<p>The purpose of this essay was to find out how violin students apprehend their tuition and if it is possible to achieve good results without negative comparison or competition.</p><p>The examination is based on eight in-depth interviews with violin students between 8 and19 years of age. All of the students had a strong will to develop and to feel satisfied with their achievements. Almost all of them agree that some degree of comparison and competition between violin students does exist. Although some of the students had seen negative sides of such competition, they agree on comparison as a good thing as long as it´s positive.</p>

The purpose of this essay was to find out how violin students apprehend their tuition and if it is possible to achieve good results without negative comparison or competition. The examination is based on eight in-depth interviews with violin students between 8 and19 years of age. All of the students had a strong will to develop and to feel satisfied with their achievements. Almost all of them agree that some degree of comparison and competition between violin students does exist. Although some of the students had seen negative sides of such competition, they agree on comparison as a good thing as long as it´s positive.

Problemformuleringen i denna studie är ”Hur uppfattar fiollärare genrebreddens betydelse för elevers fortsatta musikintresse och utveckling?” Hur bemöter musikskolan den musikaliska evolutionen? Den evolution vilken, i och med 1900-talets paradigmskifte, fört det musikaliska synsättet från det traditionella mot ett allt mer öppet klimat i musikundervisningen. För att få svar på detta vände jag mig till fyra fiollärare med fiollärarutbildning och använde den kvalitativa intervjun som metod. Samtliga informanter hade erfarenhet inom yrket. Resultatet av undersökningen visar att lärarna upplever elevernas musikidentitet mycket starkare än förr, vilket resulterar i att låtvalet är väldigt viktigt. Att välja rätt låt är inte helt lätt, med tanke på att det för eleverna är väldigt viktigt att få spela musik från den egna ungdomskulturen. - Låtar som lärarna inte är så fascinerade av men som dock bevarar elevernas intresse. I slutsatsen har jag jämfört vad mina informanter har sagt i förhållande till vad tidigare forskning kring låtvalet påvisat. - Jämförelsen visar att lärarnas ord bekräftas av forskningen och vise versa. Däremot har min ursprungliga frågeställning fått en annan vinkling än vad jag trodde från början. Som slutsats hävdar jag att det inte är genrebredden i sig som är viktig – det primära i undervisningen är låtvalet, i förhållande till elevernas ungdomskultur. Alltså behöver lärarutbildningen förse de blivande lärarna med kunskaper i alla genrer, för att kunna tillmötesgå den enskilda elevens önskemål. I och med detta anser jag att vi också behöver anpassa musikskolan efter detta – eleverna måste få spela sina önskelåtar! / The main question in this study is “how do violin teachers understand the meaning of genre width for students’ interest of music and development?” How does the music school answer to the musical evolution? Through the paradigm shift during the 20th century, the traditional music culture developed into a more opened-minded musical perspective. In order to answer this question, I asked four educated violin teachers through qualitative interviews. All of the teachers had work experience. The result of the study shows that teachers experience that the student’s music identity is a much more broad than before, which means that the selection of tunes are very important. It is not easy to choose tunes since the students think it is important to play music from their own youth culture. These tunes are often not appreciated by the teachers but very important in order to prohibit students from losing interest. In the conclusion, I compared the interviewed teachers with earlier research in the subject. – The comparison shows that the teachers’ word is confirmed by the science and vice versa. On the other hand, my original question has changed. It is not the genre width itself that is important – the important thing is the choice of tune, in relation to the student’s youth culture. Therefore, teacher education must provide future teachers with knowledge in all genres, to be able to comply with each individual student’s wishes. According to my conclusion we need to refine the music school – the students have to be able to play their favourite tunes.

Thesis (D.M.A.)--Columbia University, 2003. / Repeat after me for flute and electronics; Biology I/II/III for violin. First work is a commentary to accompany the three scores. Department: Music. Includes bibliographical references (leaves 98-101). Pro Quest Digital Dissertations Online; Subscription required. Also available via the World Wide Web;

Thesis (Ph. D.)--University of North Texas, 2002. / Includes bibliographical references (p. 302-314).

Shoulder2shoulder for violin and electronics -- 5 haikus for piano -- Logos variations, for violin, trombone, and electronics -- Emergence -- Diverted. / text

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Sonata duodecima for violin and continuo / Isabella Leonarda -- Fuzzy bird for alto saxophone and piano / Takashi Yoshimatsu -- Sonata in A major, K.526 / Wolfgang Amadeus Mozart -- Sonata for English horn and piano / Paul Hindemith -- From Histoire du tango / Astor Piazzolla / text

7 variations on "Bei Mannern, welche Liebe fuhlen" from Die Zauberflote, WoO 46 / Ludwig van Beethoven -- Poeme elegiaque, op.12 / Eugene Ysaye -- Marchenbilder, op.113 / Robert Schumann -- Sonata, op.23 / Lowell Liebermann / text