Den här studien fokuserar i första hand på att skapa förståelse kring hur musiklärare på gymnasiet upplever sina elevers övningsmotivation i individuella instrument- och sånglektioner. I andra hand riktar den in sig på att lyfta fram vilka motivationsverktyg musiklärare använder sig utav för att främja övning mellan individuella instrument- och sånglektioner. Studien uppkom genom att en problematik synliggjordes under den verksamhetsförlagda utbildningen, nämligen att elever tenderade att inte öva mellan sina lektioner. Hermeneutik valdes som teoretiskt ramverk eftersom studien fokuserade på lärares förståelse, uppfattningar och upplevelser av sina elevers motivation. Genomförandet gjordes genom fem semistrukturerade kvalitativa intervjuer med musiklärare som samtliga hade olika huvudinstrument. I analysprocessen kunde musiklärarnas uppfattningar synliggöras och tolkas gentemot tidigare forskning. Musiklärarna upplevde att övningsmotivationen har sjunkit under de senaste tio till femton åren och att deras nuvarande elever övar mindre än vad deras tidigare elever gjorde. Informanterna kopplade den negativa trenden till olika aspekter så som sociala medier och hur dessa digitala verktyg kan påverka elevers kortsiktiga tänkande negativt. Utifrån studiens fynd skapades en modell i form av en motivationspyramid. I denna pyramid sattes motivationsskapande värdeord in som valdes utifrån informanternas motivationsstrategier. Modellen kan användas av pedagoger för att skapa en mer inkluderad och motiverad undervisningsmiljö för sina elever. I diskussionsdelen av studien diskuteras musiklärares roll för elevernas motivation, vilka didaktiska implikationer studien kan ha och förslag till vidare forskning. / This study focuses primarily on gaining an understanding of how secondary school music teachers experience their students' motivation to practice in individual instrument and vocal lessons. Secondly, it focuses on highlighting the motivational tools music teachers use to promote practice between individual instrument and vocal lessons. The study was prompted by a problem identified during the pre-service training, namely that students tended not to practice between their lessons. Hermeneutics was chosen as the theoretical framework because the study focused on teachers' understandings, perceptions and experiences of their students' motivation. It was conducted through five semi-structured qualitative interviews with music teachers, all of whom played different main instruments. The analysis process allowed the perceptions of the music teachers to be made visible and interpreted against previous research. The music teachers felt that motivation to practice has declined over the past ten to fifteen years and that their current students practice less than their previous students did. The informants linked the negative trend to various aspects such as social media and how these digital tools can negatively affect students' short-term thinking. Based on the findings of the study, a model in the form of a motivation pyramid was created. In this pyramid, motivational value words were inserted that were chosen based on the informants' motivational strategies. The model can be used by educators to create a more inclusive and motivated learning environment for their students. The discussion section of the study discusses the role of music teachers in student motivation, the didactic implications of the study, and suggestions for further research.

My research interest in the upcoming paper is the increased need for promotion of schools. I. e. the individual school´s needs to be able to show its existence, in the huge flow and availability of information; schools and universities, study circles, streamed lectures on the Internet, public schools and private schools, different educational directions, et cetera. The schools’ needs to market itself, make good PR and sell their pedagogical idea, and that has become increasingly important.   My purpose is to clarify how music teachers, in the Swedish primary and secondary school, skills and competences are used in outreach activities within but also outside, the school premises. With outreach activities I mean here the kind of official events that have cultural, tradition-bearing moves and where music teachers often have an additional responsibility for implementation, such as Speech Days, Lucia celebrations, “Open School days”, PTA meetings, et cetera.   Research issues 1) What is the significance of outreach activities expressed by music teachers and principals?   2) Which motives are expressed by the two occupation categories when it comes to outreach activities arranged by the school and how they can be related to the current governing documents?   3) To what extent are these activities and music teacher's work with these integrated in music as a school subject?   Results Outreach music activities play a big role in getting students to develop and demonstrate the basic knowledge and the breadth to which they dedicated themselves through the school’s music classes. As a consequence of that all students have been able to assimilate basic music skills outreach activities has been important to show the excellence of the pupils which they are happy to show, both for their own lifelong and life-wide learning and the school's ability to do PR for it’s well-functioning music activities. This allows the school to continue the good pedagogical work when new students secure the economic basis for the future. If outreach activities are used to give students control over their learning in the right way, it can additionally help to ensure that students stimulates to take an active part in school development at various levels, locally, nationally and internationally.   Music Teachers' motives for carrying out outreach activities varied between unequivocally curriculum-related goals, didactic goals at the individual level as well as PR and marketing-related reasons, with strong emphasis on the curriculum. A concrete motive for music teachers in the study was that all outreach activities are considered as good opportunities to "jam" with students, to gain experience through music situations similar to those that you can meet as a professional musician in the future, such as "master-apprentice" meetings. The strongest motive was to conduct outreach activities in relation to the substance in the curriculum, such as solo singing, choir, accompaniment, melody playing and to reflect on and discuss the importance of music, different genres, sound engineering, et cetera. For a couple of the principals the promotion of the school was of greater importance than for the others. They simply had to be so well performing that they each fall semester can attract a new first year class with students. Several of the principals in the study made a connection between the schools’ outreach activities and its work with values.   There was an almost unanimous agreement that outreach music activities are an integral and very important part of school music education, both among music teachers and principals. However, there were a couple of principals and even music teachers, who argued that the very large outreach activities were not optimally timed opportunities for assessment. Especially the music teachers in the study were in this respect divided into half’s, where the majority on the contrary argued that outreach activities are very important formative and stimulating opportunities for assessment. Even in this respect, i. e. when it comes to how outreach activities can be integrated in music as a school subject, strong arguments can be made to have requirements of curriculum related issues like singing, ensemble playing, accompaniment, melody playing, sound engineering and really almost everything in the curricula.   A polarization or loyalty conflict between prioritizing curriculum-related goals or PR did not seem to be verifiable, empirical data rather told that the participants in this study saw it as two activities in symbiosis. In contrast, some of the experienced music teachers spoke about the importance of "peeling off" unnecessary and costly project, and instead prioritize things that create greater opportunities for the student's musical learning.

Föreliggande uppsats syftar till att undersöka vad fyra musiklärare på högstadiet har för musikalisk bakgrund och hur de använder sig av traditionell västerländsk notskrift i undervisningen. Tidigare forskning tar upp noters likhet med skriftspråk, noters roll i musikundervisning och identitet och förebilder i musik. Som teoretisk utgångspunkt har sociokulturellt perspektiv använts. Halvstrukturerade intervjuer genomfördes med fyra musiklärare i högstadiet och analyserades med tematisk analys. Resultaten visade att noter främst användes i undervisning i trumspel och melodispel på piano och mer sällan i undervisning i sång, gitarr och ackordspel på piano. Det framkom även att de musiklärare som hade en mer populärmusikalisk bakgrund tenderade att använda noter mindre i undervisningen än de med en klassisk bakgrund. Vidare diskuteras ur vilka perspektiv sambandet mellan musikalisk bakgrund och notanvändning kan förstås, praktiska aspekter av att undervisa med eller utan noter och hur musikundervisning speglar noters samhällsstatus. / This study aims to examine the musical background of four music teachers in lower secondary school and how they use traditional Western musical notation in their teaching. Previous research addresses the similarities of musical notation with written language, the role of musical notation in music teaching and identity and role models in music. Socio- cultural perspective has been used as a theoretical starting point. Semi-structured interviews were conducted with four music teachers in lower secondary school and analyzed using thematic analysis. The results showed that musical notation is mainly used in teaching drums and melody playing on piano but rarely when teaching singing, guitar and chord playing on piano. The study also showed that the music teachers who had a more pop musical background tended to use musical notation less in their teaching than those with a classical background. Furthermore, it is discussed from which perspectives the connection between musical background and the use of musical notation can be understood, practical aspects of teaching with or without musical notation and how music teaching reflects the social status of musical notation.