The purpose of this thesis was to study the functions that music have in relation to the formation of identity, and research how this fits into the music subject in the school environment in Sweden. My questions were; (1) what role does music has in the formation of identity? (2) how does gender stereotyped musical identities take form? (3) what is the problems or risks with music education in relation to formation of identity? (4) how does the curriculum for the Swedish school relate to the functions that music have in relation to the formation of identity? I have done an analysis on three writers who focuses on theories about music in relation to the development of identity, to give perspective to the individual’s music reality. The first one is the Swedish musicology professor Börje Stålhammar, the second one is the Norwegian music therapist and professor Even Ruud, and the third one is the Brittish music senior master Nicola Dibben. I have compare their thoughts and found a great unanimity in many aspects. I have also related their thoughts to the curriculum for the Swedish school, and found support on many points, but not all.

The Swedish curriculum calls the school a social and cultural place that both have a possibility and responsibility to strengthen the identity among the pupils. According to my writers the music has escapist, emotional and existential roles. It works as community construction and creation of a group belonging. Ruud and Dibben suggest that music also can function as a musical self biography, by recollecting and integrate life events. Dibben suggests that musical preferences are personal, and an important way to define ourselves and others. According to Dibben, gender identity is constructed through the musical activities we participate in, through the musical preferences we have and through the beliefs about what constitutes gender-appropriate musical behaviour. According to the curriculum, the school has a responsibility to work against traditional sexual stereotypes, and Ruud and Dibben suggest that music is an area in which gender roles can be explored and assumptions challenged. Stålhammar suggests that the musical identities can be contrasted to the music education in school, and create a sense of “cultural dissonance”, where the subject is viewed as unreal and unfamiliar in comparison to own experiences. Ruud is talking about the aspects of the experience of a “false self”. If children and youths are using music as a means of defining themselves and forming group identities, this means that inevitably some will form negative musical identities whilst others will form more positive musical identities. The curriculum for the music subject does not say anything about the negative identities that are the reality of the music teacher.