I en värld i snabb förändring, och med stora utmaningar inför framtiden, är det angeläget att synliggöra tiden och vad den innebär för oss människor. Undersökningen syftar till att besvara frågan på vilket sätt skolelevers uppfattning om tid idag kan utvecklas i den svenska skolan.   Undersökningen utgörs av intervjuer med fem gymnasielärare i historia. De har fått svara på frågor om deras bild av elevernas tidsuppfattning, samt på vilka sätt deras undervisning kan tänkas stimulera detta tidsmedvetande.   Resultaten visar att lärarna har en ganska negativ bild att sina elevers tidsperspektiv. Det beskrivs som att eleverna är starkt upptagna med sin egen tid och har svårt att blicka såväl framåt som bakåt i tiden. Samtidigt kan lärarna se en progression, med ”förbättrat” tidsmedvetande hos de äldre eleverna. För att utveckla tidsmedvetandet uppges en mängd olika strategier. De flesta av dessa innebär ett elevaktivt arbetssätt, där uppfattningen om tiden blir något som subjektivt konstrueras hos eleven. I några fall, till exempel genom arbete med tidslinjer, kan man även ana att ”gemensamma”, kulturellt skapade bilder av tiden förmedlas till eleverna.   Det står dock klart att det i första hand är det historiska stoffet, snarare än tidsperspektiven, som står i fokus i undervisningen. Att utveckla ett tidsmedvetande, så som det definieras i arbetet, blir därför något som i hög grad lämnas åt eleverna själva.

<p>I en värld i snabb förändring, och med stora utmaningar inför framtiden, är det angeläget att synliggöra tiden och vad den innebär för oss människor. Undersökningen syftar till att besvara frågan på vilket sätt skolelevers uppfattning om tid idag kan utvecklas i den svenska skolan.</p><p><strong> </strong></p><p>Undersökningen utgörs av intervjuer med fem gymnasielärare i historia. De har fått svara på frågor om deras bild av elevernas tidsuppfattning, samt på vilka sätt deras undervisning kan tänkas stimulera detta tidsmedvetande.</p><p> </p><p>Resultaten visar att lärarna har en ganska negativ bild att sina elevers tidsperspektiv. Det beskrivs som att eleverna är starkt upptagna med sin egen tid och har svårt att blicka såväl framåt som bakåt i tiden. Samtidigt kan lärarna se en progression, med ”förbättrat” tidsmedvetande hos de äldre eleverna. För att utveckla tidsmedvetandet uppges en mängd olika strategier. De flesta av dessa innebär ett elevaktivt arbetssätt, där uppfattningen om tiden blir något som subjektivt konstrueras hos eleven. I några fall, till exempel genom arbete med tidslinjer, kan man även ana att ”gemensamma”, kulturellt skapade bilder av tiden förmedlas till eleverna.</p><p> </p><p>Det står dock klart att det i första hand är det historiska stoffet, snarare än tidsperspektiven, som står i fokus i undervisningen. Att utveckla ett tidsmedvetande, så som det definieras i arbetet, blir därför något som i hög grad lämnas åt eleverna själva.</p>

In the following study the author compares two methods of teaching history, the thematic approach and a more traditional chronological approach. Aiming at distinguishing the perceived notions of strength and weaknesses of each method, from the perspective of teaching, the author uses semi-structural interviews with four teachers in order to shed light on the reasons why each method is chosen. The perceptions of the thematical and chronological method in teaching history are further compared with the result in students’ grades. The result shows that the thematic method is perceived as being better at teaching the student about causality and different understandings of changes in history, which would have positive impact on higher grades. However it was also looked upon as being more demanding of previous knowledge for the student. Therefore teachers would choose the chronological approach if they saw that the necessary previous knowledge was lacking in the class. The grades of different classes showed however that the perceived relation between method and learning can’t be confirmed, but that great difference in grades where found among classes of the same method. Even if the classes of the thematic method shows slightly higher grades then the classes of the chronological method it might be the result of difference in previous knowledge among classes which motivates the choice of method, more than it is the result of the method itself.

The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations.  The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward.

The aim of the thesis is to illuminate music therapy in Sweden by exploring participant’s experiences of Functionally Oriented Music Therapy (FMT), music therapy grounded on psychodynamic theories and Guided Imagery and Music (GIM). How can adult participants’ experiences of music therapy used as individual treatment, be described from phenomenological perspectives? Theoretical framework is the life-world perspective according to Merleau-Ponty (2005), an ethical perspective according to Ricœur (1992) and a perspective of time consciousness according to Husserl (1991). Two pairs of persons comprising one patient and one therapist from each orientation participated, totally 6 patients and 6 therapists. Each couple was documented during three sequential sessions which were videotaped and followed up by an interview. Totally the study included 18 videotaped sessions, 36 interviews, notes and literature. The analyses show music therapy sessions based on rituals that can be divided into three phases: an entering-phase, a current-phase and an exit-phase which can be considered to be predetermined and governed by the music therapy orientations.  The participants' experiences of the sessions are described as transcendence, based on the participants' imagination during which they dialectically communicate and interact. However, the therapeutic processes do not seem to be fulfilled unless the participants have the possibility of using verbal narratives. Music helps them though to organize their experiences in the present moment since it possesses a natural innate structure. The results are discussed in relation to theories in music therapy and Damasios neurological theory which includes body, emotion and consciousness (Damasio 2004, 2000). Implications for theory and practice are made and considerations and suggestions for further research are put forward.