Syftet med denna uppsats är att få ökad kunskap om och förståelse för vilka didaktiska val fiolpedagoger kan göra för att främja elevers motivation till att spela och öva. För att komma närmare ett svar på denna önskan har intervjuer med fyra fiolpedagoger genomförts. Den teoretiska utgångspunkten för studien är det sociokulturella perspektivet, det vill säga ett perspektiv där det sociala sammanhanget betonas och där läraren ses som en viktig del i lärandet. Resultatet visar att de fyra intervjuade fiolpedagogerna anser att det sociala sammanhanget är det viktigaste för elevers motivation, eftersom det medför att undervisningen upplevs som meningsfull. De anser även att föräldrar kan påverka elevers motivation och att övning är en viktig faktor för att eleverna ska utvecklas. Utveckling anses därefter, skapa motivation och övningsrutin vilket är något som föräldrarna kan hjälpa till att skapa. Ett biresultat är att de intervjuade inte ser det som problematiskt om en elev inte alltid tycker att det är roligt att spela i stunden, utan att musicerande i sig kan skapa glädje i framtiden. Vidare visar resultatet att de intervjuade anser att det inte finns några enkla svar och inte endast ett sätt att undervisa på. Alla elever och lärare ses som unika i sig, varför det är viktigt att inta ett flexibelt förhållningssätt och vara öppen inför att skapa en motiverande undervisningsmiljö. / The purpose of this paper is to increase knowledge and understanding of the didactic choices violin pedagogues can do to promote students’ motivation to play and practice. Apropos this end, I have conducted interviews with four violin pedagogues. The theoretical basis is a socio-cultural perspective, taking a holistic approach to the students learning. It is a perspective in which the social aspect is emphasized, in which the tutor is regarded as a prime facilitator in learning. The result shows that the four violin pedagogues believe that the social aspect is most important for student motivation, so the teaching is perceived as meaningful. They also believe that parents can influence students' motivation and that practice is an important factor for students to develop. Development in turn, creates motivation and exercise routines with the help of parents. However, interviewees do not see it as problematic if a student does not always find it fun to play immediately, as learning to make music can create happiness in the future. Furthermore, the results show that the interviewees think that there are no easy answers and not just one way to teach. All students and teachers are unique and it is therefor important to adopt a flexible approach and have an open mind about creating a motivating learning environment.

A presente pesquisa teve como objetivo principal elaborar um plano de ações com alternativas na preparação e colocação da mão esquerda no violino para estudantes de violino. Desenvolveu-se em um estudo experimental, com seis estudantes do Conservatório e da Graduação da Universidade de Caldas na Colômbia. O processo de investigação foi fundamentado em quatro tópicos: (1) a análise do posicionamento inicial da mão, dedos e braço esquerdo, (2) a introdução de padrões motores e de movimentos alternativos, (3) a comparação da mão esquerda antes e depois do plano de ações alternativas, e (4) a avaliação do plano de ações. Este estudo incluiu a coleta de dados por meio de registro de vídeo antes e depois das ações propostas. Esta proposta procura possíveis soluções para tensões musculoesqueléticas, que estão na origem da colocação inadequada dos dedos, mão e braço. O processo teve a fundamentação bibliográfica em Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873-1944), Yehudi Menuhin (1916-1999) entre outros. / The aim of this investigation was to develop a plan of actions for teaching and/or improving left hand positioning of beginner violin students. The goal was to have a teaching alternative that could help solving musculoskeletal tension, derived from inadequate positioning of fingers, and hand. An experimental study was conducted with six students from the Conservatory of Music and undergraduates of the University of Caldas, Colombia. The investigation was based on four topics: (1) analysis of the initial position of hand, fingers and left arm; (2) teaching of the proposed alternative motor and movement patterns; (3) comparison of the left hand before and after the action plan; and (4) evaluation of the action plan. For data collection during this study, video recording were done before and after the actions. This study was based on the writings of Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873- 1944), Yehudi Menuhin (1916-1999) among others.

A presente pesquisa teve como objetivo principal elaborar um plano de ações com alternativas na preparação e colocação da mão esquerda no violino para estudantes de violino. Desenvolveu-se em um estudo experimental, com seis estudantes do Conservatório e da Graduação da Universidade de Caldas na Colômbia. O processo de investigação foi fundamentado em quatro tópicos: (1) a análise do posicionamento inicial da mão, dedos e braço esquerdo, (2) a introdução de padrões motores e de movimentos alternativos, (3) a comparação da mão esquerda antes e depois do plano de ações alternativas, e (4) a avaliação do plano de ações. Este estudo incluiu a coleta de dados por meio de registro de vídeo antes e depois das ações propostas. Esta proposta procura possíveis soluções para tensões musculoesqueléticas, que estão na origem da colocação inadequada dos dedos, mão e braço. O processo teve a fundamentação bibliográfica em Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873-1944), Yehudi Menuhin (1916-1999) entre outros. / The aim of this investigation was to develop a plan of actions for teaching and/or improving left hand positioning of beginner violin students. The goal was to have a teaching alternative that could help solving musculoskeletal tension, derived from inadequate positioning of fingers, and hand. An experimental study was conducted with six students from the Conservatory of Music and undergraduates of the University of Caldas, Colombia. The investigation was based on four topics: (1) analysis of the initial position of hand, fingers and left arm; (2) teaching of the proposed alternative motor and movement patterns; (3) comparison of the left hand before and after the action plan; and (4) evaluation of the action plan. For data collection during this study, video recording were done before and after the actions. This study was based on the writings of Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873- 1944), Yehudi Menuhin (1916-1999) among others.

A presente pesquisa teve como objetivo principal elaborar um plano de ações com alternativas na preparação e colocação da mão esquerda no violino para estudantes de violino. Desenvolveu-se em um estudo experimental, com seis estudantes do Conservatório e da Graduação da Universidade de Caldas na Colômbia. O processo de investigação foi fundamentado em quatro tópicos: (1) a análise do posicionamento inicial da mão, dedos e braço esquerdo, (2) a introdução de padrões motores e de movimentos alternativos, (3) a comparação da mão esquerda antes e depois do plano de ações alternativas, e (4) a avaliação do plano de ações. Este estudo incluiu a coleta de dados por meio de registro de vídeo antes e depois das ações propostas. Esta proposta procura possíveis soluções para tensões musculoesqueléticas, que estão na origem da colocação inadequada dos dedos, mão e braço. O processo teve a fundamentação bibliográfica em Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873-1944), Yehudi Menuhin (1916-1999) entre outros. / The aim of this investigation was to develop a plan of actions for teaching and/or improving left hand positioning of beginner violin students. The goal was to have a teaching alternative that could help solving musculoskeletal tension, derived from inadequate positioning of fingers, and hand. An experimental study was conducted with six students from the Conservatory of Music and undergraduates of the University of Caldas, Colombia. The investigation was based on four topics: (1) analysis of the initial position of hand, fingers and left arm; (2) teaching of the proposed alternative motor and movement patterns; (3) comparison of the left hand before and after the action plan; and (4) evaluation of the action plan. For data collection during this study, video recording were done before and after the actions. This study was based on the writings of Paul Rolland (1911-1981), Ivan Galamian (1903-1981), Carl Flesch (1873- 1944), Yehudi Menuhin (1916-1999) among others.

Syftet med studien är att undersöka hur lärare och elever på musik- eller kulturskola kommunicerar med varandra i enskild undervisning med fiol som instrument. Med hjälp av videoobservation som metod har tre lärare och deras elever observerats. Studiens teoretiska utgångspunkter utgörs av ett designteoretiskt och multimodalt perspektiv. I resultatet framkommer att lärarna använder sig av ett flertal olika kommunikationssätt i sin undervisning. Kommunikationssätten är instruerande, frågeställande, förevisande, metaforiskt och humoristiskt kommunikationssätt. Resultatet visar även att dessa kommunikationssätt kombineras på olika sätt. I diskussionskapitlet diskuteras lärarnas olika sätt att designa undervisningen samt vilka förutsättningar olika typer av design får för elevers lärande. / The aim of this study is to explore how teachers and pupils in music schools communicate during one-to-one music lessons with violin as instrument. With video observation as a method, three teachers and three pupils have been observed. This study has its theoretical base in the design theoretical perspective and multimodality. The results show that the teachers use several different ways of communication in their teaching; they instruct and demonstrate, they use questions and metaphors and also communicate in a humorous way. The results even show that the ways of communication are combined in different ways. In the discussion chapter the teachers’ different teaching designs are discussed as well as which conditions different types of designs has for the pupils learning.

Thesis (MMus (Music))--University of Stellenbosch, 2008. / This study is concerned with determining whether the application of Ned Herrmann’s “whole-brain” model would impact violin teaching in any way. Our educational system places great importance on what has become known as the left-brain modes, that is, reading, writing and arithmetic, to the neglect of the socalled right brain’s cognitive abilities, such as, music, art, intuition and dance. Wellintentioned, yet ill-informed teachers teach learners in ways that make learning difficult or impossible, as they are unaware of how to determine and use the preferred learning style of each learner. When a learner’s learning style is not matched with the method of instruction, the learner’s discomfort level may be so great that it not only interferes with the learning process but it could also ultimately prevent learning from taking place. The researcher, therefore, set out to determine whether the use of whole-brain development would lead to any significant changes in the learning process. For a period of two school terms, case studies using action research were conducted on five of the learners that received instruction from the researcher. The research participants were so chosen as to make the experimental group as homogenous as possible. Data was collected qualitatively by means of diaries and was presented descriptively. Every week the learners received a printed copy of the homework exercises. They recorded their feedback weekly, in their diaries. The researcher, as the teacher of the learners, made weekly observations during lessons. During this research the process of triangulation was used. This process added validity to the study as information about specific aspects was gained from three different perspectives, namely, that of the learners, the teacher and the learners’ accompanists. The accompanists gave their feedback before the start of the research and again at the end. After applying Herrmann’s model for two terms, the following became apparent: • The learners practised more, were more motivated and there was a general improvement in their attitude. • The learners felt that having received a printed copy of the exercises, a whole brain exercise in itself, had helped them to know what and how to practise. • There was a significant change in the playing of the majority of learners (three of the five). • The learners, where significant changes were not apparent in their playing, indicated that their understanding of their practising methods and playing had increased. • The learners felt that they had benefited from the experiment as they all indicated that they would like future lessons to be conducted in the same manner. In view of the positive outcome of the research, and given that this was a pilot study, the researcher suggests that similar studies using larger numbers of learners and involving a longer period of time, be conducted. The inclusion of a control group would also render the findings more conclusive. The researcher also suggests that violin teachers become knowledgeable about learning styles and whole-brain learning if they wish to reach all learners and enable them to achieve their potential.

The aim of the study was to examine how students get their motivation to learn. How two different schools, Kulturskolan in Stockholm and Lilla Akademien, practises motivation when they teach the violin. The method was field studies and qualitative interviews. The result of the study indicates the importance of teaching students how to practise to get progression on their playing, to develop their learning skills to get them motivated. The result of the study indicates that the social environment and the positive experience of playing matters in terms of motivation. It also shows that to reach a professional level of playing the violin, a goal is needed. / Syftet med studien var att undersöka hur elever får motivation till att lära. Hur två olika skolor, Kulturskolan och Lilla Akademien, arbetar med motivation i ämnet fiolundervisning. I studien behandlades områden som motivation, lärande och övning. Båda skolorna granskades för att påvisa om det fanns likheter och skillnader i hur elever förhåller sig till övning och motivation. Studierna är genomförda på Kulturskolan i Stockholm samt på Lilla Akademien. Studiens material har insamlats genom fältstudier och kvalitativa intervjuer. Studiens resultat indikerar att det är viktigt att elever lär sig hur de ska öva för att få progression i sitt spel, utveckla sitt lärande och få motivation. Det som även spelar stor roll i motivation, är det sociala klimatet och den positiva upplevelsen av att spela. Studien visar på att, för att nå ett professionellt spel, behövs det ett tydligt mål.