MUSIC IN GERMANY’S STATE EDUCATION SYSTEM

Ortwin Nimczik

MUSIC IN GERMANY’S STATE EDUCATION SYSTEM

In German Music Council / German Music Information Centre, ed.,Musical Life in Germany (Bonn, 2019), pp. 50–79

Published in print: December 2019© German Music Information Centre

http://www.miz.org/musical-life-in-germany.html

https://themen.miz.org/musical-life-in-germany

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Training music teachers at Rostock University of Music and Theatre

Music education at school furthers the imagination, social skills and creativity. But for years Germany has had a shortage of trained teachers in this field. Here Ortwin Nimczik writes about recent developments and perspectives in educational policy.

2

Kapitel |

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Training music teachers at Rostock University of Music and Theatre

Music in GerMany’sstate education systeM

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| Ortwin Nimczik

MUSIC IN GERMANY’S STATE EDUCATION SYSTEM

Germany’s state education system is rooted in two basic principles: the right of the individual to receive an education, and the responsibility of the state to pro vide it. The system is basically structured in a series of successive stages, beginning with elementary education and proceeding with primary schools to secondary schools (levels I and II), tertiary-level studies and continuing education (see Fig. 1).1 How-ever, since the 16 states (Länder) that make up the Federal Republic of Ger many have independence in matters of culture and education, the legal founda tions of the state education system are made up of 16 specific school laws. In practice, this has given rise to 16 contrasting educational landscapes differing marked ly in their structure and subdivisions and in the names they assign to forms and types of school, particularly those that offer two or three educational channels. In some cas es, they even differ in the duration of compulsory full-time schooling. True, the ‘Standing Conference of the Ministers of Education and Cultural Affairs in the Länder of the Federal Republic of Germany’ (Ständige Konferenz der Kultusminis- ter der Länder in der Bundesrepublik Deutschland, or KMK) co-ordinates the inter-action between the federal government and the states, and among the states themselves. But when all aspects are taken into account, the result is a mare’s nest that makes it difficult if not impossible to achieve an overview of school education in Germany.2

Instruction at Germany’s state schools is aimed at all children and adolescents and is broken down into specific subjects, such as German, mathematics, English and art. In particular, the educational channels of primary school and secondary level I have increasingly augmented their curricula with so-called ‘learning areas’ as overriding principles. This is especially the case in the natural and social sciences, but it can also be found in music and the arts. In contrast, the scope and duration of general education are inconsistent: although several states successfully con-

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Music in Germany’s State Education System |

‘Schulen musizieren’ (Schools Make Music), a nationwide

gathering sponsored by the German Music Teacher Asso -

ciation (BMU), gives school ensembles a platform on

which to appear in public and make contacts.

verted their grammar schools, or Gymnasien, from nine-year programmes (G9) into eight-year equivalents (G8) in 2013, thereby shortening the school time from 13 to 12 years, some have since reverted to the earlier nine-year model.3

The term ‘music education’ used below refers to music as a school subject. It in-cludes a study of the subject’s prerequisites and underlying conceptions in the planning of lessons, as well as the actual conduct of those lessons, including an analysis of their place in the state school system. Lessons given at music schools or in the private sector are usually defined narrowly according to the ‘topic’ or instru-ment involved, such as piano, voice, percussion or music theory.

MUSIC AS PART OF THE GENERAL CURRICULUM

Music education at state schools enables music to be taught on a profession-al and lasting basis. It thereby opens up perspectives for living with music in all stages of the pupils’ lives and contributes specifically to the development of their musical and general competence. Politicians and administrators, in their official statements on educational policy, attach special importance to the contribution of

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Qualification for vocational further education

Higher education entrance qualification12

Fachschule11 Abendgymnasium /Kolleg

Higher education entrance qualification12

13Vocational qualification, polytechnics entrance qualification

Berufsober-schule8 Gymnasiale

Oberstufe2,7

at grammar school (Gymnasium),

school types with three courses of education,

vocational grammar school

19

18

12 School types with focus on vocational education 17

11Dual vocationaltraining system2

Berufsfach-schule10

Fach- oberschule9

16

10 15

Leaving certificate after 10 years (Mittlerer Schulabschluss),leaving certificate after 9 years (Erster allgemeinbildender Schulabschluss)6

10 10th grade 16

9

Hauptschule4 Realschule4

School types comprising several

courses of education4,5

Gymnasium5

15

8 14

7 13

6 12

5 Orientation phase3 1110

4

Primary school1

9

3 8

2 7

1 6

Elementary education(optional)

5

4

3

Grade Age

Seco

ndar

y le

vel I

Incl

usiv

e cl

asse

s or s

peci

al in

stitu

tes

for p

upils

with

spec

ial e

duca

tiona

l nee

ds2

Prim

ary e

duca

tion

Pre-

scho

ol e

duc.

Seco

ndar

y le

vel I

I

Fig. 1 | Basic Structure of the Educational System in the Federal Republic of Germany

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1 Some states have special types of transition from early childhood education to primary school education (Vorklassen, Schulkindergärten). Primary school comprises six grades in Berlin and Brandenburg.

2 Pupils with special needs are taught in inclusive classes at general education schools or at institutes with a focus on special education. The name given to such schools varies according to the law of the state concerned.

3 Grades 5 and 6 constitute a phase of particular advancement, supervision and orientation with regard to the pupil’s future educational path and particular direction.

4 Hauptschule and Realschule exist in appreciable numbers in only five states (Baden-Württemberg, Bavaria, Hessen, Lower Saxony, North Rhine-Westphalia). In Bavaria, the type of school comparable to Hauptschule is called Mittelschule. Hauptschule and Realschule courses are also offered at schools with multiple curricula, for which the names differ from one state to another.

5 The following types of school combine Hauptschule and Realschule courses under a single educational and organisa-tional umbrella: Regelschule (Thuringia), Sekundarschule (Bremen, Saxony-Anhalt), Verbundene Haupt- und Realschule (Hessen), Regionale Schule (Mecklenburg-West Pomerania), Realschule plus (Rhineland-Palatinate), Regionalschule (Schleswig-Holstein), Oberschule (Brandenburg, Saxony), and Mittelstufenschule (Hessen). – Some types of school offer curricula of Hauptschule, Realschule and also Gymnasium: Integrierte Gesamtschule, Kooperative Gesamtschule, Integrierte Sekundarschule (Berlin), Oberschule (Bremen, Lower Saxony), Stadtteilschule (Hamburg), to some extent Regionale Schule (Mecklenburg-West Pomerania), Gemeinschaftsschule (Baden-Württemberg, Saarland, Saxony-Anhalt, Schleswig-Holstein, Thuringia), and Sekundarschule (North Rhine-Westphalia).

6 The general education qualifications obtainable after grades 9 and 10 have particular designations in some states. These certificates can also be obtained at institutions offering secondary education for adults (known as Zweiter Bildungsweg), at vocational schools or through an external examination before a state examining board.

7 Admission to the Gymnasiale Oberstufe requires a formal entrance qualification, which can be obtained after grade 9 or 10. The general higher education entrance qualification (Allgemeine Hochschulreife) can be obtained after the successful completion of 12 or 13 consecutive school years (eight or nine years at Gymnasium). As a rule, the Gymnasium course of studies is not reduced to eight years at schools which combine different curricula.

8 The Berufsoberschule has so far only existed in a few states. It offers school-leavers with the Mittlerer Schulabschluss who have completed vocational education and training or five years’ working experience an opportunity to obtain a higher education entrance qualification restricted to particular subjects (Fachgebundene Hochschulreife). Pupils can obtain the general higher education entrance qualification (Allgemeine Hochschulreife) by proving their proficiency in a second foreign language.

9 The Fachoberschule admits pupils who have completed the Mittlerer Schulabschluss and qualifies them to study at poly-technics (Fachhochschulreife). The states may also establish a grade 13 with an opportunity to obtain the Fachgebundene Hochschulreife and, under certain conditions, the Allgemeine Hochschulreife.

10 Berufsfachschulen are full-time vocational schools differing in entrance requirements, duration and leaving certifica-tes. Basic vocational training can be obtained during one- or two-year courses at Berufsfachschulen, and a vocational qualification is available at the end of two- or three-year courses. Under certain conditions entrance qualification for polytechnics (Fachhochschulreife) can be acquired on completion of a course lasting a minimum of two years.

11 Fachschulen cater to continuing vocational education (one to three year duration). As a rule they require the completion of relevant vocational education and training in a recognised occupation and subsequent employment. In addition, entrance qualification for polytechnics (Fachhochschulreife) can be acquired under certain conditions.

12 With the exception of Fachgebundene Hochschulreife (see note 8), higher education entrance qualification is general in scope (Allgemeine Hochschulreife) and entitles holders to admission to all subjects at all higher education institutions. It is usually obtained at upper Gymnasium level (gymnasiale Oberstufe) by passing the Abitur examination.

Source: Basic Structure of the Educational System in the Federal Republic of Germany: Diagram, ed. Standing Conference of the Ministers of Education and Cultural Affairs of the Länder in the Federal Republic of Germany, Berlin 2017 (data from 12 / 2016); and additional updated information from the websites of the state ministries of education and cultural affairs (retrieved 05 / 2019). Edited by the German Music Information Centre.

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music education in the school curriculum. Here the educational aims – whether related to the individual or society, to the subject itself or to its side effects – are usually viewed as equivalent in relevance. The KMK describes ‘education in music and the arts‘ (musische Bildung) 4 as ‘part of the cultural education of each individ-ual and a prerequisite for participating in cultural life. It is an important precondi-tion for coexistence in our society. Musische Bildung conveys such crucial skills as fantasy, imagination, heightened sensory perception and the ability to achieve a holistic view. Studying art and music is a source of self-expression and communi-cation and makes it possible to acquire interpersonal expertise’.5

The KMK specified three guidelines for music education that cut across all school types and grade levels to unite the educational policies of the federal states. Terse and concise, they have lost none of their relevance today:

› From a general teaching perspective, music education makes ‘a vital contribu-tion to the social education of young people. The performance of music, whether alone or in a group, helps to fulfil the existential need of each per-son for self-expression; it also develops perception and sensitivity, encourages creativity and depth of feeling, furthers the ability to enjoy and create, and enhances imagination and tolerance’. The KMK stresses that music education

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has the task of ‘guiding pupils toward a responsible and independent attitude toward the media in the face of today’s sensory overload’, and considers that it ‘thus lays the groundwork for an independent and self-determined life’.

› From the point of view of cultural policy, music education ‘is vital to main-taining and promoting musical culture in Germany. It conveys our musical herit age to members of the coming generation, giving them an understanding for the many forms of music by imparting deeper knowledge and skills. It also contributes to the development of the pupil’s own identity and inspires and enables the “audience of tomorrow” to actively take part and become involved in cultural life, where “cultural life” is understood to be not just the way that culture is passed on traditionally in local regions, but also an appreciation of the music of other peoples and cultures’. Popular music is expressly included: ‘The largely one-sided concentration on so-called highbrow culture that domi-nated the school music curriculum decades ago – i.e. classical or “art music” – has long given way to a broader understanding of musical culture that also embraces such phenomena as rock, pop and jazz as well as German and inter-national folk music’.

› Viewed from the perspective of the school as an institution, music has the po-tential to make ‘a significant contribution to a school’s public image. Its wide-ranging activities have an impact on the general public outside of the school, influencing the school’s image and encouraging a sense of loyalty among pupils, teachers and parents. Performances by music groups are a valuable ad-dition to school events and help to improve a school’s atmosphere’.6

Music education as institutionalised at the elementary level should begin as early as possible and be led by qualified professionals, e.g. in day care centres, kinder-gartens or other preschool facilities. Thereafter, Germany’s state school system has the central task of potentially allowing every pupil to come into contact with music education.7 Schools in the state system are the only places in society which can purposefully, continuously, systematically and constructively encourage and display the musical skills of all pupils. The overriding goal of this sort of broadly conceived music education for children and adolescents is to promote their self-determined participation and active involvement in musical culture and to enable them to contribute to its advancement and continuation.

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In every type of school and in every German state, music is firmly anchored in the curricula of primary schools and all grades of secondary levels I and II. Either it has the status of a mandatory or ‘compulsory elective’ subject under its own name, or it is indirectly a component of larger learning areas or com bined subjects, where it is becoming increasingly fluid in its definition. The states differ in the number of weekly hours they allot to music. A pool or set number of hours is generally stipulated for learning areas. As a result, the schools themselves can, to a large ex-tent, specify how the lessons are to be distributed or apportioned to satisfy local conditions. So-called ‘compulsory elective areas’, where one subject must be cho-sen out of a group of subjects, may provide additional opportunities for including music lessons in day-to-day school operations, some times in combination with other art forms. Given these diverse conditions, in many cases (especially in grades sev en through ten) a school will offer music instruction in alternation with other subjects in so-called lesson blocks, or Epochenunterricht, i.e. where the subject is taught in concentrated periods rather than being evenly spread throughout the school year. Sometimes it can even be dropped or replaced by other subjects (see Figures 2a and 2b).

Up to now there has been no firm data concerning the extent to which the weekly hours of instruction actually given in music coincides with the states’ lesson al-lotment plans. Instead, we have to rely on partial surveys and extrapolations con-ducted e.g. by musical education associations among their members. It is true that

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Fig. 2a | Hours allotted to music at primary schools (2018)

Federal stateGrade

1 2 3 4 5 6

Baden-Württemberg Hours allotted: 6 (reference value; school responsible for specific distribution)

Bavaria

Hours allotted:

2 2

16 16Basic instruction1

in combination with German, mathematics,

general knowledge and art

Berlin 2 2 2 2 2 2

Brandenburg

Hours allotted: 34 Basic instruction2 in combination

with German, mathematics, general knowledge and art

4 4 4 4

in combination with art

Bremen Hours allotted: 24 in combination with sports and art

HamburgHours allotted:

6 (with 45-min. lessons)4.5 (with 60-min. lessons)

HessenHours allotted:

6 8in combination with art (incl. crafts and textile design)

Mecklenburg-West Pomerania

Hours allotted:6 8

in combination with art, crafts and theatre

Lower Saxony1 1 2 2

or 4 (lesson allotment plan)

North Rhine-Westphalia

3 to 4 3 to 4 4 4in combination with art

Rhineland-Palatinate

6 6 7 7in combination with sports, visual arts, textile design and crafts

Saarland3 3

2 2in combination with visual arts

Saxony 1 1 23 2Saxony-Anhalt 1 to 2 1 to 2 1 to 2 1 to 2

Schleswig-Holstein

Hours allotted:10 14

in combination with art, textiles, technology and sports

Thuringia at least 1 at least 1 at least 1 at least 1

Note: Primary school lasts six years in Berlin and Brandenburg.1 The teacher does not assign special instruction subdivided by hours.2 The lesson allotment plan assigns a total number of hours in the relevant subjects for grades 1 and 2. The lesson hours are

distributed among the subjects on the basis of the individual learning achievements in the class.3 Only 1 hour as of the 2019-20 school year.

Source: Compiled by Ortwin Nimczik using information from the state ministries of education and cultural affairs.

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school authorities and some state ministries of education publish absolute figures for learning groups or weekly lesson hours in their official school statistics. How-ever, they do not provide information on the actual relation these bear to what is set down in the allotment guidelines. Moreover, the statistics often blur the dis-tinction between extracurricular activities (choir, orchestra, mixed ensembles etc.), actual classroom music and vague terms such as ‘rhythm’.8

Given the problems outlined above, the increasingly urgent question arises as to whether music is losing its status as a self-contained subject, with a creeping de-cline in number of lessons and ultimately a loss of dignity as a discipline. In this light, the KMK resolution of 16 October 2008, in its version of 11 October 2018, con-cerning the ‘interstate content demands for disciplines and pedagogical methods in teacher training’,9 should be viewed with a critical eye. Its section on primary school education departs significantly from a need for solid musical expertise. Its ‘disciplinary perspectives’ and ‘basics of teacher training’ function as ‘minimal re-quirements’ for ‘aesthetics as a field of study: art, music, motion’. The ‘lesson con-tents and aims related to primary school education in art, music and sports’ are lumped beneath the heading of aesthetic education. Teacher trainees are allowed to choose a subject area of this sort as an alternative to the traditional study of music for primary schools.10 If this resolution is put into practice in the federal states, the probable consequence will be a further deterioration in the quality of how music is taught in primary schools.

The ‘Design of Upper Level and Final Examinations’ at Germany’s grammar schools was agreed upon at the Conference of the Ministers of Education and Cultural Affairs in its current version of 5 February 2018. It calls for a ‘subdivision into a one-year introductory phase and a two-year qualification phase, the assignment of subjects to three task areas, a division of subjects into mandatory and elective, the possibility of setting individual points of emphasis, and the provision of lessons at different levels of difficulty’.11 All in all, pupils in the qualification phase attend ‘two to four subjects with higher standards. These subjects are taught at least four hours per week, or at least five hours for two subjects with higher standards’.12 Music is assigned to task area 1 (language, literature and art), but unlike other school subjects (such as German) it cannot by itself cover the entire area. As a rule, this means that a second subject must be chosen from the same task area. In the

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qual ification phase the pupils must attend lessons ‘in literature or the arts for at least two semesters’.13 Occasionally achievements from instrument or voice lessons may be included in the qualification phase or the final grade, but without directly sat isfying the stipulations of subjects in the arts. Germany’s states differ markedly in the way they deal with these regulations in detail, particularly as regards the different durations of grammar school and the peculiarities in those states that set down uniform statewide questions for final school-leaving examinations.

Grammar school students may take music as a ‘subject with higher standards’ (for-merly called ‘advanced-level course’, or Leistungskurs) or as a subject requiring a written or oral final examination. However, this too depends on regulations spe-cific to the state in question. If music is ‘taken as a subject requiring a written ex-amination, the written examination may be replaced by a special subject-related examination containing a written section’.14 When music is chosen as a course of study in the upper level of grammar school, the possible combinations of subjects, the course offerings at the school in question and the pupil’s own educational path become increasingly delimiting factors. Similarly, institutional prerequisites, such as minimum course sizes or predefined subject or course pathways, form ever larger obstacles to the creation of music courses with higher standards. To ensure consistency and comparability among the federal states, the KMK has defined basic requirements for final examinations in music, as in all other school subjects.15

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Fig. 2b | Hours allotted to music at secondary school level I (2018)

Federal state Type of schoolGrade

5 6 7 8 9 10

Baden- Württemberg

Gemeinschaftsschule9

additional 8 as elective subjectWerk- / Hauptschule 9Realschule 9

Gymnasium9

additional 12 as elective subject

Bavaria

Mittelschule 2 22 2 2

–compulsory electives: music or art

Realschule 2 2 1 1 1 11

Gymnasium 2 2 2 1 1 1Musisches Gymnasium

2 2 2 2 2 2plus one ‘instrument’ hour in each grade

Berlin2

Integrierte Sekundarschule X

2 2 2 2in combination with art

Gymnasium X 23 2 2

in combination with artGymnasium (classical languages) 2 2 2 1.5

2 2in combination with art

Brandenburg2

Combination of music and artGesamtschule X 4 4Oberschule X 4 4Gymnasium X 4 4

BremenCombination of music, art and theatre

Oberschule 12Gymnasium 10 X

Hamburg

Compulsory elective in arts (visual arts, music, theatre)

Stadtteilschule 43

83 (with 45-min. lessons)63 (with 60-min. lessons)

Gymnasium 43

84 (with 45-min. lessons)64 (with 60-min. lessons)

Hessen

Integrierte Gesamtschule

8 62


Mittelstufenschule 1

Practical programme:2 1

4 in combination with artin combination with art Middle-level programme:

4

Hauptschule6 4 2

in combination with artRealschule 2 4

Gymnasium8 8

in combination with artGymnasium (eight grade levels)

8 6X


63



5 6 7 8 9 10

Mecklenburg-West Pomerania

Arts and music area (art and design, music,

theatre)

Arts and music area (music/art and design, thea-tre) plus compulsory elective in arts and music

Orientierungsstufe 6 XIntegrierte Gesamtschule X 8 + 21

Regionale Schule X 8 + 12Gymnasium X 7 + 5 XMusikgymnasium X 10 + 2 X

Lower Saxony


3 4 3 3 3 3in combination with art

Oberschule

Without college preparation:2 1 2 1 2 1

in combination with artWith college preparation:

2 2 2 1 1 1

Hauptschule

4 3 1 1 1 1in combination with art,

crafts and textile design


Realschule

4 3 2 1 2 1in combination with art,

crafts and textile design


Gymnasium2 2 2 1 1 1

With music as elective:2 4 4 4 4 4

North Rhine-Westphalia

Gesamtschule8 8


Sekundarschule8 8


Hauptschule8 8

in combination with art and textile design

Realschule8 8

in combination with art and textile design

Gymnasium8 6

Xin combination with art

Rhineland-Palatinate


8 9in combination with visual arts

Realschule plus8 8 to 11

in combination with visual artsGymnasium 4 6

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5 6 7 8 9 10

Saarland

Gemeinschaftsschule 2 2 1 1 1 1

Gymnasium2 2 2 – 2

2optional:

music or artMusic branch:

4 4 4 4 4 4

SaxonyOberschule 2 1 1 1 1

2optional:

music or artGymnasium 2 1 1 2 6 1 1

Saxony-Anhalt

Gemeinschaftsschule (eight grade levels)

4 4 2 2


Sekundarschule4 4 2 2

in combination with art education

Gymnasium

3 3 3 3 2 2

in combination with art educationoptional:

music or art education

Schleswig-Holstein

Gemeinschaftsschule (grades 5 to 9)

8 14X

in combination with art, theatre and sportsGemeinschaftsschule (grades 5 to 10)

8 18in combination with art, theatre and sports

Regionalschule5

(grades 5 to 9)10 12

Xin combination with art, theatre and sports

Regionalschule5 (grades 5 to 10)

10 16in combination with art, theatre and sports

Gymnasium (eight grade levels)

14 14X

in combination with art and sportsGymnasium (nine grade levels)

14 20in combination with art and sports

Thuringia

Gemeinschaftsschule4 4 4

in combination with artGesamtschule 2 2 2Regelschule 2 2 2

Gymnasium 4 3

2Special classes

in music7:6 6

Musikgymnasium8,5 8,5 8,5 8,5 8,5 8,5

music8

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Of the 623,000 pupils in the final two grades of Germany’s grammar schools in the 2017-18 academic year, 30.7 per cent took basic-level courses in music. This is 3.1 per cent more than in 2007-08, and one of the highest levels in the past ten years. The proportion of those who completed a music course with higher standards in 2017-18 was 1.9 per cent. Two thirds of all pupils in the upper two grades of secondary lev el II do not study music at all (see Fig. 3).

Finally, it is useful to look at the quite inconsistent treatment of music at so- called ‘vocational schools’ (berufliche Gymnasien, Fachgymnasien or Berufskollegien, depending on the state concerned),16 which dif-fer markedly in this re-spect from one state to the next. Such schools, which offer a general school leaving certificate, are quite common in some states. They differ wide ly in the way they regulate the obligation to take music courses, ranging from the regular treatment found at ordinary grammar schools to complete disregard.17 It should be noted that the number of graduates of this form of full-time school who obtain a general matriculation standard (Abitur) is steadily growing.18

Schools with extended music curricula offer espe-

cially solid training to talented pupils. Detailed descrip-

tions of facilities for every type of school in every state

can be found at the German Music Information Centre.

Note: This table shows the hours allotted to music at secondary school level I as far as they can be determined from the websites of the educational ministries of the states involved. For information on the basic structure of the educational system in Germany, inclu-ding a classification of the various states' school types, see Fig. 1.

X = Grade level is not part of this type of school (or its secondary level I).– = No music instruction allotted.1 Only compulsory elective group IIIb.2 Secondary schools in Berlin and Brandenburg begin at grade 7.3 Depending on the resources of the school concerned, the proportion of lessons can be increased on a subject-specific basis through

the ‘Compulsory elective area of informatics, visual arts, music and theatre’.4 Depending on the resources of the school concerned, the proportion of lessons can be increased on a subject-specific basis through

the ‘Compulsory elective area of visual arts, music, theatre, informatics and applied science’.5 Expires in the 2018-19 school year.6 Only 1 hour as of the 2019-20 school year.7 One hour each in music history, music theory, ear training, piano/guitar, voice and choral training.8 Two hours each in main instrument, music theory and ear training, chorus/orchestra; one hour each in rhythm, music education; one

half-hour piano as supplementary subject.

Source: Compiled by Ortwin Nimczik using information from the state ministries of education and cultural affairs.

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Fig. 3 | Music pupils in final two years of grammar school (Gymnasium)1

TEACHER SHORTAGE AND LESSON CANCELLATION

The number of teachers who teach music at Germany’s various types of school cannot be precisely determined.19 The education report Bildung in Deutschland 2012, using a special analysis conducted by the KMK, arrived at a figure of slightly more than 37,800 teachers with training or certification to teach music.20 However, this report has gaps in the data from several states and also departs from the informa-tion provided by the Federal Statistical Office regarding the types of schools sur-veyed. It is safe to assume that between 5 and 7 per cent of teachers at general state schools possess this certification. The actual formal qualifications of these teach-ers, e.g. with regard to training and specific degrees, are not spelled out. More over,

School year

Total number of pupils in final two years2

Pupils enrolled in music3

Basic course or subject at elementary level (up to 3 hours per week)

Advance-level course or subject with higher standards (at least 4 hours per week)

Number Number % Number4 %

2007-08 547,203 150,995 27.6 12,659 2.3

2009-10 628,982 158,532 25.2 15,657 2.5

2011-12 686,641 192,704 28.1 15,930 2.3

2013-14 626,558 185,249 29.6 14,185 2.3

2015-16 645,930 196,692 30.5 13,648 2.1

2017-18 623,021 191,422 30.7 12,025 1.9

Note: To take into account the differing treatment of the final years of grammar school in Germany’s states, the Standing Conference of the Ministers of Education and Cultural Affairs (KMK) no longer speaks of ‘basic’ and ‘advanced’ courses, but of subjects with basic or higher standards (‘Vereinbarung zur Gestaltung der gymnasialen Oberstufe in der Sekundarstufe II’, KMK Resolution of 7 July 1972 in the version of 16 June 2016). At least two subjects with higher standards are mandatory in all states; a number of states have defined three or even four such subjects.1 For grammar schools with eight grade levels (G8): Qualification phases Q1 and Q2. For those with nine grade levels (G9):

grades 12 and 13.2 Total number of pupils according to information supplied by the Federal Statistical Office. From the 2008-09 school year a

distinction has been made between grammar schools with eight years (G8) and nine years (G9). The figures cover both G8 and G9 grammar schools as well as integrated comprehensive schools, Waldorf schools and special schools.

3 Number of music pupils according to information supplied by the KMK. The figures include G8 and G9 grammar schools as well as integrated comprehensive schools, Waldorf schools and special schools.

4 Since the 2011-12 school year music has no longer been taught in Bavaria as a subject with higher standards.

Source: Secretariat of the Standing Conference of the Ministers of Education and Cultural Affairs of the Länder of the Federal Republic of Germany, and various annual issues of the Federal Statistical Office’s Subject series 11, series 1.

67


A pA pA pA pA prosrosososppepecpecece ttivtivtive musius c teacher at Rostock

UniUnUn verv sity of Music and Theatre

it should be noted that these figures shed no light on how the music teach ers are actually deployed – information of great relevance to the distribution of resources in lesson allotment plans, but which has appeared in no published survey to date.

The shortage of music teachers remains a basic problem in day-to-day school opera tions. The education ministries of Germany’s federal states unanimously note a structural shortage of music teachers and rank music as a hard-hit case. The abovementioned report of 2012 already confirmed that Germany’s pupils are inad-equately supplied with music education: ‘Assuming that roughly 6 to 7 per cent of compulsory instruction falls on art and music by the end of secondary level I, and that every teacher generally teaches two subjects, it follows that music teach-ers must focus their lessons almost exclusively on music if they are to meet the demand for compulsory music tuition’.21 Continuity of instruction is not ensured, least of all in primary schools and, with subtle gradations, at secondary level I (apart from grammar schools). Surveys carried out by music teachers’ associations at the state level suggest that a mere 20 to 30 per cent of music lessons in primary schools are taught by trained music teachers, whereas approximately 70 to 80 per cent are taught either by teachers from other fields or not at all. The percentage of lessons cancelled is largely unknown.22

68

The glaring shortage of trained music teachers leads to an accumulation of prob-lems in conjunction with the tasks and demands faced by schools today: educa-tional inclusion, heterogeneity, language training, differentiation. This particularly affects special education, where music is known to have a great impact on the pupils’ advancement. The teacher shortage is further intensified by the fact that music instruction can rarely be handled in a professional manner when the teach er falls ill or is otherwise absent.

In view of the changes in society, the increasing age of music teachers and the growing number of pupils, there is no assurance that an adequate supply of quali-fied music teachers will be available at Germany’s state schools in the future. The shortage of trained music teachers is part of a larger problem, namely, the short-age of teachers altogether, especially in primary schools. The employment of later entrants and career changers, though promoted by state ministries of education, will not solve the underlying problems; rather, it will lead ineluctably to a creeping deprofessionalisation of the music teachers’ calling.23 Here the ministries are en-joined to work in concerted fashion with educational institutions in order to estab-lish extensive short-term further education and post-qualification programmes with clearly defined qualification standards so as to impart solid communication skills in the teaching of music.

GENERAL REGULATIONS FOR MUSIC EDUCATION

The contents and methods used in the teaching of music are regulated by the core curricula and/or general guidelines of the state concerned. On the one hand, these are aimed at the formulation of responsibilities or refer to the breadth of contents and the variety of methods to be employed. On the other hand, they also lay down specific contents for particular courses or thematic points of emphasis, including pre-defined works for the main school-leaving certificate (Zentralabitur). They place various emphases on educational theory with regard to its applicability in various types of school, and lay down corresponding framework condi tions. The detailed elaboration of the contents and methods is, however, largely left to school confer ences and qualified music teachers. School textbooks, songbooks, lesson materials, media packages and thematic booklets from various educational pub-lishers, as well as articles in music education journals, provide ideas and assistance in the planning and conduct of lessons. Just as the staffing situation is inconsistent,

69


so are the available space and media equipment for music instruction: excellently equipped schools stand alongside others without music classrooms, instruments or audio-visual resources.

There have been hardly any designated studies of what music lessons look like in day-to-day practice. Given the large-scale shifts in musical culture in recent de-cades and the strong bond between young people and music, conditions for music as a school subject have clearly changed and expanded. Because of its diversity and omnipresence in today’s audio-visual and other media, music has proved to be an integral part of our lives and the way we express ourselves. In light of Germany’s educational mandate in the whole of society, and given an open-minded view of culture, music instruction is meant to enable children and adolescents to partici-pate actively and with self-determination in musical culture, its evolution and its preservation, and thereby to seek and find their personal and social identity. In light of altered conditions, which will surely continue to change in the future, it is safe to say that there can be no such thing as a single sacrosanct form of music education. The way music is taught in Germany’s state education system will de-pend inter alia on the pupils involved, their personal backgrounds, the location of the lessons, the socio-cultural context and the school concerned.

In 2005 the German Music Council (Deutscher Musikrat), in its Expert Committee on Music Education, defined a comprehensive framework for music instruction in Germany’s state school system. It consists of a total of seven points, covering a spectrum that ranges from pleasure in music and joint music-making to emotion al and sensory experiences to intellectual insight, including teaching pupils to under-stand their own musical culture.24

MUSIC PERFORMANCE IN SCHOOLS

Besides music instruction, music performance is especially important in those schools that offer specially designed music courses for pupils with a particular inter-est in music. These mainly involve grammar schools with a special focus on music and the arts, some of which co-operate with music schools at the tertiary level. In addition to an increase in music instruction, these institutes, some of which are boarding schools, also offer intensive lessons in musical instruments, voice, music theory or ear training. Such schools place a premium on orchestral and choral

70

Belvedere Castle School of Music (Musikgymnasium Schloss Belvedere), a board ing school where highly gift ed young musicians receive special training in coopera-tion with the University of Music FRANZ LISZT Weimar

71


Left: a chamber music course.

Right: a concert in the school’s auditorium.

Opposite page: a Saturday concert in the school’s

auditorium (top and bottom right); the classroom

building (middle); the chamber music room (bottom left)

work. The overriding objective of these specially oriented schools is to promote highly talented pupils in a targeted manner and potentially to prepare them for a musical career in adulthood. There are also a good many schools that provide expanded music instruction at various levels of concentration using a wide range of concepts.

In the case of Germany’s ‘normal’ state schools, intensive instrumental and vocal training is mainly provided in optional subjects or extracurricular activities. In such schools, choirs, big bands, orchestras, mixed ensembles, work groups in con-temporary music, combos and similar formations are distinctive features of school life. However, their vitality depends equally on the commitment of the pupils and on teachers with sufficient powers of motivation. Such teachers have found it in-creasingly difficult, in administrative terms, to have this work counted as part of their teaching load.

Roughly over the last 25 years, different forms of classroom music-making have taken hold in Germany’s state schools with the aim of building up broad-based musical competence without special musical skills. These programmes specifical-ly attempt to reach pupils who do not have the opportunity to learn an instru-ment outside the school system. Recently this trend has accelerated as schools

72

seek to cultivate an image and develop greater autonomy, and as all-day schools become more widespread. In a general sense, the term classroom music-making is understood to mean all music-related activities performed jointly by a school music class, including reflecting on those activities.25 Consequently, classroom music-making can generally be incorporated into any form of music teaching at a state school. More specifically, classroom music-making is carried out in so-called ‘music classes’ in which every pupil learns an instrument and/or receives singing lessons. Compared to regular weekly class lessons, music classes receive more hours of instruction per week (at least two hours on a continuing basis, and sometimes three or more). In addition to the closed form of music class, there are also what are called Einwahlmodelle (omnibus models) where the pupils come from parallel classes or an entire grade level. These models vary depending on the instruments taught: music classes may be held for winds, strings, voice (also known as singing, vocal or choral classes), keyboards, recorders, guitars, percussion, fretted mono-chords or diverse mixtures. They are most prevalent in grades five and six, with a tendency towards continuation at middle-level. They are also coming increasingly to the fore in primary schools. In all school types they constitute an important area where music teachers from state schools and teachers from music schools and the private sector can work together on a constructive basis.

At present, music classes, with their various forms of classroom music-making, appear to be a very successful vehicle for music instruction. It is difficult to de-termine how many currently exist, but it is absolutely certain that their numbers have recently increased. The conflicting concepts and practices in schools also raise questions, of course. These questions are directed inter alia at conceptual objectives, course design and balance, methodological consistency, integration of classroom music-making or educational theory, and balance between those parts of the lesson devoted to general music instruction and those devoted to playing an instrument.26 At the same time, classroom music-making specifically requires competence on the part of music teachers, meaning that changes are needed in the way they are trained.27

In recent years a number of practical projects of limited duration and variable qual ity and relevance have been launched to reinforce school music-making, par-ticularly in primary schools. They began with the ‘JeKi’ project (for ‘Jedem Kind ein Instrument’, i.e. An Instrument for Every Child) that originally emerged from the

73


Fig. 4 | Partnerships with public music schools

work of Bochum Music School and continued from 2007 in a co-operation between the Federal Cultural Foundation, the state of North Rhine-Westphalia and the Fu-ture of Education Foundation (Zukunftsstiftung Bildung). In 2010 the project was

Type of partner

2007 2009 2011 2013 2015 2017 Percentage of cooperating music schools among total music schools (2017)1

2007 2009 2011 2013 2015 2017

Number of cooperating music schools

Number of cooperating partners

Primary schools 722 742 774 783 711 743 80.1 3,222 3,926 4,054 4,347 3,769 4,332

Hauptschulen2 235 285 259 209305 293 31.6

443 576 478 314567 498

Realschulen2 268 305 310 304 450 478 493 486

Gymnasien 522 529 502 500 387 418 45.0 893 975 1.069 973 707 796Gesamtschulen 140 138 151 172 202 233 25.1 195 201 371 263 354 416

Förderschulen 166 193 214 227 215 233 25.1 232 290 308 308 333 328Other schools 71 82 70 67 97 93 10.0 80 127 106 112 203 175Kindergartens and day care centres 596 665 731 721 568 605 65.2 3,775 4,592 5,379 5,567 4,425 4,865

Choruses 228 264 209 190 63 61 6.6 642 709 538 482 130 114Music clubs 455 490 435 411 248 268 28.9 1,832 2,012 1,793 1,693 1,030 1,038

Churches 314 355 252 215 89 96 10.3 725 848 606 538 207 221Retirement homes - - - - 104 121 13.0 - - - - 163 204

Other institutions 165 179 229 245 186 217 23.4 447 523 626 732 339 425

Note: Owing to a change of methodology in data collection, figures from 2014 on cannot be directly compared with those from previous years.1 Measured against the total number of VdM music schools on 1 January 2018.2 From 2014 on the categories of Hauptschulen and Realschulen were combined under the heading weiterführende Schulen (secondary

schools).

Source: Compiled and calculated by the German Music Information Centre from the various annual issues of the VdM’s Statistisches Jahrbuch der Musikschulen in Deutschland.

32.3%

3.7%

5.9%

3.1%2.4%

1.3%

36.3%

0.8%

7.7%

1.6%1.5%

3.2%

Percentage of partnerships by partner (2017)

Primary schools

Förderschulen

Gymnasien

Gesamtschulen

Other schools

Kindergartens and day care centres

Choruses

Music clubs

Churches

Other institutions

Total:13,412

Retirement homes

Secondary schools (excluding Gymnasien and Gesamtschulen)

74

extended to the Ruhr area of North Rhine-Westphalia and became a model adopted in various forms in Hamburg, Hessen and other states. In North Rhine- Westphalia itself it was replaced in the 2015-16 school year by the successor programme ‘JeKits’ (for ‘Jedem Kind Instrumente, Tanzen, Singen’, i.e. Instruments, Dancing and Sing-ing for every child), which was opened for every municipality in the state and added the two other points of emphasis as alternatives to instrument lessons. Equally worthy of mention are many other projects and initiatives that provide very important and creative regionally-tinged supplements to Germany’s nation-wide mandate for music education from the preschool level to advanced training for music teachers. Many of these projects are the result of civic commitment and unencumbered by bureaucratic red tape.28 However, such projects must be seen as complementary to school music instruction, not as a substitute for it.

Music education in the state school system is associated in many different ways with co-operative ventures with public music schools. The percentage of schools that enter co-operations with VdM music schools has stabilised at the level reached in recent years. In 2017, for example, almost 80 per cent of VdM music schools worked together with primary schools, and almost 45 per cent with grammar schools (see Fig. 4).

75


The Song Festivals at the end of the ‘Klasse! Wir singen’ programme bring together thousands of children.

No data is available on collaboration between state schools and private music schools or freelance instrument or voice teachers. With the expansion of Ger-many’s all-day schools, however, a closer co-operation at a guaranteed qualitative level is both necessary and desirable as a supplement to music education.

FUTURE PERSPECTIVES

The perspectives of music as a school subject are and will remain strongly in-fluenced by ongoing developments in Germany’s cultural, educational and school policies. Within this framework, it is particularly important to strengthen the po-sition of music in its specificity and uniqueness among the broad range of sub-jects taught at every level of the state school system, to place it in educationally

meaningful learning environments and to appreciate its importance to the whole of society from every vantage point. It is especially vital to ensure that music is promoted and taught on a continuous basis. To do so, the number of music teacher trainees must be increased, especially for primary and special schools. Equally im-portant is the need to enable and establish inclusive teaching methods in which

76

music can successfully meet the many claims and demands placed upon it in school life, both in its contents and its methodology. Finally, it is essential to dis-cuss the contribution that music education can and ought to make, both now and in the future, toward active and self-determined participation in our digital world.

Ortwin Nimczik is professor of music education and pedagogy at Detmold University of Music and honorary president of the German Music Teacher Association (Bundesverband Musikunterricht).

1 Illustrated in Grundstruktur des Bildungswesens in der Bundes-

republik Deutschland: Diagramm, ed. Sekretariat der Ständigen

Konferenz der Kultusminister der Länder in der Bundesrepublik

Deutschland (Berlin, 2017). 2 Further discussion in Lutz R. Reuter and Margarete Menz, ‘Das Schul-

wesen in der Bundesrepublik Deutschland’, in Gerhard Mertens

et al., eds., Handbuch der Erziehungswissenschaft, vol. II/1: Schule

(Paderborn, 2009), pp. 139-54.3 For details see Sekretariat der Ständigen Konferenz der Kultus-

minister der Länder in der Bundesrepublik Deutschland [Secretariat

of the Standing Conference of the Ministers of Education and Cultural

Affairs], ed., Das Bildungswesen in der Bundesrepublik Deutschland

2015/16: Darstellung der Kompetenzen, Strukturen und bildungs-

politischen Entwicklungen für den Informationsaustausch in Europa

(Bonn, 2017), pp. 137f.4 To avoid historical connotations of musische Bildung (education in

the arts) it would be meaningful and conceptually clearer to speak

of musikalische Bildung (education in music).5 Sekretariat der Ständigen Konferenz der Kultusminister der Länder

in der Bundesrepublik Deutschland, ed., Kunst- und Musiklehrer-

ausbildung: Beschluss der Kultusministerkonferenz vom 06.12.2012

(Berlin, 2012), p. 2.

77


6 Sekretariat der Ständigen Konferenz der Kultusminister der Länder

in der Bundesrepublik Deutschland, ed., Zur Situation des Musik-

unterrichts im Fach Musik an den allgemeinbildenden Schulen in

der Bundesrepublik Deutschland: Bericht der Kultusministerkonferenz

vom 10.03.1998, (Bonn, 1998), pp. 11f.7 The total number of students in Germany’s general education system

was 8.3 million in the 2017-18 school year. Slightly more than 7 million

attended primary schools and schools of secondary level I. Figures

from Federal Statistical Office, ed., Bildung und Kultur: Allgemein-

bildende Schulen, Schuljahr 2017/2018, Special series 11, series 1

(Wiesbaden, 2018), p. 10.8 This vagueness is illustrated by the case of North Rhine-Westphalia,

where the total number of hours allocated in primary schools to the

‘artistic subjects’ music and art in the 2017-18 school year should be

roughly equal. In fact, the 2017-18 statistics reveal that 4 hours were

accorded to art and art education for every 3 hours allocated to music

and rhythm. See Ministerium für Schule und Bildung des Landes

Nordrhein-Westfalen, ed., Das Schulwesen in Nordrhein-Westfalen

aus quantitativer Sicht 2017/18 (Düsseldorf, 22018), pp. 86 and 91.9 Sekretariat der Ständigen Konferenz der Kultusminister der Länder

in der Bundesrepublik Deutschland, ed., Ländergemeinsame inhalt-

liche Anforderungen für die Fachwissenschaften und Fachdidaktiken

in der Lehrerbildung: Beschluss der Kultusministerkonferenz vom

16.10.2008 i. d. F. vom 11.10.2018 (Bonn and Berlin, 2018).10 Ibid., p. 66. In the meantime the introduction of such learning areas

has led to corresponding degree programmes, e.g. at Cologne Univer-

sity. However, the proportion devoted to music in those programmes

is extremely limited compared to the proper study of music. 11 Sekretariat der Ständigen Konferenz der Kultusminister der Länder

in der Bundesrepublik Deutschland, ed., Vereinbarung zur Gestaltung

der gymnasialen Oberstufe und der Abiturprüfung: Beschluss der Kul-

tusministerkonferenz vom 07.07.1972 i. d. F. vom 15.02.2018 (Berlin and

Bonn, 2018), p. 4.12 Ibid., p. 9.13 Ibid., p. 8.14 Ibid., p. 12.

78

15 Einheitliche Prüfungsanforderungen in der Abiturprüfung Musik:

Beschluss der KMK vom 01.12.1989 i. d. F. vom 17.11.2005, ed. Sekretariat

der Ständigen Konferenz der Kultusminister der Länder in der Bundes-

republik Deutschland (Berlin and Bonn, 2005).16 The status of music at this type of school is discussed by Philipp Ahner:

Wahlfach ‘Musik’: Musikunterricht an beruflichen Gymnasien in der

Sekundarstufe II in Baden-Württemberg aus der Perspektive von Jugend-

lichen, Musikpädagogik und Kultusverwaltung (Norderstedt, 2011).17 Vereinbarung zur Gestaltung der gymnasialen Oberstufe und der Abitur-

prüfung: Beschluss der Kultusministerkonferenz vom 07.07.1972 i. d. F. vom

15.02.2018, ed. Sekretariat der Ständigen Konferenz der Kultusminister

der Länder in der Bundesrepublik Deutschland (Berlin and Bonn, 2018),

p. 8, note 4.18 In Baden-Württemberg this figure was 18,646 in 2016, i.e. more than

a third of all grammar school pupils who graduated in that year.

See Abiturienten nach Schularten, ed. Statistisches Landesamt Baden-

Württemberg (Stuttgart, 2018), online at https://www.statistik- bw.de/

BildungKultur/SchulenAllgem/LRt0302.jsp?path=/BildungKultur/

SchulenBerufl/ (accessed on 5 October 2018).19 The Federal Statistical Office gives the total number of teachers

in Germany’s state school system at 679,478 in 2017-18, breaking

them down by type of school, scope of employment and sex, but

not by subject, owing to the inconsistent sources relative to the

federal states. See Bildung und Kultur: Allgemeinbildende Schulen,

Schuljahr 2017/2018, ed. Statistisches Bundesamt, Special series 11,

series 1 (Wiesbaden, 2018), pp. 696-744. 20 Bildung in Deutschland [Education in Germany] 2012: Ein indikatoren-

gestützter Bericht mit Analyse zur kulturellen Bildung im Lebenslauf,

ed. Autorengruppe Bildungsberichterstattung (Bielefeld, 2012), p. 335. 21 Ibid., p. 191.22 In March 2015 the study ‘Jugend/Kunst/Erfahrung: Horizont 2015’ inves-

tigated the cancellation of music education at grammar and secondary-

level schools by polling pupils in grades nine and ten. The findings

revealed that music education did not take place at 22 per cent of the

schools and was cancelled ‘frequently’ or ‘now and then’ at 27 per cent.

The statistics were published by the German Music Information Centre in

79


Ausfall des Musikunterrichts an Gymnasien und Sekundarschulen

(9. und 10. Klasse) (Bonn, 2015), online at http://www.miz.org/down

loads/statistik/91/statistik91.pdf (accessed on 2 November 2018).

The German Music Council and the Bertelsmann Foundation are

currently preparing a study of this topic, with initial findings

scheduled to appear in 2020. 23 In 2017, 114 career changers were hired for music instruction in Berlin,

60 in North Rhine-Westphalia, 39 in Saxony and 31 in Lower Saxony,

or 267 positions nationwide. See Sekretariat der Ständigen Konferenz

der Kultusminister der Länder in der Bundesrepublik Deutschland, ed.,

Einstellung von Lehrkräften 2017: Tabellenauszug, ed. (Berlin, 2018), p. 9.24 Deutscher Musikrat [German Music Council], ed., ‘Sieben Thesen zur

Musik in der Schule’, in Musik bewegt: Positionspapiere zur Musikalischen

Bildung (Berlin, 2005), pp. 10-19, esp. pp. 11f.25 More detailed discussion in Michael Pabst-Krueger, ‘Klassenmusi zieren’,

in Werner Jank, ed.: Musik-Didaktik: Praxishandbuch für die Sekundar-

stufe I und II, (Berlin, 62017), pp. 158-68.26 Hans-Ulrich Schäfer-Lembeck, ed., Klassenmusizieren als Musikunter-

richt!? Theoretische Dimensionen unterrichtlicher Praxen: Beiträge des

Münchner Symposions 2005 (Munich, 2005). Since then studies have been

published on this topic, including Gerd Arendt, Instrumentalunterricht für

alle? Zur langfristigen Relevanz des Klassenmusizierens und der Notwen-

digkeit einer Reform des Musikunterrichts (Augsburg, 2009); Thade Buch-

born, Neue Musik im Musikunterricht mit Blas instrumenten (Essen, 2011);

and Katharina Bradler, Streicherklassen unterricht. Geschichte – Gegenwart

– Perspektiven (Augsburg, 2014). For an integrative conception of music

education see Bernhard Sommer et al., Leitfaden Bläserklasse: Ein Konzept

für das erfolgreiche Unterrichten mit Blasinstrumenten (Innsbruck, 2018). 27 Further discussion in Ludwig Striegel, ‘Klassenmusizieren als integratives

Unterrichtskonzept: Das Mainzer Modell’, in Schäfer-Lembeck, ‘Klassen-

musizieren’ (see note 26), pp. 118-24, and Ortwin Nimczik, ‘Studienfeld

Klassenmusizieren: Ein neuer Schwerpunkt im Studiengang Schulmusik

an der Hochschule für Musik Detmold’, in ibid., pp. 125-37.28 Examples include ‘Primacanta: Jedem Kind seine Stimme’; ‘SingPause:

Singen an Düsseldorfer Grundschulen’; ‘GanzOHR! Musik für Kinder’;

and ‘Canto Elementar’.

2

This publication has been made possible by the kind support of the Minister of State for Culture and the Media.

The German Music Information Centre is supported by:

The translated version of this publication was made possible by the kind support of Hal Leonard Europe GmbH.

3

First edition, Bonn, March 2019 (German) and December 2019 (English)

PublisherGerman Music CouncilGerman Music Information Centre

Editorial office Stephan Schulmeistrat, Dr Christiane Schwerdtfeger

Picture editor Dr Karin Stoverock

Editorial assistants Tobias Meyer, Christiane Rippel, Timo Varelmann

AuthorsProf. Dr Hans Bäßler | Prof. Dr Michael Dartsch | Dr Heike Fricke | Stefan Fricke | Barbara Haack | Prof. Christian Höppner | Prof. Dr Arnold Jacobshagen | Hans-Jürgen Linke | Dr Richard Lorber | Prof. Dr Julio Mendívil | Gerald Mertens | Dr Reiner Nägele | Prof. Dr Ortwin Nimczik | Dr Martina Rebmann | Dr Astrid Reimers | Prof. Dr Karl-Heinz Reuband | Dr Tobias Eduard Schick | Prof. Dr Dörte Schmidt | Prof. Dr Holger Schramm | Prof. Dr Wolfgang Seufert | Benedikt Stampa | Prof. Dr Johannes Voit | Prof. Dr Meinrad Walter | Prof. Dr Peter Wicke | Prof. Dr Franz Willnauer

AdvisersDr Jürgen Brandhorst (GEMA Foundation) | Prof. Dr Andreas Eckhardt | Dr Tilo Gerlach (Collecting Society for Performance Rights, GVL) | Prof. Reinhart von Gutzeit | Bernd Hawlat (German Broadcasting Archive, DRA) | Elisabeth Herzog-Schaffner (German Musicians’ Association, DTKV) | Prof. Christian Höppner (Ger-man Music Council) | Prof. Dr Joachim-Felix Leonhard, State Secretary ret. | Elisabeth Motschmann, MP | Stefan Piendl (German Music Council) | Prof. Dr Wolfgang Rathert (LMU Munich) | Dr Martina Rebmann (Berlin State Library – Prussian Cultural Heritage Foundation) | Prof. Dr Dörte Schmidt (Berlin University of the Arts) | Dr Heinz Stroh (German Music Publishers Association, DMV) | Antje Valentin (State Music Academy of North Rhine-Westphalia) | Prof. Wolfgang Wagenhäuser (Trossingen University of Music) | Prof. Dr Robert von Zahn (State Music Council of North Rhine-Westphalia)

Translation: Dr Bradford J. Robinson Proofreading: Susanna Eastburn, Keith Miller

A publication of the German Music Information Centre

MusicAl lifein Germany

4

NoteThe present volume is an English translation of the German-language publication Musikleben in Deutsch-land, which appeared in March 2019. The editorial deadline for the German edition was 30 September 2018; information published after that date has been taken into account wherever possible and meaningful. All the information has been obtained and checked with maximum care. Nonetheless, neither the German Music Council nor the German Music Information Centre can assume liability for its accuracy. Readers are invited to send all questions and comments regarding the contents to

German Music Council German Music Information CentreWeberstr. 5953113 BonnGermanyPhone: +49 (0)228 2091-180, Fax: +49 (0) 228 2091-280 [email protected]

imprint© 2019 German Music Council / German Music Information Centre

Managing Director of the German Music Council: Stefan PiendlDirector of the German Music Information Centre: Stephan Schulmeistrat

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Picture creditsWe wish to express our gratitude to all those persons and institutions that generously placed pictorial material at our disposal. Without their support this multifaceted view of ‘Musical Life in Germany’ would not have been possible.

Unless otherwise indicated, picture credits on pages with more than one photograph occur line by line from left to right.

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50/51 © Oliver Borchert53 © BMU-Archiv56 © Aaron Grahovac-Dres58 © Oliver Borchert

Ch. 2 | Music in Germany’s State Education SystemPage Copyright

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© Landesakademie für die musizierende Jugend in Baden-Württemberg/Foto: Steffen Dietze (bottom right)

Ch. 1 | Introduction: Musical Life in GermanyPage Copyright

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39 © Claudia Höhne | © Benjamin Krieg40 © Eliane Hobbing44/45 © JeKits-Stiftung47 © Hans Jörg Michel

Page Copyright

80/81 © Volker Beushausen für LMA NRW82 © JMD85 © Jessica Schäfer86 © VdM/Heiderich90 © VdM/Foto: Kai Bienert | © VdM91 © VdM

Ch. 3 | Music Education Outside the State School SystemPage Copyright

93 © JeKits-Stiftung95 © Bo Lahola100/101 © Erich Malter 104 © Landesakademie für die musizierende Jugend

in Baden-Württemberg/Foto: Steffen Dietze

Title page/spine/bookmark: a member of the Youth Symphony Orchestra of Leipzig Music School performing at the German Orchestra Competition in Ulm, 2016. © Jan Karow

Back cover: the roof of the Elbphilharmonie in Hamburg. © www.mediaserver.hamburg.de/Maxim Schulz

Picture credits |

617

Page Copyright

108/109 © Emile Holba111 © MDR/Stephan Flad112 © Michael Habes | © Jörg Baumann113 © Michael Habes114 © Siegfried Westphal118 © Niklas Marc Heinecke | © Holger Talinski

Ch. 4 | Music CommunicationPage Copyright

119 © Stefan Gloede | NDR/Foto: Micha Neugebauer | © Bayerische Staatsoper/Wilfried Hösl |© Ursula Kaufmann/NTM

120 © Stefan Gloede124/125 © Netzwerk Junge Ohren/Oliver Röckle126 © Koppelstätter Media

Page Copyright

130/131 © Thorsten Krienke133 © Sonja Werner Fotografie | © Christian Kern134 © Heike Kandalowski139 © Photo Proßwitz (top left) | © Torsten Redler

(bottom left) | © Thorsten Dir (right)143 © Robert Schumann Hochschule/S. Diesner

Ch. 5 | Education for Music ProfessionsPage Copyright

145 © Frank Beyer (top, middle, bottom left) | © Thorsten Krienke (bottom right)

151 © Lutz Sternstein156 © Kai Bienert | Pedro Malinowski157 © Aldo Luud

Ch. 6 | Amateur Music-MakingPage Copyright

160/161 © Notenspur Leipzig e.V./Foto: Daniel Reiche162 © Notenspur Leipzig e.V./Foto: Daniel Reiche166 © EPiD167 © EPiD/Foto: Marianne Gorka |

© EPiD/Foto: Hartmut Merten169 © DCV/Alex Zuckrow | © DCV/Rainer Engel172 © Jan Krauthäuser

Page Copyright

175 © Bertram Maria Keller (top) | © Rebecca Kraemer (middle) | © Heiko Rhode (bottom)

176 © Volker Beurshausen für LMA NRW178 © Bundesakademie Trossingen/Nico Pudimat179 © Landesakademie für die musizierende Jugend

in Baden-Württemberg/Foto: Steffen Dietze180/181 © Jan Karow185 © Jan Krauthäuser

Page Copyright

188/189 © Peter Adamik191 © Matthias Creutziger192 © Markus Werner193 © Marian Lenhard194/195 © Peter Meisel (BRSO)198 © Stefan Höderath199 © Hans Engels202 © Ufuk Arslan

Ch. 7 | Orchestras, Radio Ensembles and Opera ChorusesPage Copyright

205 © Susanne Diesner | © Jan Roloff207 © Gert Mothes208 © Adrian Schulz211 © WDR | © WDR/Thomas Kost212 © Marco Borggreve213 © rbb/Thomas Ernst214 © Annette Börger215 © Selina Pfruener | © Silvano Ballone

Page Copyright

218/219 © Dominik Mentzos Photography220 © Gerhard Kühne222 © Holger Talinski | © Geoffroy Schied223 © Sonja Werner (top) | © Geoffroy Schied (middle and

bottom right) | © Holger Talinski (bottom left)226 © Holger Schneider227 © Capella de la Torre/Andreas Greiner-Napp229 © Jörg Hejkal

Ch. 8 | Independent EnsemblesPage Copyright

232 Ensemble Ordo Virtutum/SWR (top) | Hauptstaats-archiv Stuttgart/picture: Stefan Morent (bottom left) | Hauptstaatsarchiv Stuttgart/picture: Stefan Morent (bottom right)

233 Stadtarchiv Konstanz/picture: Stefan Morent

234 © Fabian Schellhorn236 © Kai Bienert | © Barbara Aumüller237 © Walter Vorjohann238 © Beate Rieker/ensemble recherche

618

Ch. 10 | Concert HallsPage Copyright

274/275 © Guido Erbring276 © Volker Kreidler279 © www.mediaserver.hamburg.de/Maxim Schulz |

© www.mediaserver.hamburg.de/Michael Zapf | www.mediaserver.hamburg.de/Michael Zapf/ Architekten Herzog & de Meuron | www.mediaserver.hamburg.de/Geheimtipp Hamburg

280 © Mark Wohlrab281 © VZN/B. Schaeffer282 © Sebastian Runge | © Frank Vinken | © Gert Mothes

Page Copyright

283 © Markenfotografie | © David Vasicek/pix123 fotografie frankfurt

285 © Heribert Schindler286 © Köln Musik/Matthias Baus288 © Jens Gerber, 2016 |

© Konzerthaus Berlin/David von Becker289 © Christian Gahl | © Daniel Sumesgutner293 © Stefan Gloede| © Christina Voigt296/297 © Naaro

Ch. 11 | Festspiele and FestivalsPage Copyright

300/301 © Axel Nickolaus303 © Bayreuther Festspiele GmbH/Foto: Jörg Schulze304 © Bayreuther Festpiele/Enrico Nawrath306/307 © KunstFestSpiele Herrenhausen,

Fotos: Helge Krückeberg, 2018308 © Thomas Ziegler312 © WPR Schnabel (top left) |

© Lutz Voigtländer (bottom left and right)313 © Lutz Edelhoff

Page Copyright

315 © Janet Sinica316 © Kurt Weill Fest Dessau GmbH/

Fotos: Sebastian Gündel319 © Thüringer Bachwochen320 © Ansgar Klostermann321 © Marco Borggreve322 © Musikfest Erzgebirge325 © Claus Langer/WDR

Page Copyright

328/329 © IMD/Daniel Pufe330 © Peter R. Fiebig | © grafox gestaltung und fotografie332/333 © SWR/Oliver Reuther335 © Ursula Kaufmann/Ruhrtriennale 2018336 © Martin Sigmund337 © Koen Broos

Ch. 12 | Contemporary MusicPage Copyright

338/339 © Klaus Rudolph341 © Deutscher Musikrat/Gerardo Scheige344 © IMD/Daniel Pufe345 © IMD/Jens Steingässer | © IMD/Daniel Pufe348 © Antoine Porcher349 © Markus Scholz (left and top right) |

© Kathrin Singer (bottom right)

Ch. 13 | Popular MusicPage Copyright

350/351 © Timmy Hargesheimer353 © Reinhard Baer356 © Carsten Klick358 © Sandra Ludewig360 Melt Festival © Stephan Flad361 © ICS Festival Service GmbH/Rolf Klatt

Page Copyright

365 © Christian Faustus366 © NDR/Rolf Klatt 369 © MDR/ORF/Peter Krivograd |

© MDR/ARD/Jürgens TV/Dominik Beckmann372 © Jan Krauthäuser

Ch. 9 | Music TheatrePage Copyright

244/245 © Bayerische Staatsoper/Wilfried Hösl 247 © Bayerische Staatsoper/Wilfried Hösl 250 © Bernadette Grimmenstein (top left) | © Hans Jörg

Michel (bottom left) | © Stephan Floss (top right) | © Pedro Malinowski/MiR (bottom right)

251 © Marcus Ebener252 © Landestheater Detmold/Maila von Haussen

Page Copyright

255 © Gert Weigelt256/257 © Oper Frankfurt/Barbara Aumüller258 © Paul Leclair260/261 © Monika Rittershaus262/263 © Disney/Stage Entertainment266 © Iko Freese/drama-berlin.de269 © Hans Jörg Michel/NTM

619

Picture credits |

Ch. 14 | JazzPage Copyright

376/377 © Jens Schlenker379 © Wilfried Klei | © Jürgen Volkmann380/381 © Elisa Essex386 © Deutscher Musikrat/Thomas Kölsch388/389 © Peter Tümmers

Page Copyright

391 © Nikolai Wolff/Messe Bremen (top) | © Jan Rathke/Messe Bremen (middle and bottom right) | © Jens Schlenker/Messe Bremen (bottom left)

392 © WDR/Kaiser | © WDR/Voigtländer395 © Jan Rathke/Messe Bremen

Ch. 15 | World MusicPage Copyright

400/401 © Oliver Jentsch402 © Andy Spyra405 © Silverangel Photography

Page Copyright

408 © D. Joosten | © Frank Diehn409 © S. Hauptmann (top and bottom right) |

© Matthias Kimpel (middle and bottom left)410 © Daniela Incoronato

Page Copyright

414/415 © Beatrice Tomasetti416 © MBM/Mathias Marx419 © Antoine Taveneaux/CC BY-SA 3.0 (top left) |

© Deutsches orthodoxes Dreifaltigkeitskloster (bottom left) | © Beatrice Tomasetti (top right) | © Tobias Barniske (bottom right)

420/421 © Hartmut Hientzsch422 © Matthias Knoch

Ch. 16 | Music in ChurchPage Copyright

423 © Michael Vogl424 © Eugène Bornhofen 427 gemeinfrei | © Gottfried-Silbermann-Gesellschaft |

© Michael Zapf | © Martin Doering431 © Cornelius Bierer434 © Gert Mothes440/441 © Stefan Korte

Ch. 17 | MusicologyPage Copyright

444/445 © HfM Weimar/Foto: Guido Werner446 © Roman Wack448 © Staatstheater Nürnberg/Ludwig Olah449 © fimt/Sebastian Krauß (left) |

© Museen der Stadt Nürnberg, Dokumentations- zentrum Reichsparteitagsgelände (top right) | © fimt/Abgabe Rüssel1 (bottom right)

450 © Ethnologisches Museum, Staatliche Museen zu Berlin/Foto: Martin Franken | © Ethnologisches Museum, Staatliche Museen zu Berlin/Foto: Dietrich Graf

Page Copyright

453 © Beethoven-Haus Bonn454 © Beethoven-Haus Bonn457 © Musikinstrumentenmuseum der Universität Leipzig,

Johannes Köppl461 © HfM Weimar/Foto: Daniel Eckenfelder |

© HfM Weimar/Foto: Maik Schuck | © HfM Weimar/Foto: Guido Werner | © HfM Weimar/Foto: Alexander Burzik

Page Copyright

464/465 © Stadtbibliothek Stuttgart/yi architects, Foto: martinlorenz.net

467 © Eva Jünger/Münchner Stadtbibliothek468 © Falk von Traubenberg469 © Claudia Monien | Foto: Costello Pilsner

© Zentral- und Landesbibliothek Berlin473 © Staatsbibliothek zu Berlin – PK, C. Seifert

Ch. 18 | Information and DocumentationPage Copyright

474 © Andreas Klingenberg/HfM Detmold476 © Zentrum für populäre Kultur und Musik/

Michael Fischer | © Zentrum für populäre Kultur und Musik/Patrick Seeger

477 © Zentrum für populäre Kultur und Musik/ Michael Fischer

480/481 © BSB/H.-R. Schulz

620

Ch. 20 | Preferences and PublicsPage Copyright

510/511 © Konzerthaus Berlin/David von Becker513 © Stefan Gloede514 © Semperoper Dresden/Matthias Creutziger (top left) |

© Martin Sigmund (bottom left)| © Niklas Marc Heinecke (top right) | © Leo Seidel (bottom right)

515 © Bayerische Staatsoper/Felix Loechner518 © Landestheater Detmold/Kerstin Schomburg |

Landestheater Detmold/A. T. Schäfer

Page Copyright

521 © NDR/Foto: Micha Neugebauer524 © Jonathan Braasch525 © Lutz Edelhoff526 © NDR/Alex Spiering529 KunstFestSpiele Herrenhausen,

Foto: Helge Krückeberg, 2018530 © Saad Hamza

Page Copyright

486/487 © Kulturstiftung Sachsen-Anhalt, Foto: Ulrich Schrader488 © Kulturamt der Stadt Zwickau491 © Nationalarchiv der Richard-Wagner-Stiftung, Bayreuth

| © Investitions- und Marketinggesellschaft Sachsen-An-halt mbH | © SCHAU! Multimedia | © Beethoven-Haus Bonn

494 © SIMPK/Anne-Katrin Breitenborn495 © Musikinstrumentenmuseum der Universität Leipzig/

Foto: Marion Wenzel

Ch. 19 | Music Museums and Musical Instrument Collections Page Copyright

498 © Germanisches Nationalmuseum/ Foto: Dirk Meßberger

501 © Atelier Brückner/Michael Jungblut502 Foto: Frank Schürmann © Rock 'n' Popmuseum505 © Uwe Köhn506 © Bach-Museum Leipzig/Jens Volz507 © André Nestler508 © Aloys Kiefer | © Ulrich Perrey

Page Copyright

536/537 © Schwetzinger SWR Festspiele/Elmar Witt539 © WDR/Thomas Kost | © WDR/Ines Kaiser540/541 © Claus Langer/WDR542 © MDR/Marco Prosch545 © NDR/Micha Neugebauer

Ch. 21 | Music in BroadcastingPage Copyright

546 © SAT.1/ProSieben/André Kowalksi549 © WDR/Herby Sachs552 © ARD Degeto/X-Filme/Beta Film/

Sky Deutschland/Frédéric Batier559 © Schwetzinger SWR Festspiele/Elmar Witt

Page Copyright

566/567 © Timm Ziegenthaler568 © Verlag Der Tagesspiegel571 © Messe Frankfurt/Petra Weizel576 © Schott Music580 © BuschFunk582 Melt Festival © Stephan Flad

Ch. 22 | Music EconomyPage Copyright

585 © WDR/Ines Kaiser586 © Alciro Theodoro da Silva |

© Bärenreiter/Foto: Paavo Blåfield589 © Musikalienhandlung M. Oelsner Leipzig592/593 © C. Bechstein Pianoforte AG/Fotos: Deniz Saylan594/595 © Bach by Bike

Page Copyright

600/601 © DMR/Alfred Michel603 © Andreas Schoelzel604 © Erich Malter609 © Thomas Imo/photothek.net | © German Embassy

New Delhi | © Maksym Horlay | © BJO/Meier

The German Music CouncilPage Copyright

610 © Heike Fischer | © Marko Djokovic/Belgrade Philharmonic

611 © Sascha Stiehler612 © Knoch/Siegel

Documents

MUSIC IN GERMANY’S STATE EDUCATION SYSTEM