Musik och lärande : ugna vuxnas syn på musikundervisning

Sammanfattning: The intention of my studies is to explore the field of musical learning from the pupil's point of view. This master thesis is the second of two Grounded Theory studies based on interviews.In study no1 Learning of music from the pupils' point of view (Pemsel, 2009) I asked ten pupils, soon to be graduates, to express their own experience of musical learning. The selection of informants was made after reading a questionnaire an- swered by a group of 60 pupils attending different programs at a typical Swedish upper secondary school. The ten selected informants had all chosen several music courses their latest years in school. The questionnaire had two purposes; one was to construct musical profiles of the pupils, the other was to select informants for the interviews. The pupils were asked how much, and what kind of music educa- tion they had experienced. They were also asked to describe good and bad memo- ries of music education. The selected informants had all chosen to attend several music courses in their final years at school. They had in the questionnaire shown that they could express themselves in terms of learning music, and also that they had both positive and negative memories of musical learning environments. The most interesting findings in the first study were the personal navigation and the different choices the pupils made during their way towards musical learning. They learned music in a way that could be compared to the balls movements in a "flipper game", changing directions aiming to find knew musical knowledge. This was all illustrated in The Map of Musical Learning.In study no 2 Music and learning, young adults perspective of music education, I interviewed five post pupils 19-25 years old. They had as pupils chosen to learn something else other than music in upper secondary school. To select informants the so-called "snowball method" was used. A web questionnaire was made in purpose to profile the informants. "The Map of Musical Learning" was used to create an equal dialogue in the interviews. During the interview the Informants were asked to construct their own maps, and explain what that picture symbolised in their lives. In study no 2 I've been looking for answers on the following ques- tions; –What are pupils’ views on music and learning, and on what grounds do students select other courses over music? The results showed that not choosing music could be an active choice toward other interests. The choice not to continue taking music lessons was due to different levels (depending on informant) of neg- ative experiences. Some informants had good experiences of expressing them- selves in other art forms, but not in music. Others didn’t need music teachers; they were experienced and could learn on their own. From pupil's point of view music education could be improved, but the beginner and the experienced music pupil expressed different needs of teaching methods. They all felt that they were not surveyed how they wanted to learn music.