Syftet med detta arbete är att undersöka hur användningen av beteendetestet DiSC påverkar sångpedagogers undervisning. Tre sångpedagoger har därför fått göra ett varsitt DiSC-test och utifrån informationen i DiSC Classic Personprofil övat på att anpassa sitt beteende till tre till fyra elever vardera under tre veckor. Detta följdes av kvalitativa intervjuer med varje sångpedagog. Den teoretiska utgångspunkten för arbetet är ett designteoretiskt perspektiv. Resultatet visar att sångpedagogerna fått en ny syn på sina (för studien valda) elever. Sångpedagogerna har utifrån detta anpassat sin design av undervisningen till varje elev, vilket bland annat resulterat i att sångpedagogerna upplevt en ökad förståelse och bättre kommunikation- och personkemi till eleven. De upplever vidare att eleven utvecklats snabbare och att välbefinnandet ökat för både lärare och elev. De upplever även att DiSC i många fall svarat mot de tidigare problemområden de upplevt i undervisningssituationen. Sångpedagogerna har redan innan undersökningen förståelse för att de som lärare behöver bemöta varje enskild elev individuellt, men uttrycker efter detta ett stort behov av konkreta redskap, som DiSC, som beskriver hur de kan göra detta. Sångpedagogerna anser att DiSC har varit utvecklande för deras pedagogiska design. Vidare diskuteras, utifrån ett designteoretiskt perspektiv och utifrån tidigare forskning, bland annat huruvida elevers motivation påverkas av DiSC och om användandet av DiSC i undervisningen underlättar för lärare att nå sina egna- eller elevens mål. / The purpose of this study is to investigate how the use of the DiSC behavior test affects the teaching of vocal teachers. Three vocal teachers have therefore done a DiSC test and based on the information in DiSC Classic personal profile practiced adjusting their behavior to three to four students each over the course of three weeks. This was followed by qualitative interviews with each vocal teacher. The theoretical starting point for the work is a design theoretical perspective. The results show that the voice teachers developed a new view of the students chosen for the study. Based on this, the vocal teachers have adjusted their behavior and their teaching design toward each student, which among other things has resulted in the vocal teachers experiencing an increased understanding and better communication and personal chemistry in relation to the student. Furthermore, they experience that the student has developed faster and that the well-being of both teacher and student has improved. They also experience that DiSC has in many cases provided an answer for previous problem areas they have experienced in teaching situations. Even before the study, the vocal teachers understood that they as teachers needed to treat every individual student individually, but afterwards they expressed a great need for concrete tools, like DiSC, that describe how they can do this. According to the vocal teachers, DiSC has been developmental for their teaching design. Furthermore, the effect of DiSC on students’ motivation, among other topics, is discussed from a design-theoretical perspective and based on previous research. Another question that is discussed is whether the use of DiSC in teaching facilitates teachers reaching their own goals or those of the students.

While the concept of teaching jazz style to vocal students is not a new one, previous materials written on the subject have not addressed two important aspects of this process. One is the concept of selecting jazz vocal solo repertoire that is both musically and vocally purposeful and appropriate for the student. The other is how to teach stylistic concepts that will apply to both current repertoire as well as songs the student will learn in the future. This doctoral essay provides both a categorized list of solo jazz vocal repertoire as well as strategies for introducing stylistic elements of jazz into the private-lesson setting. Through a systematic analysis of jazz vocal standards, a list of repertoire selections was categorized by rhythmic style, melodic range, melodic harmony, melodic rhythm, and harmonic content. In addition, the stylistic need to add syncopations to swing songs with non-syncopated melodies was addressed. Suggestions are included on how to implement this categorized list in the music selection process for students. Furthermore, this essay provides jazz voice teachers with strategies to efficiently incorporate important aspects of jazz styles such as rhythmic feel, song form, improvisation, and harmony into the lesson setting. By showing connections between these concepts and the literature that is being taught, students can become more competent and confident within the vocal and stylistic elements of the jazz idiom.