The purpose of this doctoral dissertation is to investigate what mechanisms  produce a creative music education. The method used is based on critical realism where a social science phenomenon  consists of empirica!events, operating mechanisms and the structures  that produce them. I have ehosen to utilize creativity  theory to investigate  the different mechanisms that become evident when analyzing the empirical material in relation to problem-solving, flow, as weil as theory of play and games. The empirica1 material consists of group interviews with music teachers colleagues at an upper secondary school, and observations oftwo ensemble classes at two separate upper secondary schools during one term. Mechanisms that are found to produce a creative music pedagogue according to the thesis analysis chapter, are overriding  based on authentic  problems, intemalization and transformationalleaming, and by uniting intemal and externa!motivation. The survey's structures  appear in the thesis introductory chapter. The discussion chapter gives a retroduction  of the structures  that make a creative music education  possible. The structures are the role of the teacher, the role of the students, and the importance of intemalization of the musical tools. The focus is on both traditional roles and structures,  and the contributions  to the new rules that this thesis has discovered.  These new rules, I have termed Svängrum,  include two major themes: making something  your own, i.e. one's  own interpretation  of another's work as intemalization, and making your own, i.e. autonomous  leaming  and your own creation. This results in the school's environment imbues a spirit of day-to-day  leaming,  where problem-solving activities motivate and make possible creative abilities, based on students'  own engagement.