ABSTRACTMusic and differences in knowledge ? a study of music teachers experiences with differences in musical knowledge. The purpose of this paper is to, out of a music teacher?s perspective, see if the differences in music abilities between 7th grade students are at all, or in some ways connected to the previous schools they?ve attended. I will also research in what areas, in the subject of music, students are differing more, as well as less, in their knowledge. The analysis is based on interviews with six 7th grade music teachers working in the Swedish nine-year compulsory school system.

ABSTRACTMusic and differences in knowledge ? a study of music teachers experiences with differences in musical knowledge. The purpose of this paper is to, out of a music teacher?s perspective, see if the differences in music abilities between 7th grade students are at all, or in some ways connected to the previous schools they?ve attended. I will also research in what areas, in the subject of music, students are differing more, as well as less, in their knowledge. The analysis is based on interviews with six 7th grade music teachers working in the Swedish nine-year compulsory school system.

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.

Title: "It is logical, but not logical at all compared to every other logical thing." - A study about how students in upper secondary school reflect about their studies in Pitch and music theory.Pitch and music theory is a compulsory subject for Music students in the art programme of upper secondary school of Sweden. The aim of the subject is to develop the students? knowledge about music theory concepts in order to help them play and create music on their own. The aim of this paper is to discuss how students talk about ear training and music theory. Qualitative group interviews were carried out with two student groups from the first and second year of the upper secondary school.

Title: How do Music students with different genre backgrounds perceive the same music? In this paper I report a study about how Music students with different genre background perceive the same music. I let twentyone classical music upper secondary school pupils and twentyone rock music upper secondary school pupils listen to ten short music pieces of different character and styles. While listening, they were asked to answer four questions about which instruments they could perceive, what they could tell about pulse, rhythm and beat in the music, which component they thought was the most important in the piece and what word they thought best described the feeling of the piece. All four questions had to be answered for each piece of music to facilitate analysis of differences connected to genre background in those answers.

In this work I have examined how two violin students, who are used to the classical music tradition, think when they learn to play Swedish folk music, with focus on rhythm and beating the time with their feet. One of the students is studying on her first year to be a classical violin teacher and the other student is studying on her third year to be a classical musician, both are studying at Malmö Academy of Music. I had three lessons, one hour each, with these two students where I taught them some basics in how to play Swedish folk music. After the last lesson I interviewed the two students. I have done interviews with two teachers at Malmö Academy of Music; Wieslawa Szymczynska and Mats Edén.

Titel: Rockmusic preferences in the rock programme. Popular culture, music preferences and repertoire inside a teaching institution. This paper raises some questions about the popular music that exists outside as well as inside institutions. From the example of popular music and rockmusic the students of a music teacher education programme based on rock music are asked for their taste for music in a brief questionnaire. The answers are compared to those concerning the music they used to like before they entered the education as well as the music played on the ensemble lessons at the programme.

Music affects us humans. Marketing has long made use of music as a means to enable customers to identify with a brand, and thus increase sales. The Influence of music is obvious, but can you use this on students, and how effective is it to use in a classroom?I will answer the question: how does soft music provide reassurance/create a harmoniums learning environment at the beginning of a lesson?By observing how students react and behave to the playing of soft music. My aim is to create different strategies that teachers can effectively use to get students to ?jump in? to their lessons without wasting 5-15 minutes of class time.Professor Lennart Grosin conducts research into what is in Sweden called PESKO.

ABSTRACTThe aim of this study is to analyze the aspects which have formed music-students? interest to perform music in various ways. Two of these aspects are family and school. Furthermore, -the study analyzes what music itself, and its performance mean in these students? social and personal lives.

Music has a role to play in every country and every culture. Sweden today is a country whith many different cultures, religions and music genres. The purpose of this investigation is to study how immigrants youths profit from music education on the basis of music teachers' perspectives. Questions at issue are: are there immigrant children/ youths who can not take part in music education? Have the students' religions any importance? Do the parents question the offered education? Is there more opposition to some specific kind of music? Are teachers avoiding to present some music? Can music education help the immigrant youths to form their identities? I have used questionnaires and I have made five interviews.

Music affects us humans. Marketing has long made use of music as a means to enable customers to identify with a brand, and thus increase sales. The Influence of music is obvious, but can you use this on students, and how effective is it to use in a classroom?I will answer the question: how does soft music provide reassurance/create a harmoniums learning environment at the beginning of a lesson?By observing how students react and behave to the playing of soft music. My aim is to create different strategies that teachers can effectively use to get students to ?jump in? to their lessons without wasting 5-15 minutes of class time.Professor Lennart Grosin conducts research into what is in Sweden called PESKO.

I have been using qualitative interviews to explore music's influence in school from a learning perspective, community perspective and identity-building perspective. I have visited two classes at two different schools to do these interviews with ten informants, both students and teachers. My interview questions were almost the same for both students and teachers, but differed in wording. My research is based on the informants? answers and relevant sources such as literary books, curricula and the Internet.After fieldwork was completed, I transcribed the interviews to further analyze them according to relevant theories, such as Bergman (2009) and Antal Lundström (1996).

The aim of this study is to examine which strategies three 18-year-old string students (one violinist and two cellists) use when they practice on their own. The empirical data for the study come from six observations of the students? practicing on certain pieces that were handed out to them. During the observations, the students filmed themselves, and no one else was present in the room during the practicing sessions. The observations were later transcribed and analyzed, which means that its contents were compared and contrasted to results of previous research in the field of practicing.The results of this study show that all three participants first tried to gain an overview of the piece by playing it through from beginning to end.

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.

This study aims to determine whether pupils, students and teachers at various music schools feel that there is a difference in status between different music styles/genres, and if this has an impact on the individual level. The survey was conducted with a digital survey that was e-mailed to junior/high schools with music profile in the Stockholm area and to all the teachers and students at the Royal College of music in Stockholm (KMH). Due to low participation by students and teachers from the junior/high schools the students and teachers of KMH became the main object of the study. The results shows that a majority of the main group of this study feels that there is a difference in status between different music styles/genres. The study also shows that half of the participants believe that the difference in status affects them on an individual level.