Studiens syfte är att få inblick i hur elgitarrlärare arbetar för att få sina elever att lära sig notskrift. I bakgrundskapitlet beskrivs tidigare forskning om notläsning och notskrift. Som teoretisk utgångspunkt används ett designteoretiskt perspektiv, vilket fokuserar på hur människor använder olika tecken för att designa sin kommunikation och sitt lärande. Studien vilar på en kvalitativ forskningsansats med videoobservation som metod. Sex elgitarrlärare på olika kulturskolor har videoobserverats. Det inspelade materialet har sedan transkriberats och analyserats med fokus på de teckenskapande resurser lärarna använder i sin undervisning. I resultatet framkommer att lärarna använder såväl tal, sång, kropp, instrument, musikaliska termer och ljudande bakgrunder för att undervisa traditionell notskrift och/eller tabulatur till eleverna. I diskussionen berörs två övergripande undervisningssätt som har lyfts fram hos lärarna: en traditionell notbunden och musikteoribaserad undervisning och en tabulatur- och gehörsbaserad undervisning. / The study aims to gain insight into how guitar teachers working to get their students to learn musical notation. In the background chapter, previous research in music reading and notation is shown. As a theoretical basis the design theory perspective is used, which focuses on how people use different characters to design their communication and learning. The study is based on a qualitative research with video observation as method. Six electric guitar teachers at different arts schools have been observed using video recording. The recorded material was then transcribed and analysed with a focus on the character-building resources teachers use in their teaching. The result shows that teachers use speech, voice, body, instrument, musical terms and sounding backing tracks to teach traditional music notation and/or tablature for students. In the discussion two comprehensive teaching methods that have been highlighted by the teachers is discussed: a traditional sight-reading and music theory based teaching and a tablature and ear based instruction.

Syftet med arbetet är att undersöka hur en musiker utvecklar sin artikulation. För att undersöka detta har jag under sex veckors period övat artikulation ungefär tio minuter per dag. Under dessa övningstillfällen har jag fört loggbok för att kunna dokumentera mina upplevelser av min process, samt videofilmat ett urval av dessa övningstillfällen.  Som teoretisk utgångspunkt har ett designteoretiskt perspektiv använts. I resultatet presenteras hur olika resurser har använts samt hur progressionen i lärandet har sett ut. Det framkommer hur jag har använt olika resurser för att kunna artikulera bättre i mitt musicerande. I diskussionen diskuterar jag kring de olika resursernas påverkan på min utveckling och kring stråkens progression i relation till det designteoretiska perspektivet och tidigare forskning. / The purpose of this study aims on musician’s development of their articulation. In order to investigate this, I have practiced articulation ten minutes per day within six weeks. During these exercises, I had been writing a logbook to document my personal experience throughout the process. I have also video documented a selection of these practice occasions. The design theory perspective has been used as a theoretical base. The result shows an overview of how resources were used and how the learning progress has occurred. The result also reveals how I have used various resources in order to develop my string technique and to improve my own articulation overall. The last chapter contains a discussion about the impact of resources on my personal development and the progression I made within bow technique. The outcome is presented in relation to the perspective of design theory as well as the previous research on this subject.

Studiens syfte är att få insikt i och identifiera lärares arbete kring rytmik och hur det inkluderas i individuell tvärflöjtsundervisning på musikskolan. I bakgrundskapitlet beskrivs Dalcroze-metoden och tidigare forskning om rytmik. Som teoretisk utgångspunkt används ett designteoretiskt perspektiv där lärande och meningsskapande via semiotiska resurser som står i fokus. Studien är kvalitativ, och stimulated-recall-intervjuer används som metod. Fyra tvärflöjtslärare har videofilmats när de undervisar. Dessa videofilmer har legat till grund för intervjuerna. Intervjuerna har sedan transkriberats med fokus på de resurser och undervisningsdesigner som lärarna använder sig av i undervisningen. Resultatet visar lärarnas undervisningsdesigner, vilka bygger på deras förhållningssätt till samt genomförande och utvärdering av användningen av rytmikinspirerad undervisning. I resultatet framkommer också att lärarna använder sig av kroppsligt baserade notblad, kroppen, spelandet och talet som resurs för lärande. I diskussionen lyfts fyra övergripande mönster i lärarnas undervisning: medvetet och omedvetet arbete samt flöjtistiskt och musiskt arbete med rytmikinspirerad undervisning. / The purpose of the study is to gain insight into and identify teachers' work with eurhythmics, and how it is included in individual flute lessons at the music school. The background chapter describes the Dalcroze method and previous research on eurhythmics. As a theoretical basis the design theory perspective is used, where focus on learning and meaning making through semiotic resources are in focus. The study is qualitative, and stimulated-recall interviews are used as a method. Four flute teachers have been video documented when they teach. These videos have been the basis for the interviews. The interviews have been transcribed with focus on the resources and teaching designs the teachers use in their teaching. The result shows the teachers´ teaching designs, based on their approach to, implementation and evaluation of the use of rhythmically inspired teaching. The results also show that the teachers use a bodily based sheet of music, the body, playing and speaking as learning resources. In the discussion, four overall patterns are raised in the teachers' work: aware and unaware work, as well as education that aims to learning how to play the flute and general musical knowledge learning with rhythmically inspired teaching.

Syftet med arbetet är att undersöka en sångares kroppsliga gestaltning av ett musikstycke vid musikaliskt framträdande. Detta har undersökts genom videofilmning av framträdanden, och analyser av dessa med fokus på kroppsliga uttryck. Till detta har loggbok förts över tankar och händelser från framträdandena. I analysen av framträdandena har som teoretiskt perspektiv ett multimodalt designteoretiskt perspektiv använts. I resultatet presenteras hur olika resurser används, hur dessa resurser samspelar och hur de påverkar varandra. Det framkommer att den kroppsliga gestiken har två huvuduppgifter vid framträdanden, dels att vara stödjande för sångtekniken samt uttrycka och gestalta ett budskap. Det framkommer också att inre visuella bilder används, dels för att gestalta och förmedla ett budskap. I diskussionen diskuteras olika förutsättningar för framträdanden utifrån det designteoretiska perspektivet och den tidigare forskning som tagits upp i bakgrundskapitlet. / The purpose of this study is to examine the singer’s physical disposition when performing a piece of music. This has been investigated by video documented performances and analysis with a focus on bodily expressions. To transfer the thoughts and events from the different performances, I have used a logbook. The multi-modal design theory perspective has been used as a theoretical perspective in the analysis of the performances. The result shows how the various resources are used and how these resources interact and how they affect each other. The bodily gestures have two main tasks during the performances: to be supportive of vocal technique and to express and portray a message. Results emerge indicating that the internal visual images are used to partly portray and convey a message. In the discussion chapter different aspects for the performance are discussed based on the design theoretical perspective and the previous research raised in the background chapter.

This dissertation examines the ‘individual perspective’ of the Swedish school system’s policy documents by studying compulsory schooling’s stated aim of developing students’ ability and opportunities to assume responsibility for, be actively involved in and influence their own learning. Its main objective is to investigate the opportunities of compulsory school students to assume responsibility for their learning with regard to mathematics. In order to understand these opportunities, I have initially investigated how the school system in general and instruction in mathematics, in particular, are organised and carried out. I have also examined what forms student responsibility for, influence on and participation in their learning take in the context of instruction in mathematics. This study also intends to highlight questions related to understanding the social circumstances that affect students’ opportunities for assuming responsibility for their learning. The empirical material used for this study was collected via interviews and observations. The study was conducted as a case study using students from early schoolyear classes to the ninth school year at a Swedish compulsory school, with the purpose of analysing education in mathematics throughout the course of the compulsory schoolyear one to nine education. In considering the question of how responsibility, influence and participation is presented in the Swedish school system, it was also important to study the way students, teachers and school heads express and implement the idea of students assuming responsibility for their education both in general and more specifically with regard to their learning in mathematics. An important theoretical starting point for the study has been the phenomenological lifeworld concept. The concept has contributed to the study’s design and has provided the tools with which to examine student circumstances in an individual perspective. The adoption of a design theory perspective has also been important, especially in carrying out and analysing classroom-based observations. The most common methods and forms of work used in the classroom involved individual work using a mathematics textbook. The textbook itself proved to greatly determine the course and nature of instruction in mathematics, with the teacher’s role being one of assisting and supporting the students to progress through the book. The study also reveals obvious changes taking place in schools at present – from having previously focused on group-based, collective activities, the trend is moving increasingly toward more individual forms of work, e.g. that which is labelled ‘individual study’. The challenges faced by mathematics education in compulsory schools relate to the school’s position vis-à-vis the individual in relation to the group; how the exchange of experience between teachers can be made possible both within and across year levels in compulsory schools; and how mathematics education can reduce its dependence on textbooks and perhaps thereby strengthen the didactic roles and duties of teachers.

Studiens syfte är att få en inblick i hur det går att lära ut och arbeta metodiskt med musikpro- duktion. I bakgrundskapitlet presenteras facklitteratur om området samt tidigare forskning inom musikproduktionsmetodik. Det valda teoretiska perspektivet är designteori, vilket är en teori som utgår från att individer designar kommunikation och lärsituationer med hjälp av olika teckenskapande resurser. Arbetet baseras på kvalitativa videoobservationer som metod. Fyra lärare inom musikproduktion har videoobserverats, varpå det inspelade materialet har transkriberats och analyserats med fokus på vilka olika resurser som lärarna använder i sin undervisning. I resultatet framkommer att lärarna använder ett brett spektrum av resurser: tal, gestik, bilder, onomatopoetiska ord, ljudhärmande läten samt digital teknik för att undervisa i musikproduktion. I diskussionen berörs bland annat lärarens tecken, datorn och digitala pro- gramvaror i relation till tidigare forskning, facklitteratur och designteori. / The purpose of the study is to gain an insight into how to learn and work methodically with music production . The background chapter presents literature about the area and previous research in music production methodology. The chosen theoretical perspective is design theory, which is a theory that relates to how individuals design communication and learning situations using different signatory resources. The work is based on qualitative video observations as a method. Four teachers in music production have been video documented. The data material have been transcribed and analyzed with focus on the different resources that teachers used in their teaching. The result show that the teachers use a wide range of resources: speech, gesture, images, onomatopoetic words, sound-mimicking, and digital technology in order to teach music production. The discussion is, among other things, about the teachers use of resources, the computer and digital software in relation to the design theory.