The aim of this thesis is to critically scrutinize, identify and problematize discourses in music education within teacher education towards younger ages. The study explores how teaching practice and examinations in music are constructed, and what kind of strategies are used to handle the dilemmas that emerge in music teaching practice. Theoretically, the study is based on social constructionist theory, and the thesis deploys a discourse psychological methodology and approach. The data consist of observational films and field notes, and the material was produced within a period of three years. It included 91 students, 26 student groups and three teacher educators at three Swedish teacher education institutes. The results show two overarching discourses. First, a discourse focusing on care was articulated and legitimized based on an idea that student teachers are scared of express themselves within music education and that they lack confidence in teaching music. This discourse was expressed within a framework of a culture of silence that has a protective function for student teachers lacking self-confidence. Second, a discourse focusing on benevolence was articulated and legitimized based on an idea that a student teacher’s boldness could compensate for their lack of musical skills. This discourse was expressed within a framework of a tolerant and compensatory culture of assessment which has a protective and supportive function for student teachers with a lack of musical skills. To provide a basis for new pedagogical discussions concerning progress and development of quality, the conclusion discusses critical aspects in teaching practice in music within teacher education.

The aim of this thesis is to critically scrutinize, identify and problematize discourses in music education within teacher education towards younger ages. The study explores how teaching practice and examinations in music are constructed, and what kind of strategies are used to handle the dilemmas that emerge in music teaching practice. Theoretically, the study is based on social constructionist theory, and the thesis deploys a discourse psychological methodology and approach. The data consist of observational films and field notes, and the material was produced within a period of three years. It included 91 students, 26 student groups and three teacher educators at three Swedish teacher education institutes. The results show two overarching discourses. First, a discourse focusing on care was articulated and legitimized based on an idea that student teachers are scared of express themselves within music education and that they lack confidence in teaching music. This discourse was expressed within a framework of a culture of silence that has a protective function for student teachers lacking self-confidence. Second, a discourse focusing on benevolence was articulated and legitimized based on an idea that a student teacher’s boldness could compensate for their lack of musical skills. This discourse was expressed within a framework of a tolerant and compensatory culture of assessment which has a protective and supportive function for student teachers with a lack of musical skills. To provide a basis for new pedagogical discussions concerning progress and development of quality, the conclusion discusses critical aspects in teaching practice in music within teacher education.

The aim of this thesis is to critically scrutinize, identify and problematize discourses in music education within teacher education towards younger ages. The study explores how teaching practice and examinations in music are constructed, and what kind of strategies are used to handle the dilemmas that emerge in music teaching practice. Theoretically, the study is based on social constructionist theory, and the thesis deploys a discourse psychological methodology and approach. The data consist of observational films and field notes, and the material was produced within a period of three years. It included 91 students, 26 student groups and three teacher educators at three Swedish teacher education institutes. The results show two overarching discourses. First, a discourse focusing on care was articulated and legitimized based on an idea that student teachers are scared of express themselves within music education and that they lack confidence in teaching music. This discourse was expressed within a framework of a culture of silence that has a protective function for student teachers lacking self-confidence. Second, a discourse focusing on benevolence was articulated and legitimized based on an idea that a student teacher’s boldness could compensate for their lack of musical skills. This discourse was expressed within a framework of a tolerant and compensatory culture of assessment which has a protective and supportive function for student teachers with a lack of musical skills. To provide a basis for new pedagogical discussions concerning progress and development of quality, the conclusion discusses critical aspects in teaching practice in music within teacher education.