Abstract A central problem in all language teaching is to teach the correct use of prepositions. There are grammar rules, but also a lot of exceptions and idiomatic expressions that often have to be learnt by examples or by heart. A trick for learning might be to use a mnemonic method with songs and music to memorize a correct use of prepositions. The purpose of this study is to test a language teaching didactic exercise for knowledge of preposition in Spanish with songs and music. Grammatical aspects, rules and exceptions when studying prepositions in Spanish are presented.

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.

Denna studie bygger på huvudfrågan: Har musiken i grundskolan någon påverkan på elevens inställning till musik senare i livet? Under studien har nya infallsvinklar tagit form och lett studien till resultatet: Musiklärarens påverkan. Från en relativt smal syn på musikundervisningen i grundskolan har element som t ex läroplaner och ledarskapsteorier vidgat studiens syn för vad musiklärare i grundskolan har haft för styrmedel genom tiden för de fyra läroplanerna, Lgr 62, Lgr 69, Lgr 80 och Lpo 94. Denna studie kan urskilja att det har skett en progressiv utveckling av varje ny läroplan, och att lärarrollen har utvecklats med denna process. Musikundervisningen i grundskolan har gått från en traditionell till en mer öppen undervisningsform.

This study examines the similarities and differences between four guitar teachers in Sweden and the U.S. The aim of the study is to examine how teachers motivate their pedagogical standpoints and to analyze how they experience the frame factors that limit their teaching. Data were collected through interviews with two Swedish teachers and two American teachers. The result shows that the teachers, despite their seemingly different contexts, actually have a lot of common strategies and approaches. Most significant is the tendency to let the students decide some of the content of the lessons.

AbstractWe´re surrounded by music in many different ways. Sometimes we choose the music ourselves and sometimes it?s just there. The purpose of my thesis is to illustrate the students apprehension and understanding of the teaching of music in school. Moreover, my own interest in this subject and its influence during my school years motivated me in researching my thesis.

Syftet med arbetet är att undersöka hur musiklärare tolkar målen i kursplanen i musik och hur de applicerar dessa tolkningar på sin undervisning. Syftet är även att ta reda på hur musiklärare använder sig av läromedel för att nå dessa mål. Bakgrunden till ämnet är tankar som jag har haft angående musikundervisningen på grundskolans lägre stadier och huruvida denna undervisning är likvärdig över hela landet. Skulle det vara möjligt att ett läromedel i musik, skapat utifrån de nationella målen i kursplanen, åstadkommer en sådan likvärd utbildning? Mina forskningsfrågor syftar till att kartlägga användandet och behovet av läromedel i musik och dessutom till att förstå hur målen i kursplanen för musik kan tolkas av olika lärare.

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..

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 instrumentIf 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.

I wrote this thesis for myself and someone who would like to learn improvised music not from Jazz but Bach. I analyzed one composition by Bach, then I showed one example of using his idea to a Jazz standard tune. It was challenging for me to understand and analyze his composition as a Jazz improviser. To be honest I don't like to learn the music language from Bebop music but I like to play Jazz standard music. If someone would like to be good at playing jazz music, I think that it is important to know the music language in jazz.

Abstract The purpose of this essay is to compare in what way pedagogues in pre-school in comparison to pedagogues in school use music as an implement to stimulate children?s language development. The essay is built on qualitative written interviews on four pedagogues, two pre-school teachers and two class teachers, along with relevant literature concerning music in relation to language development.In the interviews it was shown that music is used in a greater extent by the pre-school teachers, compared to the class teachers. Activities containing elements of music is situated on a daily basis in preschool, where the two interviewed pre-school teacher?s works.

The purpose of this study was to illustrate the effects of music in pre-, peri-, and postoperative care. This study is a systematic literature study based on 22 scientific articles with quantitative methods. Music is an alternative treatment used in nursing care. Nurses could as a complement to routine pre-, peri-, and postoperative nursing have music interventions in mind, because an operation involves anxiety, fear and pain for many patients. The result of the study shows that music can reduce patients? anxiety, pain and improving their wellbeing and recovery.

The object of this master thesis is to question why the sheet music heldby libraries is not used more than it is. I have mainly studied the inc idenceof any cooperation between the music schools and libraries,whether there has been consultation on the purchase of sheet musicand whether the music schools borrowed sheet music from the libraries.For the thesis qualitative methods were used in the form of interviewswith ten leaders in music or cultural schools in Sweden. The mainstudy has been focused on the library and music school in Vänersborg.To compare my results and draw conclusions I have used the work ofSanna Taljas: Music, Culture and the Library: an analysis of Discourses.The result of the study showed that there is very little cooperation betweenthe library section for music and the music school. The greatestinterest for cooperation appears to come from the library personnel.Both the library and the music school personnel claim insufficient timeand money for their lack of cooperation..

Studiens syfte är att studera musiklärares syn på högstadiets läromedel i musikämnet; läromedlens fördelar och nackdelar samt vad som anses vara ett ?idealt? läromedel. Studiens teoretiska utgångspunkter utgörs av ett didaktiskt perspektiv. Resultatet baseras på en enkätundersökning av 27 musiklärare från hela landet med olika bakgrunder och yrkeserfarenheter. Studiens resultat visar att de tillfrågade musiklärarna anser att de färdiga eller tryckta läromedel de känner till är otillräckliga och blir snabbt föråldrade.

Title: Learning to read music notation on the guitar ? an analysis of various guitar schools on the market with added own examples. Purpose: To analyse currently available teaching materials on the subject of guitar notation on the market. A comparative analysis is made of five chosen books on the topic. Four criteria for the analysis of these five books are stated: 1) Structure and progression of the study of reading music on the guitar.

Title: Teaching improvisation in different musical genres My curiosity for teaching improvisation in different genres emerged when I started playing with musicians who had another musical background than my own. I wanted to acquire a better understanding of what improvisation means to them and how improvisation is taught in their genre. The aim of this study is to gain insight into four pedagogues' methods of teaching improvisation. The four pedagogues represent the genres of jazz, blues, organ music and folk music. I chose these four genres for two reasons.