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The purpose of this dissertation is critically to illustrate discursive recontextualization between sociocultural production and reproduction, with respect to both relations within and relations to music education in Swedish upper-secondary school. The starting point for the study is the Swedish upper-secondary school reform, Gy 2011, which has involved a marked reformulation of the agenda for music education in upper-secondary school. The general Artistic Activities disappeared, at the same time as the significance of a specialising education in the field was strengthened. This dissertation is driven by the desire to understand the results of the upper-secondary school reform by explaining the processes and principles involved. But, in a wider perspective, the dissertation deals not only with a single reform, but encompasses a search for the underlying principles that have had, and are having, a regulating effect on the design and positioning of music in publicly regulated education. The results show that structuring of the subject of music takes place primarily through the classification and framing of social relationships in general, and of interactional relationships in particular. The focus of these relationships has shifted from time to time, and varies from context to context, but has always been in relation to something that has been regarded as sacred. In recent times, the framing within music-oriented knowledge practices has become weaker. At the same time, such knowledge practices have shown an increasing need for the drawing of boundaries in relation to other knowledge practices. The latter also has a value in explaining why general music content was removed from the upper-secondary school curriculum, whereas a special and specialising educational programme was able to gain legitimacy.

English title: Parents’ expectations of municipal school of music and of arts. Thesis in Music Education by Jonathan Lilliedahl. Part of the work for the master´s degree. Studies from School of Music, University of Örebro, 2007. Available from School of Music, Örebro University, SE-701 82 Örebro, Sweden. Original in Swedish. Keywords: parents’ expectations, municipal school of music and of arts, music education, childrens’ development, creative activity, parental influence, municipal activity. The essay concerns parents’ expectations within municipal school of music and of arts. The main aim is to elucidate and understand parents’ expectations of the school and purposes about their childrens activity, and then, discuss the results towards the concept and the didactic of the school. The method has been Grounded Theory. The results are grounded on qualitative interviews with twelve parents from different municipalities and the empirical material has been encoded into categories of various kinds. The results, which have been encoded for a several times and on different levels, indicate that parents have different purposes to each other, but also that each parent has different purposes in various contexts. A joint comprehensive aim and expectation is that the school and their teachers should enable an all-embracing development. Underlying, there are musical targets and objectives towards music as means. The parents take both individual- and group perspectives. The results can also illustrate that parents in many cases adapt their expectations to the existing structure of the school and that many of the parents are satisfied as long as everything works. Many of the parents consider that a municipal school should be responsible for a broad education of arts, characterized by democracy and availability. As a conclusion it may be said, while the parents’ exceptions focus on the childs’ interest and development, the municipal school of music and of arts has even more interests to satisfy and comply with.

Syftet med denna uppsats är att synliggöra och tolka musikpedagogiska grundsyner bland pianolärare inom svensk kommunal musik- och kulturskola. Arbetet tar sin utgångspunkt i lärarnas autonomi, den frihet de har att utforma undervisningen utifrån deras personliga värderingar och åsikter. Inom musik- och kulturskolan finns kommunpolitiskt uppsatta målformuleringar. Meningarna i dessa dokument skiljer sig dock avsevärt från varandra. Jämför vi med grund- eller gymnasieskolan finns där en helt annan grad av styrning. De nationella direktiven har en helt annan legitimitet och påverkan för den pedagogiska verksamheten. På så vis förstår vi att musik- och kulturskolans verksamhet i mångt och mycket blir ett resultat av den enskilda lärarens uppfattningar och ideal kring uppdraget som musiklärare. Dessa ståndpunkter grundar sig i en musiksyn respektive pedagogisk grundsyn och tillsammans bildar de en så kallad musikpedagogisk grundsyn. Uppsatsen bygger på en kvalitativ forskning där kärnan består av fyra intervjuer med olika pianolärare. Som bakgrund finns också en större kvantitativ forskning, vilken har varit en utgångspunkt och även till viss del urvalsgrundande för att finna representativa intervjupersoner. Intervjuerna har gett insikt i hur en musiksyn och en pedagogisk grundsyn integrerar för att bilda en musikpedagogisk grundsyn. Begrepp som estetik och kulturarv, demokrati och mångfald har blivit centrala. Lärarna har också poängterat åsikter om att ge eleverna en gedigen grund och att utgå från elevernas egen känsla i undervisningen. Resultatet har sedan ställts mot tidigare forskning. Intervjuerna bekräftar också i viss mån en övergripande kategorisering i innehålls- kontra elevcentrerade lärare, att som lärare undervisa till eller genom musik.