Today´s music classroom and music education are characterised by both analog and digital teaching. Contemporary students in school music education are often referred to as "digital natives" to emphasize that, unlike previous generations, they have had access to digital tools throughout their childhood. Music teachers whithin this music teaching practice face many challenges in their daily work, where skills in being able to use digital tools in teaching might be a requirement from both students and parents. The emphasis on digital tools may relate to the digital industry with digitally streamed music and online composition programs that students might have experienced when they enter the music classroom, a classroom that, in order to be legitimate to the students, needs to reflect the music world outside school. But in what direction is the music classroom heading? The pace of development is escalating with the digital tools at the forefront and tomorrow's music students will probably expect even greater digital solutions in the classroom than today. Or will completely different expectations emerge? Regardless, we need to be one step ahead in problematising and reflecting about the music classroom of the future. Against this background, the focus of the present is on how tomorrow's music teachers view the music classroom of the future. The aim is to study interpretive repertoires and subject positions constructed in conversations between music teacher students and to discuss these in relation to quality in the music classroom. Previous research show that digital tools can have a positive impact on learning and lead to improved results in the music classroom (Chao-Fernandez et al., 2017; Giebelhausen, 2015; Murillo, 2017). However, the overlap between students' personal and educational involvement with digital tools are both enabling and obstructive (Gurung & Rutledge, 2014). Digital tools are not always decisive for student achievement (Lee and Jen, 2014). Instead, it is a present educator who makes a difference. Altogether, there is a lack of studies that focus on tomorrow's music teachers' views on the future music classroom.

The study is based on a post-structuralist and social constructionist perspective. This implies that the subject constructs its reality in social interaction, which is also limited by prevailing discourses. The study's focus on actors in interaction derives from discursive psychology (Potter & Wetherell 1987). Discussion of subject positions and knowledge formation in a wider institutional and social perspective is based on a Foucauldian perspective, which provides a framework for analysis of power and dominance relationships. Altogether, the discourse phenomenon is both situated at a macro and a micro level. The study is at an initial stage and the empirical material consists of focus group discussions with music teacher students, studying their final year on the music teacher program. Preliminary results indicate that the prospective music teachers have a tentative attitude towards increased digitization in the music classroom. At the same time, it appears that the informants use digital tools daily, in their own teaching and in their own music performance. However, they do not consider this as digital musicing, but as if the digital tools facilitate musicing. Conclusions related to the interpretative repertoires and subject positions constructed in the conversations of music teacher students will be discussed in relation to quality in the music classroom.