slutsatsen jag har kommit fram till är att lärarna i studien har lärt sig många olika saker av att undervisa på distans, samt att personliga egenskaper spelar stor roll för hur lyckad omställningen till distansundervisning blir. Lärarna ser flera användnings- områden för distansundervisning, samtidigt som uppfattningen är att metoden inte kan ersätta den interaktion som äger rum vid närundervisning. / The purpose of the study is to examine what music teachers at municipal music and arts schools in Sweden, with no previous experience of online teaching, have learned from teaching remotely during the covid-19 pandemic. The study also examines how teachers might consider teaching remotely in the future and what advice they want to give to others who are going to switch to online teaching. The background chapter gives a picture of the situation regarding distance education at municipal music and arts schools during the pandemic, as well as research on teleworking and teaching with digital technology. The theory defines lessons and learning, as well as learning from a socio- cultural perspective. The method used for data collection is semi-structured qualitative interview. I have interviewed five music teachers from five different municipal music and arts schools in Sweden. The result identifies and categorizes the lessons learned from online teaching. In addition, it describes various uses of online teaching, as well as advice that can facilitate future transitions. In the discussion, the results are being compared with the literature and the research I have used in the study. I have come to the conclusion that the teachers in the study have learned many different lessons from teaching remotely, and that personal qualities play a major part in how successful the transition to online teaching is. Teachers see many uses for online teaching, but a common opinion is that this way of teaching cannot completely replace the interaction that occurs when teaching takes place in person.

Detta är ett fenomenografiskt arbete som har undersökt hur musiklärare som undervisar i årskurs 7-9 på grundskolor i Stockholm upplever hip-hop som ett kulturellt fenomen. Data har samlats in genom fyra semistrukturerade intervjuer med fokus på följdfrågor för att fånga upp så många unika och spontana beskrivningar som möjligt. Deltagarna är alla högskoleutbildade musiklärare i 30-50-årsåldern. Arbetets resultat består av framträdande sätt att uppleva fenomenet hip-hop på, som rubriceras i kapitel 5 under olika beskrivningskategorier. Dessa sammanfattas i det utfallsrum som tilldelas namnet Hip-hop: Kulturens oslipade diamant. Arbetets resultat visar att hip-hop upplevs som ett fenomen som har en tydlig utgångspunkt i “orten”, vilket i en hip-hopkontext syftar på till exempel utsatta områden som förorter där det bland annat förekommer utanförskap och utbredd grov kriminell verksamhet som ofta skildras i hip-hopmusiken. Dessa områden agerar som en slags “tryckkokare” där rå talang, oberoende av traditionella musikaliska förkunskaper och formell undervisning, koncentreras till de oslipade diamanter till artister vars autentiska och stötande uttryck formar en oemotståndligt lockande konstform för ungdomar som antingen delar samma erfarenheter av utanförskap, eller ungdomar som söker att ventilera det tabubelagda i ett allt mer “politiskt korrekt” samhälleligt samtalsklimat. / This is a phenomenographic study which aim was to study how music teachers who teach grades 7-9 at elementary schools in Stockholm, Sweden experience hip-hop as a cultural phenomenon. Data has been collected through four semi-structured interviews with a focus on follow-up questions to capture as many unique and spontaneous descriptions as possible. The participants are all university-educated music teachers aged between approximately 30-50. The results of the study consist of prominent ways that the teachers experience the phenomenon of hip-hop, which are labeled in chapter 5. These are then summarised under the label Hip-hop: Kulturens oslipade diamant (Hip-hop: Culture's diamond in the rough). In summary, the study's results show that hip-hop is experienced as a phenomenon which is heavily rooted i what is known as “orten”(Swedish slang for “the suburbs”), which in a hip-hop context refers to areas where there is segregation and widespread criminal activity that is often depicted in hip-hop music. These areas act as a kind of "pressure cooker" where raw talent, independent of traditional musical knowledge and formal education, is concentrated into diamonds in the rough. Artists whose authentic and offensive expression constitutes an irresistible art form for youth who either share the same experiences of segregation, or youth who simply seek to vent what is deemed taboo in an increasingly "politically correct" social climate.

I detta arbete undersöks instrumentalpedagogers syn på musikalisk bredd och dess betydelse för undervisningen. Genom intervjuer med yrkesverksamma instrumentalpedagoger och musiker utforskas frågor kring yrkesidentitet och yrkesroll med fokus på hur pedagogerna uppfattar sig själva som både pedagoger och musiker på sina huvud- och biinstrument, och hur detta påverkar deras undervisning. Resultaten från intervjuerna visade att en gemensam grundidé var att läraren bör behärska instrumenten de undervisar på, samtidigt som det är viktigt att förebilda och utstråla självförtroende på instrumenten för att skapa positiva upplevelser för eleverna. / This work examines instrumental educators views on musical breadth of musical knowledge and skills and its significance for teaching. Through interviews with professional instrumental pedagogues and musicians, questions regarding professional identity and role are explored, with a focus on how pedagogues perceive themselves as both educators and musicians on their main- and secondary instruments, and how it affects their teaching. Results from the interviews indicate a common idea: that pedagogues should be skilled on their instruments, but put more emphasis on the idea that you should be a role model and show self-confidence on the instruments to create positive experiences for their students.