In this survey I have been trying to find out which factors influence the students’ choice of instrument. I hope to, through the results, gain knowledge about how to reach interested students in my future work as a trombone educator.

I have let 15 students that have played trombone in the County Music Academy one to three years, answer my inquiry concerning their choice of instrument. The students’ parents were also asked to give an explanation to what they think made their child play the trombone and whether they tried to influence their child in the choice of instrument. The answers show clearly that these parents have not influenced their children’s choice of instrument and that the impression you and I as a teacher give during the first session seems to be of great importance.

This study is about how video films are used in teaching. By video film, I am referring to TV, DVD, VHS and film clips from the Internet or other sources. I imagined three areas of usage in which video films could be used for educational purposes: • video films for the students to bring home to assist with their practising, for example a tutorial video • filming the students • showing skilful musicians I made nine interviews to discover different string teachers’ thoughts and experiences of the medium, and their student’s reactions. I also wanted to know the demand for tutorial videos among string teachers and contacted producers and distributors.   Though media wasn’t frequently used in teaching among my respondents, they saw video films as a helpful aid. But there was also a fear that the interaction between teachers and students would disappear. It was hard to see a connection between teachers’ different repertoire and methods, and their use of video film. Teachers, and companies that produce teaching media, believed that the use of multimedia in education was indicative of the generation, and that we could expect an increase of multimedia use in teaching.

Is there something to gain when leaving the academic world a few years between secondary high school and a higher education? And is there a value in the experiences a student might have gained from life outside the academic world? Do teachers and students within colleges of music and headmasters for local music schools, see that these experiences have any practical value?In this essay I have interviewed students, teachers and headmasters from both colleges of music and local music schools to hear their views regarding the value of earlier experiences. My result is that it is a very complex area and it is difficult to give a conclusive answer within the limits of this study, which spanned over six months. This notwithstanding, all of the persons interviewed in this study agreed that it is important to discuss these questions, and that there is a value in earlier experiences.

This study will deal with how orchestra musicians view their own learning. How they study, and if they have similar structures and learning styles in their practice. The survey is based on the interviews of five viola players from the Stavanger Symphony Orchestra. Through the survey, I discovered that the five musicians from the orchestra had very different ways of learning. There seems to be a certain difference between those that have studied teaching, and those that haven’t

How does music teacher work in class with traditions in the school's world?

I sent out 53 questionnaires to music teacher that works with music in class, in order to find out what the school learn the students about our traditions. When I put together the questionnaires and the background material, I come among other thing until that three fourth dividing off the examined the music teachers do not appear to leave off some folded contained Lucia- and the Christmas tradition. Those music teachers who replied on the questionnaire seem not to notice the immigrant’s traditions.

In this exam work has I also overall and put together background materials, as among other things points on the value of traditions. They are is important by different reasons as for example to create a safe adolescence environment for the pupil.

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.

What amount of knowledge of guitar playing can be expected after completing upper compulsory school? A qualitative research involving three different music teachers provides their view of knowledge. Their expectations have been compared to a quantitative research involving 58 upper secondary students from the social sciences programme. The idea is to compare their pedagogic intentions to the pedagogic realities of music teachings.

The study shows a clear advantage for students who has attended some form of external music tuition as well as for those students who have someone in their families who play an instrument

If the knowledge primarily is due to extracurricular activities perhaps there is time for a reformation of the music subject so that all may enjoy the education, not merely those who already possesses a curtain amount of knowledge...

The experience must not be allowed to submit to the vast forests of chords, by doing so one misses the purpose entirely

This is a case study about a voice student who was certain she could not learn to sing. The student experienced severe mental impediments concerning her ability to sing. The study deals with these impediments and the processes involved while trying to overcome them.The purpose of this study is to closely examine the process of reasoning concerning the teaching and the applied exercises. The study also illuminates the processes the student and the teacher went through together, and discusses their meaning and consequence.The study is based on notes made by the teacher during 30 lessons covering a period of about two years, and subsequent reflections made by the teacher and student.The result shows some of the processes which emerged during the work, and that the student could manage more than she thought was possible by developing the right attitude and by gaining access to suitable tools.

This is a case study about a singing student who was certain she could not learn to sing. The student had built up great mental obstacles around her singing ability, and the study brings up these obstacles and the processes involved while trying to overcome them.

The purpose of this study is to look into the train of thoughts around the teaching and the exercises used. The study also illuminates the processes the student and the teacher went through together, and discusses their meaning and consequence.

The study is based on notes made by the teacher during 30 lessons, spread out over a period of about two years, and reflections made by the teacher and the student afterwards.

The result shows some of the processes formed during the work, and that the student could manage more than she thought was possible by developing the right attitude and by gaining access to suitable tools.

In my study, I have chosen to observe how music is used in primary schools. The research is based upon literature, observations (which were filmed) and follow-up interviews with heads of the musical moments. I have visited five various primary schools.

The result of my study shows that all of the respondents view music as being a substantial part of the primary school, in that they use music both as a goal (to enrich the children’s lives) and as a tool (to improve the children’s social development, for example, before entering elementary school.). Yet many of the respondents in my study are worried about the future because local government aims to enlarge the number of children in primary schools, while also forcing the employees to work more with administration, which they regard as taking time away from the children. As a consequence, they expect this will lead to a reduction of music in primary schools, as teachers will experience more stress and feel less adequate in their jobs.

The purpose of this study is, on one hand, to obtain an understanding of how children in municipal music- and culture schools choose instruments and what forms of recruitment methods they are subjected to, and on the other hand, how you can make them continue to play once they have begun.

To acquire this information, I have interviewed five music teachers and two principals at municipal music- and culture schools in Värmland. The questions treated, among other things, what affects children’s instrument preferences, recruitment methods and what you can do to keep interest for the chosen instrument alive.

The result of the study shows some apparent tendencies. Even though some of the instruments have trouble recruiting students and other instruments have trouble keeping them, the old methods, which obviously do not work in a satisfactory manner, are still being used. Instead, increased commitment at the occasion of recruitment, more group teaching which strengthens the social bonds through role models and a will to have the courage to change the organization when it does not work, is required.

The purpose of this study is to investigate the current state of children’s theatre, and if it meets the needs of the children.

Observations were carried out in three randomly chosen children’s theatre performances. After the observations, performers and the audience - in this case, children and their teachers - were interviewed. The questions dealt with how performers think prior to a performance for children, and how the audience reacted to it, in addition to how they think a good children’s theatre performance should be.

The result of the study indicates some clear tendencies. The three children’s theatre performances received good reviews with regard to performance, music and décor. But children are seldom familiar with the theatre and have trouble attaining information through watching alone. Thus, they need a different kind of theatrical performance than the three I observed. A performance in which they are more involved in the action.

The aim of this study is to examine (1) whether there is a difference between teachers’ and pupils’ opinions on making excuses, (2) why pupils feel that they have to make up excuses to teachers and (3) which is the most common excuse in the context of instrumental lessons. Thirteen instrumental and voice teachers from two different public schools of music, one situated in the south and the other in the west of Sweden, and nine seniors of the Arts Programme at one of the upper secondary schools in west Sweden, have participated in this survey. The questionnaire contains the same questions for both teachers and pupils but it differs in a way that it is adjusted to these two focus groups. The results highly indicate that a lack of time is the excuse both teachers and pupils often use at instrumental lessons. The results obtained from the other two questions are mainly identical, except for a small deviation concerning the priority of different reasons.

The purpose of this study is to gain knowledge of how some vocal teachers work with and reflect on interpretation and expression. Six vocal teachers with different background, place of work and genre expertise were interviewed.

The study shows that the interviewees share many denominators in the way they approach interpretation and expression despite their differences in background and genre, and it is clear that they have a common understanding of the terms interpretation and expression.

There is an indication, however, that some of the teachers are unsure of the effects of working with interpretation and expression and therefore they do not focus on these in their teaching.

Working with interpretation and expression can involve many things which all entail creating awareness of self-expression. According to the literature (e.g. Rydberg-Asplind), such awareness can lead to a more personal expression and a better technique.

In this study, I have investigated athletes and brass musicians, and their preparation for tense situations that demand performance at a high level. Examples of that could be concerts, auditions respectively competitions, or matches.My hypothesis before this study was that brass musicians could learn from athletes who possibly have a more well-developed methodic thinking with regard to preparations, both physical and mental, with an aim to be able to deliver with self confidence on a high and stabile level of performance.This proved to be partially correct, but in some aspects I was surprised, both considering the musicians’ awareness, but also considering the athletes lack thereof.The research consists of two questionnaires, in which one is directed to brass musicians and the other directed to athletes (without any specification of specific area or sport).These questionnaires were constructed to be as similar as possible to enable as correct comparisons as possible despite the two group’s obvious differences.

Can you force a child to sucess, and when do the supportiv corset become a straitjacket?

In this essay you can read about several ways to get a child to feel worthy as a person and use its own will in several ways. It's viewed from several different aspects but most of all it's about children who play musical instruments and parents who wants there kids to get sucessful. I have interviewed four musicians and musicteatchers to see how they were raised and how it has affected the way they are teatching there own students today. My little inquiry shows that people have a stong will and that you can come far if you hade supportive people around you.

This is a study of the apportionment of applicants to a music college during three occasions with five-year intervals, 1997, 2002 and 2007. Against this background, changes are dis-cussed with regard to choice of instrument that are assumed to reflect changes approximately 20 years ago, when the applicants made their choices.  Among the changes that I have observed are that instruments associated with classical genres have decreased significantly in number, yet are still the majority. Instruments associated with Afroamerican genres are increasing in popularity, while ethnic music genres have become larger.

In this report I have tried to answer two different questions: What do senior level teachers think about the ability of schools work to promote equal opportunities between the sexes ? Do teachers use any methods to promote equal opportunities between the sexes? And if so, which methods do they use?            To answer these questions a questionnaire was distributed to 91 senior level teachers in Karlstad and Trollhättan.  Of these 91 questionnaires 30 answers came in, and these 30 answers underlie the results of this report.  The results of the questionnaires showed that 83% of the senior level teachers consider themselves to promote equality between the sexes every day or several times a week and 80% of the teachers think that senior level teachers in general consider the work to promote equality between the sexes important. But the results also showed that 85% the senior level teachers think that schools only partly fulfil the schools goal to promote equality between the sexes and 77.7% thinks that they have had too little education in how to work with this problem. 70% of the senior level teachers could give example of method they use to work with equality between the sexes.

This is a study of how young flutists experience playing their instrument and having music lessons, especially what they think is most enjoyable. 27 flutists between the ages of 8 and 19 years old, from three different municipal schools of music in central Sweden, were interviewed during spring 2000.

Some of the conclusions are that enjoyment coincides with meaningful when you are in a musical context, and when your progress is confirmed by the teacher.

The study is to be seen as some examples of different things that young flutists find enjoyable. It is not an enumeration of recommended items in teaching, rather some thoughts about the positive experiences of playing the flute, and how teachers may relate to that.

The main purpose of this study is to identify and compare classical pianists´ understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musician performing music thoroughly gone through.

The main purpose of this study is to identify and compare classical pianists' understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musicians performing music thoroghly gone through.

The paper presentation will communicate an investigation of the philosophical thinking in Heidegger’s book The Origin of the Work of Art and what consequences that thinking generates for music educational practice. As Heidegger tries to capture truth within the concept of Art he passes through his thinking of the essences of Art as well as his constant thinking about Being. To be able to understand, draw parallels and exemplify Heidegger’s thinking, we choose to relate the investigation of those issues to the Swedish national syllabuses for the subject Music. For educators within an artistic domain, the reasoning is highly interesting to investigate further. The paper will focus and discuss Art, the way Heidegger describes it, as it can exist within music and further music education. Heidegger’s examples of art in painting, architecture, poetry, and musical composition is extended with examples within music educational practise. How can we relate to Music as Art with the same distinctions as Heidegger presents to us, by looking upon Art as a Thing as well as a Tool but also as an as an opener to the World (Welt) and in that sense, Art as the Making of History.The paper will present a way of understanding The Origin of the Work of Art and its connections to music educational practice. This will lead us to the question of how educators can or should be aware of the origin of the artist, the origin of the work of art and most crucial the origin of art itself when teaching. Heidegger’s thinking also provides an interesting line of reasoning about the relations between artist, listener and the work of art. A crucial battery of questions, that evokes from Heidegger’s thinking, is how school and educators can position themselves as being an unquestionable part of the origin of the Artist as well as the origin of the Work of Art within Music Education.

In this essay, I will treat the view of learning and musicianship among educated and uneducated musicians in improvised music. The survey is based on six different interviews with musicians in improvised music. In my inquiry, I have found that there are some differences between the two groups in their view of the subject.

In this essay, I will treat the view of learning and musicianship among educated and uneducated musicians in improvised music. The survey is based on six different interviews with musicians in improvised music. In my inquiry, I have found that there are some differences between the two groups in their view of the subject.

This is a paper discussing the way folksong singing has undergone changes from agricultural society to the present day. The aim of this paper is to discern if the way of singing folksongs has changed through the years. In addition, I want to investigate how folk songs have changed and what these changes depend on. I have interviewed five women, all working as folk singers, as well as studied literature and listened to archive recordings. The conclusion of this paper is that folk songs have changed over the years. A clear difference is that the older singers generally sang in a more unsentimental way compared to the singers today, who often attach great importance to interpreting the text and also using more ornaments. The reasons for these differences depend on many factors, e.g. the vocal folk music used to be functional music, whereas today’s music is much more exposed in the media, more institutionalised and professionalized. The singers of today are also inspired by other music cultures and styles.

The purpose of this study is to gain more knowledge about the affect of group size in the teaching of music in compulsory school, grades 7-9. I want to compare how teachers and stud­ents acknowledge their work environment during the lessons in relations to group size. I also want to know if the teachers adjust their tutoring in spite of group size, and in what sense they acknowledge the possibilities to carry out the curriculum.The method for this study is a qualitative interview with four teachers in music at four separate compulsory schools, in which two tutors teach larger groups, and two teach smaller groups. There was also a questionnaire for selected students at the schools, of which 188 answered the questions.

The results of my study show that the access and design of classrooms, support from the principal and the total amount of students the teacher is tutoring, are of at least the same im­portance as group size in comparison to how the teachers experience their work environment. The students are generally very positive to their work environment, and they state that they often play during lessons. The students in the larger classes are somewhat more positive, but there is also a bigger part of them that are joining music teaching in some form outside of school, which probably affects the result. Students in larger classes more often experience louder volumes during the music lessons, and the teachers of these classes also have clear rules to keep the volume at a lower level. Changes in the curriculum and the increased risk for music teachers acquiring problems with hearing, indicate that smaller classes should be preferred during music lessons, while also helping to prevent teachers to suffer from stress

The purpose of this dissertation is to examine how teachers in the municipal Music schools Schools of arts (kulturskolor) estimate the quality of their teaching rooms, which factors that are significant for their opinion, and if they have experienced any tendencies of improvement in the quality of their teaching rooms. The examination is built on a questionnaire, which was sent to a number of music- and “culture schools” in Sweden. From the answers you can read that the majority (66%) of the teachers are satisfied with their teaching rooms, even if a relatively large part (33%) seems to be unsatisfied. The single factor that are of most importance for their opinion are how much of their teaching they spend in rooms that doesn’t belong to the music- or “culture school” and also are used for other kinds of education. You can also see that the teachers have experienced a slight improvement in the quality of the education room’s throughout the years. A large majority consider that the rooms are of great significance for their teaching and the student’s experience of the education, which also is confirmed by other research.

The local wind band in Lilla Edet, Lilla Edets Musikförening, springs from work and activities in the late 19:th century. Since then, the band has developed from a brass sextet to mixed wind band. It has been an appreciated contribution to the society on festive occasions. Yet, it seems like the band more and more has lost it´s useful purpose. Also, the recruiting of new members has ceased, as the music school has trouble with attracting pupils to learn to play wind instruments.

The reasons for this reduced interest are more then one. One aspect can be lack of atten-tion to the genre in music education, both in the music school and in the regular school. It may also be due to the media not showing enough of the wind music. That this genre, in many purposes, has been replaced by today´s popular music also makes the average Swede unaware of it´s qualities.

There are, however, places where the wind music tradition is stronger. This can, for example, come from special wind instrument education at an early age. It can also be due to the local band playing a prominent part in the society.

To help a languishing band activity, the band itself must cooperate with the music school and the society. All parts must do what they can to make sure the business stays alive.

This study examines if there are any differences in practicing guitar in different genres. I have attempted to discover if there are any different views on practi-cing between the classical and Afro-american traditions, and if so, why.I have interviewed six guitar teachers who teach at different levels, three in each genre, to obtain answers to my questions. The answers have varied somewhat, as I have acquired a generalized picture with certain differences, yet also with many similarities. The persons interviewed have insisted that differences in the view of practicing between genres don’t really exist, and is actually something the media has made up. Instead, those differences in practicing that do exist, are a result of the various traditions in fields such as sight-reading, tonal structure and improvisation.

The purpose of my study is to examine if the total study results differ between music classes and regular classes. Are there higher grades in music classes? If so, what are the causes for this? I chose to make an inquiry at two schools in different town districts, with music classes. At those schools I also collected data of pupils grades, and was informed by the principals and the music teachers about the activities. The number of respondents were ninety.

The inquiry showed that the grades were markedly better in music classes, and that you can see great differences in well-being, parental engagement and ambition level, compared to regular classes. The study gives several factors. The social background has some significance. The group effect of the music playing and the well-being in class has good influence on the grades.

The aim of this study is to examine how certain traditional musicians of today practice, and their thoughts on studying the violin. Also, if there was a specific kind of practice and teaching in the genre of Swedish traditional music.Five musicians with different backgrounds, age and sex were interviewed with open questions.The conclusions are that education can provide the traditional musician with a structured practice method.  Models are of great importance in music played by ear. The musician that plays traditional music “must “ not always be technically skilled to be a musician of importance. Character and expression can counterbalance a bad technique. A common way to teach Swedish music is to first play the whole tune and then divide it into smaller units. There was a connection in the study between the education of the informant and the complexity of their own exercises and the exercises they recommended to pupils.

The question formulation for this work has been "is an ice-hockey audience influenced by music during time-outs in a game?". The method was to observe one period with Färjestads BK and Mora IK, but a recording was also made, together with a conversation with the arena DJ. From the recording, the audience reactions were graded from a given scale. The grades were compilated to a diagram that shows the audience reactions in relation to the time, from the first face-off to the final whistle. From the diagram, one can see the connections between the audience reactions and the music. During the observation, all important incidents were noted so that potential connections could be made. Any influence on the audience by the music could not ascertain with this method. Finally, it could be ascertained that if a better picture of the reality is wanted, it will demand more observations and records of more games, as this work only analyses one period in one game.

The purpose of this investigation is to see if there is any difference in how long pupils are staying in the activity of the music- and culture schools in the country. I have compared this with how large the teachers engagements are in average at each school, how many teachers each school holds and if one teacher is teaching within different areas, e.g. on different instruments. Thru mail contact with the headmasters at the music- and culture schools I have gathered data concerning the length of which the pupils are staying at the schools, the number of teachers at each school, the size of the teachers services and in how many different areas each teacher is teaching.

It has been hard to get to any results in the investigation since the music- and culture schools don’t compile statistics on how long their pupils are staying at their schools. Only 10 % of the consulted schools could give me an answer regarding that. The great falling off of statistics has made it hard to come to any conclusion. One conclusion however that has been drawn is that there is an endless amount of factors involved concerning how long a pupil will stay in the activity of the music- and culture schools.

In this paper I have examined how aware teachers are of their influence on pupils development. The method I´ve used are interviews with three teachers and one pupil each about

Musicality - how do the teachers and pupils look at the concept musicality generally and personally?

Influence I- do the teachers believe that their thinking about musicality influence the pupils self-confidence and development?

Influence II- do the teachers think that other pedagogues have influenced them in their teaching and thinking?

My main results show that both the teachers and the pupils have similar apprehensions as their teachers, which points towards that influence can exist. The basis is however too limited to make any extensive generalizations.

The conclusion of the paper is that we have to be aware of how we influence our pupils. They carry this ”knowledge”, whether it is positive or negative, all their life.

This study is based on discussions among Swedish brass teachers about teaching other brass instruments than their main instrument. Why do some choose to teach only with the help of their main instrument while others use their secondary instruments as well? What are the advantages and disadvantages and how do they look upon other ways of thinking in this matter?

In addition, the study examines brass teachers’ views on the balance between pedagogical and instrumental skill, as well as their views on teaching sound, technique and expression in relation to the age of the student.

A questionnaire was used and anwered by 24 teachers with teaching experience in municipal music schools ranging from 7 months to 35 years. The results indicate that pedagogical skill is always important, whereas the importance of instrumental skill increases as the student gets older and more experienced. The advantage of teaching with the help of the main instrument is that one always keeps a high musical and technical level. However, the advantage of always using the instrument taught is that the student gets the right sound ideal. Sound, technique and expression all become more and more important as the student progresses. According to the survey, sound is regarded as the most important thing to work with on all levels, followed by technique and last, expression.

The main part of the study is seen from a teacher perspective, however some student opinions are also included.

This survey tries to find out if and how we can be influenced of extreme low and strong frequencies in the area 0-40 Hz. A group of 52 teachers/musicstudents and non musicstudents was trying to assess what they thought, experiences and tried to describe why they thought as they did, when they listen on three different versions of same musical piece. Without low frequent bass, original and strengthened bass, randomly mixed. Several different musical pieces was used in same survey. The work also makes a commitment to theories about the people's hearing and the will of ‘selfmotion’. The result gives a hint that participators in the survey prefer to listen to music on “balance”, rather then music with reinforced low bassfrequencies.