The article communicates an investigation of how collaborative learning is constituted in a PhD-course, namely Collaborative learning in music educational settings. The course was organized and run in a way that aimed to investigate, develop and encourage collaborative learning among students and teachers in the third circle. Material produced and analysed included log-books, assignments, peer-response, after-thoughts, and a Facebook discussion-thread. The results are presented as descriptions of the constituent parts of collaborative learning occurring in the “rooms” of the course. The results show the importance of structure as well as awareness when it comes to roles and kinds of participation.

Föreläsning för lärare i Kristanstads kommun inom ramen för projektet Kulturnyckeln http://www.kristianstad.se/sv/Kristianstads-kommun/Kultur-Fritid/Kultur/Kulturhuset-Barbacka/skolans-kulturprogram/Kulturnyckeln/

This article presents a study investigating how a music teacher enables composition amongst high school students in a musical project. The main aim is to explore in what way the music teacher teach students to compose music and play in band in a musical project aiming to encourage students to create a musical and what tools for learning that are made visible in this process. A sociocultural and ethnomusicological approach was employed, drawing on field studies and interviews with the music teacher. The results demonstrate that the music teacher strongly influence the adolescents in their learning process and the teacher creates frames that the students can respond freely to, which makes the students secure and free at the same time. This approach from the music teacher enables a lot of compositions amongst his students.Key words: Composing, teaching, ethnomusicology, music education, sociocultural perspective.

Kapitlet jag skrivit i denna bok handlar om hur vi lär oss tillsammans med andra och hur skapande verksamhet blir ett kraftfullt verktyg för kunskapande.

In this licentiate thesis, I study how young people from Sweden and the Gambia, learn music in interaction with each other within the context of a concert project carried out in the Gambia. The main aim of the study is to explore in what ways adolescents acquire music and to analyse it in a context of cultural identity. The primary research question is: What characterizes musical learning in a situation where the intention is that young people from different cultures are expected to learn in interaction with each other?The theoretical points of departure are to be found in socio-cultural theories of learning, with a focus on how cultural tools are used in the learning and teaching processes, and in theories on orality and literacy.Since 2000, I have annually conducted field studies in the Gambia. The analysed dataconsist of observations and video recordings of the musical learning activities, individual and focus group interviews and field notes from the years 2008-2010. The participants are nine students, age 15-16, from one Swedish high school and nine students from different schools in the Gambia.The results demonstrate how the students’ musical and cultural background strongly influences the ways in which they learn themselves and how they teach others. The cultural background also affects their choice of tools for learning and teaching. The students from both groups are generous in their attitudes towards each other and they are responsive and interested in the others’ way of learning. However, while the tools they use to learn music themselves remain stable throughout the project, the tools for teaching others how to play or sing change during the course of the project. Thus, the students appear to be more inclined to change their way of teaching others, rather than changing the methods of their own musical learning.In conclusion, the results point at the importance of teachers not always using the same methods in teaching their students as they have experience of having learnt themselves, and that teachers need to have the ability to identify the learning styles of their students and to create a learning environment in which all these various ways of learning are given space.

In this licentiate thesis, I study how young people from two different countries, Sweden and the Gambia, learn music in interaction with each other within the context of a concert project carried out in the Gambia. This study in music education is inspired by ethnomusicology and anthropology. The main aim of the study is to explore in what ways adolescents acquire music and to analyse it in a context of cultural identity. The primary research question is: What characterizes musical learning in a situation where the intention is that young people from different cultures are expected to learn in interaction with each other?In my research I used emic and etic as tools for understanding my results. I also used insider and outsider as a tool for understanding whom I am in the process and I learned to shift between the insider and the outsider and further more I learned to identify which one of them where speaking. The theoretical points of departure are to be found in socio-cultural theories of learning, with a focus on how cultural tools are used in the learning and teaching processes, and in theories on orality and literacy.Since 2000, I have annually conducted field studies in the Gambia. The analysed dataconsist of observations and video recordings of the musical learning activities, individual and focus group interviews and field notes from the years 2008-2010. The participants are nine students, age 15-16, from one Swedish high school and nine students from different schools in the Gambia.The results demonstrate how the students’ musical and cultural background strongly influences the ways in which they learn themselves and how they teach others. The cultural background also affects their choice of tools for learning and teaching. The students from both groups are generous in their attitudes towards each other and they are responsive and interested in the others’ way of learning. However, while the tools they use to learn music themselves remain stable throughout the project, the tools for teaching others how to play or sing change during the course of the project. Thus, the students appear to be more inclined to change their way of teaching others, rather than changing the methods of their own musical learning. Their cultural background is therefore of big importance for students learning processes. Key words: Music education, musical learning, ethnomusicology, emic and etic, socio-cultural perspective.Sincerely Annette MarsMalmö Academy of Music – Lund University

In this licentiate thesis, I study how young people from two different countries, Sweden and the Gambia, learn music in interaction with each other within the context of a concert project carried out in the Gambia. This study in music education is inspired by ethnomusicology and anthropology.The main aim of the study is to explore in what ways adolescents acquire music and to analyse it in a context of cultural identity. The primary research question is: What characterizes musical learning in a situation where the intention is that young people from different cultures are expected to learn in interaction with each other? The theoretical points of departure are to be found in (i) socio-cultural theories of learning, with a focus on how cultural tools are used in the learning and teaching processes, and in (ii) theories on orality and literacy.Since 2000, I have annually conducted fi eld studies in the Gambia. The analysed data consist of observations and video recordings of the musical learning activities, individual and focus group interviews and fi eld notes from the years 2008-2010. The participants are nine students, age 15-16, from one Swedish high school and nine students from different schools in the Gambia.The results demonstrate how the students’ musical and cultural background strongly influences the ways in which they learn themselves and how they teach others. The cultural background also affects their choice of tools for learning and teaching. The students from both groups are generous in their attitudes towards each other and they are responsive and interested in the others’ way of learning. However, while the tools they use to learn music themselves remain stable throughout the project, the tools for teaching others how to play or sing change during the course of the project. Thus, the students appear to be more inclined to change their way of teaching others, rather than changing the methods of their own musical learning.In conclusion, the results point at the importance of teachers not always using the same methods in teaching their students as they have experience of having learnt themselves, and that teachers need to have the ability to identify the learning styles of their students and to create a learning environment in which all these various ways of learning are given space.

Avhandlingen undersöker ungdomars lärande i musik utifrån ett sociokulturellt perspektiv. De två delstudierna är genomförda med en teoretisk utgångspunkt som gör gällande att människor lär sig musik i samspel med andra människor samt att de använder sig av medierande verktyg i de lärsituationer de deltar i, vidare involveras den proximala utvecklingszonen, samt muntlig och skriftlig lärandekultur. Eftersom lärande inte endast sker i skolmiljö utan överallt där individer gemensamt skapar kunskap har de empiriska studierna genomförts både utom och inom skolan som institution. Genom att studera ungdomar som musicerar och skapar musik tillsammans, och i interaktion med sina lärare, har deras medvetna eller omedvetna val av medierande verktyg för musikaliskt lärande i olika kontexter synliggjorts. Syftet med den samlade studien är att synliggöra, beskriva och analysera musikaliskt lärande så som det blir synligt bland ungdomar i högstadieålder, inom ramen för grundskolans verksamhet och i frivilligverksamhet ur ett sociokulturellt perspektiv. Studiernas metodologiska grund återfinns i musiketnologisk teoribildning och i avhandlingen beskrivs hur musiketnologi och musikpedagogik förhåller sig till varandra. De valda metoderna utgjordes av observationer och intervjuer, vilka dokumenterades med videofilm och fältanteckningar. Analysarbetet genomfördes med kvalitativ analysmetod i fem olika steg, där stegen delvis skiljde sig åt i de två delstudierna.I studie I visade resultatet att elevernas musik- och lärandekultur framträdde när de lär och undervisar andra. Vidare framträdde ungdomarnas kulturella bakgrund genom deras val av verktyg för lärande och samlärande. Ungdomarna verkade vara mer benägna att ändra sitt sätt att undervisa andra än att ändra metoderna för sitt eget musikaliska lärande. Resultaten i studie II visade att musikläraren skapade ramar som eleverna kunde förhålla sig fritt till, vilket gjorde eleverna såväl trygga som fria. Musiklärarens sätt att organisera undervisningen liksom hans pedagogiska kompetens möjliggjorde elevernas musikaliska lärande och musikskapande. När eleverna skulle komponera och samspela använde musikläraren sig av flera olika verktyg i sin undervisning. Vidare synliggjordes hur en skriftlig lärandekultur genomsyrade de pedagogiska valen. I studie II visade resultaten att elevernas val av verktyg när de lär och undervisar sina kamrater var desamma som deras lärare använde. En skriftlig lärandekultur blev synlig i hur eleverna använde verktyg och artefakter för att lära och skapa musik tillsammans. Implikationerna av delstudie II kan sammanfattas med att musiklärare behöver veta hur möjligheter för lärande i grupp skapas, samt när elever behöver lärarens kunskap och vägledning för att befinna sig i en proximal utvecklingszon.Resultatet i den samlade studien visar på vikten av en musiklärare som inte bara har gedigen ämneskunskap utan också har kunskap om vilka medierande verktyg och artefakter elever behöver i varje specifik situation, samt kan bedöma vilka kunskaper elever redan har och vilken utveckling som är möjlig. När elever arbetar tillsammans i grupp för att lära verkar betydelsen av lärarens kunskap och pedagogiska förmåga vara avgörande för att en god miljö för lärande och utveckling ska kunna skapas. Vidare framkom att lärande i muntlig och skriftlig lärandekultur skiljde sig åt vad gällde verktyg och artefakter. Ungdomarna i de båda lärandekulturerna använde en bred repertoar av verktyg och artefakter på primär och sekundär nivå, medan läraren använde artefakterna på sekundär och tertiär nivå. I en skriftlig lärandekultur tyder resultatet på att verktyg och artefakter hade sitt ursprung i någon form av skriftlighet och de användes för att förklara hur musiken skulle framföras. I en muntlig lärandekultur utgjordes artefakten av den klingande musiken och de medierande resurserna användes för att förklara vad musiken ville förmedla.

This article presents a study investigating musical learning among 9th grade adolescents in a Swedish lower secondary school. The adolescents collaboratively composed songs for a self-written musical, which they taught to their peers. The purpose of the study was to explore the ways in which adolescents acquire musical knowledge in this specific setting. A sociocultural perspective was employed, and the methods used were observations and interviews with the adolescents. The results demonstrated that the adolescents’ choice of tools when learning and teaching their peers were the same as those used by their teacher. The written score was distinct in all their musical learning, suggesting the dominance of the written paradigm. In conclusion, in order to support musical learning, music teachers need to know how to create opportunities for peer teaching and leaving the students to themselves, and when to interfere and guide the adolescents into their Zone of Proximal Development.

This article presents a study investigating how adolescents from Sweden and the Gambia learned music while interacting with each other in a concert project conducted in the Gambia. The main aim is to explore in what ways adolescents acquire music and to analyse it in a context of cultural identity. A sociocultural and ethnomusicological approach was employed, drawing on field studies and interviews with the adolescents. The results demonstrate that the students' musical and cultural backgrounds strongly influence the ways in which they learn and how they teach others. Their cultural backgrounds also affect their choice of tools for learning and teaching. The adolescents appear to be more inclined to change their ways of teaching others than to change the methods of their own musical learning. The results suggest that teachers ought not to always use the same methods in teaching their students as they experienced when learning themselves, and that teachers need an ability to identify the learning styles of their students and to create a learning environment that corresponds to this variety.

Annette Mars är kompositör av musikstycket Vem äger Julefrid? samt delproducent och pianist på inspelningen. Kompositionen är inskickad och snart registrerad på STIM. Produktionen är ett projekt för att samla in pengar till BRIS. Produktionen har inte erhållit kulturrådsstöd eller liknande.