Musiklärartyper : en typologisk studie av musiklärare vid kommunal musikskola

Abstract: The aim of this study is to establish a typology for instrumental music teachers at Swedish municipal music schools, and to describe different types, generated from questionnaire-answers, regarding how their attitudes and valuations in matters concerning democracy in broad sense are reflected in their pedagogical activity.I address the following concrete questions.• From where do music teachers at Swedish municipal music and culture schools get their attitudes and valuations, what circumstances lie behind, and are there specific circumstances that explain attitudes and valuations that are not embraced by most of them?• How can different types of music teachers be described?• How do the attitudes and valuations differ between different types?• How are the attitudes and valuations of the different types reflected in their respective work?In the first place I try to answer the questions by using questionnaires which I analyse with methods including factor and cluster techniques. In order to generate intelligible pictures of the types I also interpret, by mean value and correlation analyses, quantitatively dependent data with hermeneutical tools.The population is about 5 000 individuals, represented by 834 informants.The results show that each subject (singing, strings, brass, etc.) has its own inherited culture, with its own set of attitudes and valuations These attitudes and valuations are, in the first place, transmissioned within the subjects.The questionnaire answers have generated eight different types: MISSIONARY, GATE KEEPER, MUSIC MAKER, MASTER TEACHER, MUSIC DIRECTOR, REFORMIST, ANTI-FORMALIST, and PEDAGOGUE. Each of them has their own set of attitudes and valuations, which are based on the four factors MISSION, FEELING, FOUNDATION, and STUDENT-FOCUS. The eight types and their significant qualities, can be described, in reasonable and recognized ways. Different discourses can also be discerned.Most types seem to have a given position at music school. THE REFORMIST, however, appears to be dissatisfied. He or she is rooted in classical music, but wants to teach the children to play music of their own, although he or she is lacking the didactical tools for this kind of teaching. THE REFORMIST constitutes 19 % of the population and is thereby the largest group.Among other things, one conclusion drawn from the discussion is that the conservatory discourse is a cement keeping together the whole field of music education, and without it the structure and organisation of music school as well as college of music would collapse into a messed-up activity beyond defini¬tion. Another conclusion is that education of music teachers must be reformed with the starting point in democracy and philosophy, if discoursive isolation of music school should not become total—with fatal consequences for music school. These two conclusions stand for opposite poles, which must be balanced to each other.