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Hovedproblemstillinga i denne undersøkelsen er ” Hvordan oppfatter musikk- og kulturskolelærerne den stille eleven og hvordan legger de opp gruppeundervisningen for å nå denne typen elever i gruppesituasjoner?” For å finne svar på dette brukte jeg kvalitativt forskningsintervju som metode. Fem strykelærere med minimum ti års fartstid og med erfaring fra både individuell- og gruppeundervisning har deltatt. Disse ble håndplukket fra mitt kontaktnett. Resultatet av undersøkelsen viser at lærerne ser på den stille eleven som en som ikke sier så mye og er veldig forsiktig. Utover dette kan det se veldig ulikt ut. For å nå den stille eleven kom det fram at det er viktig å arbeide med hele gruppa for å skape en fellesskapsfølelse, og at de som lærere ser og bekrefter elevene. I diskusjonen har jeg med utgangspunkt i teorier om gruppeprosesser og lederskap, diskutert hvilken betydning musikkundervisning i gruppe og hvilken rolle læreren har i forhold til den stille elevens atferd. / The main question in this survey is "What are experienced music and art teachers’ opinions on the quiet learner, and how do they reach this group of students in group teaching?" To answer this, I used qualitative interviews. Five string teachers with a minimum of ten years of experience and with experience in both individual and group teaching participated. The teachers were handpicked from my contacts. The results of the survey show that teachers see the quiet student as a person who does not say much, and is very careful. Beyond this, every quiet student can look very different. To reach the quiet student, it became apparent that it is important to create a group atmosphere, and that the teachers see and acknowledge the students. During the discussion, I have raised the importance of group teaching in music and the vital part the teacher plays, in relation to the development of quiet students, based on theories about group processes and leadership.

abstract: This study examined directors’, master teachers’, graduate and undergraduate String Project teachers’ perspectives of the skills and behaviors important for teaching strings. Participants were from the 40 String Projects listed on the National String Project Consortium website, including String Project directors (n = 16), master teachers (n = 7), graduate (n = 6) and undergraduate string teachers (n = 46) involved in String Projects across the United States. Participants ranged in age from 18 to 72 years old. The survey for this study was based on Teachout’s 1997 survey pertaining to teachers’ skills and behaviors in three categories: teaching, personal, musical. A cover letter containing a link to the electronic survey was sent to directors and master teachers for the 40 String Projects, requesting their participation and the participation of their string teachers. Seventy-five participants from 19 String Projects completed the survey. Means and standard deviations were calculated for each item for each of the four participant groups. Overall means for each category of skills and behaviors were calculated followed by a one-way Multivariate Analysis of Variance (MANOVA) to determine which of the three categories the teachers and directors believed most important. Three one-way MANOVAs were used to analyze participants’ perspectives for three broad categories of skills and behaviors (personal, teaching, and musical) across the four participant groups. No significant differences were found across all three MANOVA analyses. Additionally, descriptive statistics were used to determine the rankings of importance for the four participant groups on 40 survey items. Results showed that participants in all four groups believed that personal skills and behaviors were more important than teaching and musical skills and behaviors. Also conducted were Pearson Product-Moment Correlations, which analyses revealed a strong positive relationship between the ranked perceptions of musical and teaching skills and behaviors (r = .78, p = .00), between musical and personal skills and behaviors (r = .65, p = .00), and between personal and teaching skills and behaviors (r = .84, p = .00). Strong positive correlations were found between the three categories. Recommendations for research and practice were given. / Dissertation/Thesis / Doctoral Dissertation Music Education 2019

Studiens syfte är att undersöka vad stråkpedagoger har för attityd och syn på begreppet genrebredd samt hur detta kan relateras till undervisning på musik- och kulturskola. Studiens teoretiska ramverk utgörs av diskurspsykologi. För att undersöka detta har fokusgrupper använts som metod där stråkpedagoger inom musik- och kulturskolor har fått diskutera sina synsätt på genrebredd. Gruppsamtalen spelades in med både ljud och bild för att sedan transkriberas. Transkriptionerna analyserades med diskursanalys för att urskilja vilka tolkningsrepertoarer som framträder i samtalen. I resultatdelen beskrivs de olika tolkningsrepertoarerna som framträtt. Stråkpedagogerna ger utlopp för en variation av tolkningsrepertoarer som presenteras genom två huvudteman: Genrebredd som beroende av flera faktorer samt Genrebredd i undervisningen. Vissa av tolkningsrepertoarerna är kontrasterande mot varandra och vissa innefattar variationer inom dem själva. De mest förekommande synsätten hos lärarna är enligt resultatet, att genrebredd beror mycket på deras egen bakgrund, samt att genrebredd ses som ett verktyg för att möta eleven. Samtliga lärare ger dock uttryck för en tolkningsrepertoar där genrebredd ses som ett viktigt arbete. I diskussionen lyfts resultatets mest framträdande tolkningsrepertoarer för att diskuteras i relation med tidigare presenterad litteratur och forskning samt till det teoretiska perspektivet. / The purpose of this study is to examine string teachers’ attitudes and views towards the term genre width and how this could be related to string education in Swedish community school of music. The theoretical framework of the study is discourse psychology. To examine this, focus groups were used as method where string teachers within Swedish Community Schools of music has discussed their point of views on genre width. The conversations were recorded by video and audio to later be transcribed. The transcriptions were analyzed with discourse analysis to distinguish the various interpretative repertoires. The string teachers provide an outlet for a variety of interpretative repertoires, which is presented in two main themes: Genre as dependent of several factors and genre in teaching context. Some of the interpretative repertoires are contrasting to one another and some includes variations within themselves. The most occurring of the teachers’ views seems to be that to broadening the genre, are dependent on their own background, and that it is looked upon as a tool for meeting the student. All teachers express an interpretative repertoire where genre width, is looked upon as an important work. In the discussion, the most highlighted interpretative repertoires of the results are being related to previous research and presented literature and to the theoretical perspective.