EDUCATION FOR MUSIC PROFESSIONS · 2020. 3. 31. · 132 | Hans Bäßler / Ortwin Nimczik EDUCATION...

Hans Bäßler / Ortwin Nimczik

EDUCATION FOR MUSIC PROFESSIONS

In German Music Council / German Music Information Centre, ed.,Musical Life in Germany (Bonn, 2019), pp. 130–159

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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A master class with Paul Badura-Skoda at Detmold University of Music

Kapitel |

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Education for Music ProfEssions

Those seeking to take up music as a profession will find a great many options in Germany. Tertiary-level schools of music, universities and special institutes are available for talented young artists and teachers. Here Hans Bäßler and Ortwin Nimczik discuss paths and trends in education.

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| Hans Bäßler / Ortwin Nimczik

EDUCATION FOR MUSIC PROFESSIONS

Just as music can assume many different forms, the professions directly or in-directly associated with it are equally wide-ranging and varied. Ever since the days of Ancient Greece, theoretical or scholarly studies of music have complemented practical music-making and become a key element of European musical culture. In a larger context, this also involved all those who created the prerequisites for these various professions and activities, whether in a physical sense (e.g. instrument makers) or by research and teaching, including the passing on of performance tech niques. At first these complex activities were normally carried out by a single person (e.g. a composer-organiser-performer), but over the years music profes sions have become increasingly varied, differentiated and specialised. This has giv en rise to interactions, dependencies and changing relations between music and those who deal with it professionally, all of which unfold within music history and social history alike.1

Roughly since the mid-1990s there has been a noticeable increase in the thought given to the future viability of education in many music professions. The reasons lie in the profound changes that music has undergone as a result of economic and social globalisation. Particularly relevant are demographic and sociological devel op - ments and the transformations they entail, not only in the social practice of music, but in its reception and consumption. No less relevant is the massive impact of digi tisation and new media on the communication of music, affecting every area of its production and distribution. Equally influential are global changes and their associated economic processes.

In this light, music professions are dependent on five factors: social evolution, technological advances, artistic innovations, economic conditions and the appre-ciation accorded to music by society. Conversely, it is safe to assume that the ef-

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Education for Music Professions |

The German Music Council promotes budding professionals with

its German Music Competition (Deutscher Musikwettbewerb),

including CD recordings, workshops and concert engagements.

fectiveness of many music professions will in turn impact the evolution of musical culture. Music professions thus will only have a future if music education is consis-tently provided by qualified teachers, especially among children and adoles cents. Thus, the music teaching professions both inside and outside the state education system are increasingly important, as the German Music Council already pointed out in its two ‘Rheinsberg Declarations on the Future of Music Profes sions’ in 2007 and 2009.

OVERVIEW

In Germany, training for music professions is sustained by a wide range of specialised institutions: tertiary-level schools of music (Musikhochschulen), teacher training colleges, universities, polytechnics, church music schools, conservatories, music academies, vocational training colleges (only in Bavaria), special public or private institutes (e.g. for popular music or theatrical professions) and specialised training centres for instrument building.

The highly specialised nature of educational programmes for music professions contrasts with the overlapping and duplicated course offerings among the various

134

One of four tertiary-y-levlevel el schoolo s ooff

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types of tertiary-level institutions concerned. The differences among these institu-tions are the result of their divergent historical, regional or conceptual traditions and implicitly touch on aspects of prestige, significance and quality. Thus, music teachers for the state school system receive their training at Musikhochschulen or universities, or, at a regional level, at teacher training colleges; church musicians can choose courses at Musikhochschulen or special tertiary-level schools of church music; and degrees for instrument or voice teachers are offered not only by Musik-hochschulen but by music academies, conservatories and even several universities. One special instance is Bavaria’s vocational training colleges (Berufsfachschulen), which function as the first stage in professional education. The training lasts two years and ends with state certification in ensemble or choral conducting or a com-parable degree in popular music.

In the winter semester of 2016-17 roughly 34,000 students were enrolled in degree programmes for music professions at a university level (excluding conservatories and music academies), with more than 55 per cent attending Musikhochschulen. Roughly 40 per cent of the students were trained as practicing musicians; nearly a third sought teaching certificates; and 22 per cent pursued degrees in musicology (see Fig. 1).

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Fig. 1 | Students in degree programmes for music professions at tertiary-level music schools,1 universities,2 teacher training colleges and polytechnics

13%

23%

22%

1%1%27%

5%

5%2%2%

Students enrolled in winter semester 2016-17

Total number of students:

34,129

Music teaching at music schools and freelance

Music teaching in state school system

Musicology and music history

Composition

Conducting

Instrumental and orchestral music

Voice

Jazz and popular musicChurch music

Rhythmics

Studio engineering

0

1,000

2,000

3,000

4,000

5,000

6,000

7,000

8,000

9,000

10,000

2000-01

2001-02

2002-03

2003-04

2004-05

2005-06

2006-07

2007-08

2008-09

2009-10

2010-11

2011-12

2012-13

2013-14

2014-15

2015-16

2016-17

Number of students over time

VoiceJazz and popular musicChurch musicCompositionConductingStudio engineeringRhythmics





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Degree programme

Total number of students3 (majors) Difference between WS 2016-17 and WS 2000-01 (in %)

WS 2000-01

WS 2004-05

WS 2008-09

WS 2012-13

WS 2014-15

WS 2015-16

WS 2016-17

Music teaching atmusic schools and freelance

3,496 (3,180)

4,090(3,389)

3,518(2,616)

3,707(3,058)

3,771(3,166)

4,301(3,261)

4,356(3,271)

+25(+3)


8,258(5,751)

7,484(5,252)

6,738(4,949)

7,259(4,967)

7,759(5,044)

7,710(4,886)

7,710(4,858)

-7(-16)


8,835(5,691)

8,943(5,258)

7,061(4,648)

7,870(5,608)

7,715(5,777)

7,666(5,779)

7,620(5,633)

-14(-1)

Composition4 266(261)

320(306)

297(283)

334(326)

382(378)

389(381)

386(376)

+45(+44)

Conducting4 269(263)

282(274)

272(261)

292(282)

325(314)

330(319)

351(336)

+30(+28)


8,311(8,208)

8,464(7,899)

8,437(7,923)

9,035(8,671)

8,988(8,648)

9,002(8,580)

9,362(8,799)

+13(+7)

Voice 995(992)

1,243(1,170)

1,534(1,425)

1,537(1,447)

1,544(1,420)

1,565(1,399)

1,624(1,427)

+63(+44)

Jazz and popular music 473(467)

863(836)

959(947)

1,094(1,088)

1,331(1,323)

1,465(1,323)

1,570(1,362)

+232(+192)

Church music 510(504)

570(566)

473(466)

442(432)

508(493)

500(468)

525(486)

+3(-4)

Rhythmics 32(32)

40(34)

27(27)

28(28)

52(52)

43(43)

29(29)

-9(-9)

Studio engineering5 92(92)

44(44)

95(95)

258(258)

479(479)

528(528)

596(596)

+548(+548)

Grand total6 31,537(25,441)

32,343(25,028)

29,411(23,640)

31,856(26,165)

32,854(27,094)

33,499(26,967)

34,129(27,173)

+8(+7)

Note: The figures are based on administrative data on first-time enrolment and returnees, obtained and submitted to the state statistical offices by the schools concerned and from thence to the Federal Statistical Office. The table includes the total number of students, i.e. those with music as a major subject (figures in parentheses) and those with music as a minor. This has an especially noticeable impact on degree programmes for music teaching in the state school system, music teaching at music schools and freelance, and musicology and music history. All figures refer to the winter semester (WS) and include all students enrolled in music programmes, i.e. excluding those on leave, preparatory students and auditors. When interpreting the data, it should be borne in mind that the state statistical offices sometimes use conflicting classification systems for school subjects, which can lead to anomalies in the series of figures. Similarly, the inclusion of music as a major and minor subject may cause students to be counted more than once. As a result, the figures at best represent orders of magnitude. Figures for WS 2017-18, though available when this volume went to press, could not be taken into account, since at least one school submitted faulty administrative data that led to considerable distor- tions in the numbers of students in certain subjects at the national level.

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The growing demand for international compatibility of degrees, called for since 1999 by the so-called ‘Bologna Process’, and the resultant introduction of bache-lor’s and master’s programmes have led to fundamental structural reforms in the tertiary-level study of music. The duration of degree programmes has also become more differentiated: for performance and composition, the Standing Conference of the Ministers of Education and Cultural Affairs of the Länder in the Federal Repub-lic of Germany (KMK) has prescribed four years for a bachelor’s degree (BA) and an additional two years, if desired, for a master’s (MA). Apart from that, at least three years are envisaged for a bachelor’s degree at university level, and an other one or two for a master’s.2 The Bologna Process has led many tertiary-level institu-tions to set new emphases and to introduce new courses of study, thereby creating many possibilities for individual profiling among the students and new options for interdisciplinary coursework.

TRAINING FOR PERFORMERS AND COMPOSERS

Musical training in the narrow sense relates first and foremost to the prac-tical activities of musicians as instrumentalists, singers, orchestra conductors, choral and ensemble directors, or musical authors (composers, arrangers or similar

1 Wirtschaftszweige nach Klassifikation der Wirtschaftszweige, hrsg. vom Statistischen Bundesamt, Wiesbaden, 2008.2 In Voll- und Teilzeit beschäftigte Sozialversicherte und Selbstständige mit einem Jahresumsatz größer als 17.500 Euro.3 Einschließlich geringfügig Beschäftigte sowie Mini-Selbstständige mit weniger als 17.500 Euro Jahresumsatz.4 Summe aus Arbeitnehmereinkommen, Nettobetriebsüberschuss und Abschreibungen abzüglich erhaltener Subventionen. 5 In der Musikwirtschaftsstudie zusätzlich enthalten: Einzelinterpret*innen des Wirtschaftszweigs „Selbstständige Bühnen-,

Film-, Hörfunk- und Fernsehkünstlerinnen und -künstler sowie sonstige darstellende Kunst“ sowie in der KSK versicherte Kreative mit weniger als 17.500 Euro Jahreseinnahmen.

6 In der Musikwirtschaftsstudie zusätzlich enthalten: Künstleragenturen / Gastspieldirektionen, Veranstaltungs-Tourdienst-leister im Musikbereich, Betreiber von Musikspielstätten (Musikclubs), Betreiber einer Veranstaltungshallen, Ticket-Dienst-leister.

7 In der Musikwirtschaftsstudie zusätzlich enthalten: Herstellung und Vertrieb von Bühnen- und Studioequipment.8 In der Musikwirtschaftsstudie zusätzlich enthalten: Vervielfältigung von bespielten Tonträgern (Presswerke), Vertriebe von

Tonträgern/Musikdateien, Musikhändler (Verkauf / Bereitstellung an Endverbraucher): alle Vertriebswege.9 In der Musikwirtschaftsstudie auf die einzelnen Segmente aufgeteilt.10 Summe der Positionen Sonstige (5) bis Sonstige (8).

Quelle: Zusammengestellt und berechnet von Wolfgang Seufert nach: Monitoringbericht Kultur- und Kreativwirtschaft, hrsg. v. Bundesministerium für Wirtschaft und Energie, Berlin, div. Jahrgänge; sowie: Musikwirtschaft in Deutschland, Studie zur volkswirtschaftlichen Bedeutung von Musikunternehmen unter Berücksichtigung aller Teilsektoren und Ausstrah-lungseffekte, hrsg. v. Bundesverband Musikindustrie (u.a.), Berlin, 2015.

1 Incl. students at the tertiary-level schools of church music in Aachen (WS 2001-02 to WS 2006-07), Görlitz (up to WS 2007-08) and Regensburg (from WS 2002-03) as well as Bayreuth, Dresden, Halle, Herford and, since WS 2016-17, the Barenboim-Said Academy in Berlin.

2 Incl. Gesamthochschulen (‘comprehensive universities’. i.e. university cum technical university) until WS 2001-02.3 Excl. students in departments of performing arts, film, television and theatre studies (incl. set design, stage direction etc.).4 Degree programmes in composition and conducting are more likely than other degree programmes to be attended as

postgraduate coursework.5 Incl. course offerings in studio engineering at the Musikhochschulen in Berlin (UdK) and Detmold, as well as the bachelor’s

programme in music production and audio design at Berlin hdpk (University of Popular Arts, from WS 2010-11), the bachelor's programme in ‘Sound and Music Production’ at Darmstadt Hochschule (from WS 2013-14) and the master’s programme in ‘Sound’ at Dortmund University of Applied Sciences and Arts (from WS 2016-17). It should also be conside-red that, from WS 2002-03 to WS 2004-05, students in 'Musikübertragung’ (sound transmission, i.e. studio engineering) at Detmold Musikhochschule were mistakenly categorised under ‘Music Education’. The number of students enrolled in this subject in Detmold during this period amounted to roughly 30 to 40 per semester, a figure that should also be taken into account when interpreting the data.

6 Plus students at music academies, conservatories and tertiary-level schools of church music, none of which were covered by the Federal Statistical Office (the most recent figures amounted to nearly 1,300 students in WS 2013-14).

Source: Compiled and calculated by the German Music Information Centre from figures supplied by the Federal Statistical Office.

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professions). Accordingly, these forms of education have traditionally stressed ‘ma-jor subjects’ or ‘main instruments’ such as piano, cello, horn, choral conducting or composition. The subcategories in this field focus mainly on the repertoire to be studied and relate to potential areas of professional activity and/or generic spe-cialisation, e.g. solo artist, orchestral musician, lied, opera or oratorio singer, big band, instrumental ensemble, chamber music, early music, contemporary music, jazz, popular music, film soundtracks or electronic music.

The principal centres for obtaining professional training in performance, composi-tion and conducting in Germany are its Musikhochschulen, some of which date far back in history, having been founded as conservatories in the mid-19th century. They are organised either as self-sufficient entities or as part of a larger institu tion cov ering several art forms. Two of them, the Folkwang University in Essen and the University of the Arts in Berlin (UDK), have even achieved university status. Often they combine their course offerings with training in theatre or dance, as in Ham-burg, Rostock, Cologne, Munich, Leipzig, Frankfurt and Stuttgart. Conversely, they can offer non-artistic degree programmes, such as media management or media and music (at Hanover Hochschule for Music, Drama and Media) or cultur al and me-dia management (at Hamburg Hochschule for Music and Theatre). The Musikhoch-schulen are spread among Germany’s federal states in varying levels of concentra-tion: there are five in Baden-Württemberg,3 four each in North Rhine- Westphalia and Bavaria, two each in Berlin and Saxony, and one in most other states.

In terms of legal status, the 24 Musikhochschulen are grouped together in the Con-ference of Rectors of German Conservatories (RKM). Being state-run institutes of higher learning in the arts, they have the following goals and missions:

› to impart artistic and educational knowledge and skills, › to develop and communicate knowledge in musicology and music theory, › to conduct research initiatives in scholarly disciplines and artistic develop-

ment projects, and › to guide students in mastering their craft.

One way that the RKM pursues these goals is through three competitions devoted either to artistic practice (Felix Mendelssohn Bartholdy Competition, in coopera-

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The Popakademie Baden-Württemberg, Germany’s first

and only state-run educational facility that focuses

exclusively on pop music and the music economy

tion with the RKM since 1963), to music education and communication (Music Edu-cation Competition, since 1952) or to innovative concert formats (‘D-bü’ Competi-tion, initiated in 2017).

Besides the option of studying at independent Musikhochschulen, music degrees can also be obtained in Mainz (where the Musikhochschule is part of Mainz Univer-sity), Münster (where it is part of Münster University) and at various conservato-ries or music academies (generally in conjunction with a Musikhochschule). A few private educational establishments also offer courses of study in special fields such as singing or popular music. One example is the Popakademie Baden-Württem-berg, a facility operated by the state of Baden-Württemberg in cooperation with the city of Mannheim and partners in the media, making it a Hochschule and skills centre for the music business and the music scene rolled into one.

The prerequisite for starting a course of study in music is proof of special musi-cal and artistic aptitude, which is determined in a lengthy process tailored to the degree programme concerned. The very large number of contestants for places of

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Fig. 2 | Educational facilities for artistic studies

Hochschule für Musik Mainz an der Johannes Gutenberg-Universität Mainz

Filmakademie Baden-Württemberg (Ludwigsburg)

Hochschule für Musik Würzburg

Musikakademie der Stadt Kassel „Louis Spohr“

Hochschule für Musik u. Tanz Köln – Standort Aachen

Universität Augsburg – Leopold-Mozart-Zentrum

Bayerische Theaterakademie August Everding im Prinzregenten-theater (München)

Folkwang Universität der Künste – Campus Bochum

Folkwang Universität der Künste –

Campus DuisburgHochschule für Musik u. Theater „Felix Mendelssohn Bartholdy“ Leipzig

Universität Greifswald – Institut für Kirchenmusik u. Musikwissenschaft

Hochschule für Musik u. Theater HamburgThe British and Irish Modern Music Institute (BIMM) Hamburg3

Robert Schumann Hochschule Düsseldorf

Hochschule Macromedia – Campus Freiburg4

Hochschule für Musik Hanns Eisler Berlin

Peter-Cornelius-Konservatorium der Stadt Mainz

Hochschule für Musik u. Theater München

Hochschule für Musik Karlsruhe

Hochschule für Musik Saar (Saarbrücken)

Kronberg Academy

Folkwang Universität der Künste (Essen)

Musikhochschule Lübeck

Hochschule u. Institut für ev. Kirchenmusik Bayreuth

Stiftung Dr. Hoch's Konservatorium (Frankfurt)

Hochschule für Musik u. Tanz Köln

Hochschule für Musik Nürnberg

Hochschule für Musik u. Darstellende Kunst Frankfurt am Main

Internationale Musikakademie

Anton Rubinstein (Düsseldorf) 1

Hochschule für Musik, Theater u. Medien Hannover

Hochschule für Kirchenmusik der Ev. Landeskirche in Baden (Heidelberg)

Hochschule für Musik FRANZ LISZT Weimar

Martin-Luther-Universität Halle-Wittenberg – Abteilung Musik-pädagogik/Künstlerische Praxis

Staatl. Hochschule für Musik u. Darstellende Kunst Stuttgart

Staatl. Hochschule für Musik Trossingen

SRH Hochschule der populären Künste (hdpk) (Berlin)

Johannes-Brahms-Konservatorium(Hamburg)

Popakademie Baden-Württemberg (Mannheim)

Hochschule für Kirchenmusik der Ev. Kirche von Westfalen (Herford)

Hochschule für Musik Carl Maria von Weber Dresden

Hochschule für Künste Bremen

Filmuniversität BabelsbergKONRAD WOLF (Potsdam)

Hochschule für Kirchenmusik der Diözese Rottenburg-Stuttgart (Rottenburg)

Universität der Künste Berlin Barenboim-Said Akademie (Berlin)

Akademie Deutsche POP (Eichenau) 2

Hochschule für Musik u. Theater Rostock

Ev. Hochschule für Kirchen-musik Halle (Saale)

Hochschule für kath. Kirchen-musik u. Musikpädagogik Regensburg

Staatl. Hochschule für Musik u. Darstellende Kunst Mannheim

Hochschule für Kirchenmusik der Ev. Landeskirche in Württemberg (Tübingen)

Hochschule für Kirchenmusik Dresden

Akademie für Tonkunst Darmstadt

Hochschule für Musik DetmoldWestfälische Wilhelms-Universität

Münster – Musikhochschule

Hochschule für Musik u. Tanz Köln – Standort Wuppertal

Hamburger Konservatorium

The British and Irish Modern Music Institute (BIMM) Berlin3

Hochschule für MusikFreiburg

National boundaryState boundary0 50 100 km7525

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Source: German Music Information Centre, 2018

TYPE OF FACILITYTertiary-level music school (Musikhochschule) University with integrated tertiary-level music schoolTertiary-level school of popular music or film music only in Baden-WürttembergTertiary-level school of church musicConservatory, professional academyUniversityPrivate tertiary-level school or academy

Institution with two or more sites

Cooperative programme

Note: The map includes institutions with artis-tic degree programmes for instruments, voice, conducting, composition, church music and popular music. As a rule, they offer a bachelor’s or master’s degree, a diploma, or a perform-ance degree. Training in pop, rock or jazz without these degrees, primarily offered at private institutes, appears in a separate map (‘Educational facilities for pop, rock and jazz’). The map does not include choral and orches-tral academies, which are generally designed for post-graduate studies. Nor does it include Bavaria’s vocational music schools, where the third year generally serves as preparation for studying at a tertiary-level music school.

1

2

3

4

1

2

3

4

Bachelor’s and/or master’s degree in cooperation with the Kalaidos University of Music in Zurich, Switzerland, the Fontys University of Applied Sciences (School of Fine and Performing Arts) in Tilburg, the Netherlands, or the Giacomo Puccini Conservatorio in La Spezia, Italy.Bachelor’s degree in cooperation with the University of West London. The map shows the headquarters; training takes place at 12 sites in Germany.Bachelor’s degree in cooperation with the University of Sussex, headquartered in Brighton, UK. Training takes place at two locations in Germany (Berlin and Hamburg).The degree programme in popular music was offered by the former Freiburg University of Art, Design and Popular Music, incorporated as Campus Freiburg in the Macro-media University since 2018.

Bachelor’s and/or master’s degree in cooperation with the Kalaidos University of Music in Zurich, Switzerland, the Fontys University of Applied Sciences (School of Fine and Performing Arts) in Tilburg, the Netherlands, or the Giacomo Puccini Conservatorio in La Spezia, Italy.Bachelor’s degree in cooperation with the University of West London. The map shows the headquarters; training takes place at 12 sites in Germany.Bachelor’s degree in cooperation with the University of Sussex, headquartered in Brighton, UK. Training takes place at two locations in Germany (Berlin and Hamburg).The degree programme in popular music was offered by the former Freiburg University of Art, Design and Popular Music, incorporated as Campus Freiburg in the Macro-media University since 2018.

© German Music Council/ German Music Information Centre

Cartography: S. DutzmannLeipzig, 2018

study at Germany’s learning institutes in the arts is international in scope, and the question is often asked whether the number of foreign students should be restricted. In winter semester 2016-17, for example, 60 per cent of students enrolled in instrumental and orchestral music were from foreign countries, along with 52 per cent in composition and 51 per cent in conducting (see Fig. 3). The selection process is based on many different fac-tors, of which the most important is the severe demands the students will later face in a profession aligned on artistic ex-cellence. Even so, it is uncertain whether, or to what extent, these students will have opportunities to work in the profes-sion they have chosen to study.

Another discrepancy between course of study and professional outlook, at least in some disciplines, results from the percentages of female students. For ex-ample, 42 per cent of students enrolled in conducting programmes in the win-ter semester 2016-17 were women, even though female conductors continue to be woefully underrepresented, especially in orchestras (see also Gerald Mertens’s essay ‘Orchestras, Radio Ensembles and Opera Choruses’).

Although the course offerings centre on the practice of music (e.g. an instrument, voice, composition or conducting), they are also combined with secondary fields

142

Fig. 3 | Percentage of female and foreign students in degree programmes for music professions at tertiary-level music schools,1 universities, teacher training colleges and polytechnics

Degree programme

Total number of students in WS 2016-17

Female students Foreign students

Total % Total %

Music teaching at music schools and freelance 4,356 2,468 57 630 14Music teaching in state school system 7,710 4,687 61 212 3Musicology and music history 7,620 4,097 54 976 13Composition4 386 129 33 202 52Conducting4 351 148 42 178 51Instrumental and orchestral music 9,362 4,968 53 5,581 60Voice 1,624 1,017 63 682 42Jazz and popular music 1,570 425 27 251 16Church music 525 210 40 110 21Rhythmics 29 28 97 1 3Studio engineering5 596 84 14 54 9Grand total 34,129 18,261 54 8,877 26For comparison purposes

Total in all degree programmes at tertiary-level schools in WS 2016-17 2,807,010 1,353,385 48 358,895 13

Total in degree programmes for music professions in WS 2000-01 31,537 17,810 56 6,031 19

Total in all degree programmes in WS 2000-01 1,799,338 829,201 46 187,027 10

Note: The figures are based on administrative data on first-time enrolment and returnees, obtained and submitted to the state statistical offices by the schools concerned and from thence to the Federal Statistical Office. The table includes the to-tal number of students, i.e. those with music as a major or minor subject. All figures refer to the winter semester (WS) and include all students enrolled in music programmes, i.e. excluding those on leave, preparatory students and auditors. When interpreting the data, it should be borne in mind that the state statistical offices sometimes use conflicting classification systems for school subjects, which can lead to anomalies in the series of figures. Similarly, the inclusion of music as a major and minor subject may cause students to be counted more than once. As a result, the figures at best represent orders of magnitude. Figures for WS 2017-18 could not be taken into account. See notes for Fig. 1.1 Incl. students at the tertiary-level schools of church music in Görlitz (up to WS 2007-08) and Regensburg (from WS 2002-

03) as well as Bayreuth, Dresden, Halle and Herford. Also included are students at the Barenboim-Said Academy in Berlin from WS 2016-17.

2 Excl. students in departments of performing arts, film, television and theatre studies (incl. set design, stage direction etc.).3 Incl. course offerings in studio engineering at the Musikhochschulen in Berlin (UdK) and Detmold, the bachelor's program-

me in music production and audio design at Berlin hdpk (University of Popular Arts, from WS 2010-11), the bachelor's programme in ‘Sound and Music Production’ at Darmstadt Hochschule (from WS 2013-14) and the master’s programme in ‘Sound’ at Dortmund University of Applied Science and Arts (from WS 2016-17).


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A student in the ‘Auu‘A dio and VVVideideo’o’ dedeegdegreeree programmemmmmmmmmem

at Robert Schummannna Hooochchschshschuchule le in ininin DüsDüsüsselse dorff

of study such as music theory or musicology. Now that degree programmes in the arts have been converted to the BA/MA system, the previous advanced or special ist degrees have been mainly subsumed in master’s programmes. Increasing impor-tance has recently been attached to specialisms in concert education, music appre-ciation or music management.

A special combination of music and applied science is offered by the studio engi-neering programmes at Berlin and Detmold as well as the audio-visual engineering programme held jointly by the polytechnic and Musikhochschule in Düsseldorf. In-terested students can also take a degree in music design at the Musikhochschule in Trossingen. Other public and private facilities likewise offer training and advan-ced studies in this field. Degree programmes in church music are similarly noted for combining artistic subjects with other disciplines, particular theology and, increas ingly, education (see Meinrad Walter’s essay ‘Music in Church’). Another educational task is assumed by the opera studios attached to various opera hous es, which seek a more practical orientation. Nine opera houses have entered co- operations with Musikhochschulen, in which case the course units are shared with the Hochschulen; otherwise they are held entirely in the opera house. Although

144

such co-operations are generally welcomed, the co-ordination of these two quite different institutions can create problems, not least because educational facilities place different expectations and standards on their students than opera houses do on their ensemble members.4

Finally, music therapy is currently offered at six of Germany’s higher education institutes, generally as a master’s programme. The aim is to achieve broad musical, therapeutic and scholarly expertise capable of functioning in several professional areas, such as working with disabled, elderly or traumatised people.

All these institutions are under great obligation to provide optimum prepara-tion for students’ future careers, which are generally very difficult in the arts. This obligation is best described in terms of practical training related to the needs at hand, and thus as a balanced and personalised combination of excellence, self-organisation, self-motivation and individual initiative. Given this situation, the early promotion of musical talent has gained in importance at Germany’s Musik-hochschulen, especially over the last decade. Many tertiary-level institutes have set up programmes specifically for the promotion of gifted children. This reflects the special nature of artistic development, which necessitates long, intensive and high-quality study prior to the onset of professional training (sometimes even at the pre-school level), especially in such instrumental subjects as violin, cello and piano.

TRAINING FOR MUSIC TEACHERS

Educational activities in the state school system

The training and professional profile of music teachers for Germany’s state school system are rooted in the early history of its church and municipal school traditions and the voice lessons offered there for various functional purposes. Building on the reforms initiated by Leo Kestenberg in the 1920s,5 music was introduced in the state schools as a field of instruction. To the present day prospective music teachers are trained on the basis of a three-tier model that integrates artistic, scholarly and educational components. A second phase consists of an internship (Referenda-riat) in which a solid theoretical training is related to practical tasks specific to the teach ing profession.

145


Artistic training, education, scholar-ship: Detmold University of Music offers certification in a wide range of professional fields. Its degree pro-grammes in music communication and transmis sion help to shape the educational landscape.

146

In the first tier, teacher training differs fundamentally depending on the form of school at which the student seeks to teach. Training for Germany’s grammar schools (Gymnasien) and for many schools of secondary level I (which bear diffe-rent labels depending on the state involved but generally cover grades five to nine or ten) calls for two major subjects, such as music and mathematics, plus addi-tional coursework in education, often augmented by units in psychology. In re-sponse to the challenges posed by the growing number of languages at Ger many’s schools, a mandatory or ‘obligatory elective’ subject in German as a second lan-guage (‘Deutsch als Zweitsprache’, DaZ) is sometimes added as well. The degree programmes also include lengthy periods or even full semesters of practical appli-cation in order to gain a clearer view of the profession and to align studies with the demands of day-to-day school operations. The resultant links lead to mean ing - ful co-operations between tertiary-level institutes, teacher training colleges and state schools.

The Conference of the Ministers of Education and Cultural Affairs (KMK) has ratified requirements for subject areas and methodology in teacher training pro grammes.6 Though intended to regulate this field and to create nation wide compatibility, they have been implemented in quite varying ways by institu-tions in the various states. For primary schools, which generally cover grades one to four (but also grades five and six in some states), and for special schools,7 the coursework largely relates to mandatory subjects or majors (usually German and math ematics), optional electives or combinations of subjects (including music) and courses in education, augmented as applicable (see above). The number of course credits devoted to electives differs markedly from state to state, and in the case of music it sometimes lies beneath a meaningful level for qualified teaching at primary schools.

Music teachers at Germany’s grammar schools (sometimes combined with teach-ing positions at comprehensive schools, or Gesamtschulen) receive their training primarily at Musikhochschulen.8 Several universities also offer a course of study in this field. Training for music teachers at other types of school is largely the respon-sibility of universities and teacher training colleges (see Fig. 4), though in some states this field is also offered by Musikhochschulen.

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All educational institutions require prospective music teachers to pass an aptitude test before being admitted to a degree programme. In recent years this test has been considerably improved and expanded in its quality. Rather than functioning as a sort of subjective measuring stick for artistic potential, it has become a so-phisticated prognostic tool for determining a student’s aptitude for the teaching profession, by including such criteria as communication skills and basic abilities in ensemble direction and music-making in schools.

In recent decades the contents and methodology of teacher training courses in mu-sic have changed markedly in the face of professional reality. Among the changes are the inclusion of relevant subjects (e.g. popular music, digital media, ethnomusi-cology and the handling of equipment) and the communication of a broad range of activities in music instruction (e.g. co-operative learning methods, classroom man-agement or project work). There have also been shifts in the acquisition of musical skills that lend greater weight e.g. to classroom piano and instrument performance, improvisation, ensemble work, and choral and vocal training for children.

In sum, it has become essential for students to receive an opportunity to work out personalised pathways in their studies. This also applies to advanced scholarly work in music education and musicology (doctoral degrees and inaugural dissertations).

Thanks to the conversion to bachelor’s and master’s degrees, many educational in-stitutions have been able to reassess their teacher certification programmes and to interact more closely with other courses of study in the interest of achieving ‘polyvalence’. We hope to see solid investigations of these new structures in the near future, enabling them to be corrected and improved.

The second phase of teacher training, preparatory service, usually lasts 18 months. Legally independent, it serves to expand the practical skills that students acquire for the teaching profession during their studies. Usually it comes to an end with a state examination.9 The training sought for teacher certification takes place at university departments or schools of education as well as at state schools. It is pro-vided by trainers with special scholarly and practical expertise, supported by suit - able teachers in the state schools. During this preparatory service, the training combines theoretical instruction, sample lessons and theory-guided reflections

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Fig. 4 | Educational facilities for music teachers in the state school system

National boundaryState boundary0 50 100 km7525

Universität Siegen

Stiftung Universität Hildesheim

Hochschule für Künste Bremen

Staatl. Hochschule für Musik Trossingen

Hochschule für kath. Kirchen-musik u. Musikpädagogik Regensburg

Universität Bielefeld

Universität Paderborn

Hochschule für Musik FRANZ LISZT Weimar

Universität Vechta

Hochschule für Musik u. Theater München

Staatsinstitut Ansbach 4

Staatl. Hochschule für Musik u. Darstellende Kunst Mannheim

Hochschule für Musik Detmold

Bergische Universität Wuppertal

Universität Koblenz-Landau

Universität der Künste Berlin

Universität Erfurt

Hochschule für Musik u. Theater Rostock

Martin-Luther-UniversitätHalle-Wittenberg

Hochschule für Musik Carl Maria von Weber Dresden

Päd. Hochschule Weingarten

Hochschule für Musik Freiburg

Hochschule für Musik u. Tanz Köln

Universität zu Köln

Hochschule für Musik Karlsruhe

Päd. Hochschule Freiburg

Hochschule für Musik Mainz an der Johannes Gutenberg-Universität Mainz

Hochschule für Musik Saar (Saarbrücken)

Techn. Universität Carolo Wilhelmina Braunschweig

Hochschule für Musik u. Darstellende Kunst Frankfurt am Main

Justus-Liebig-Universität Gießen

Leuphana Universität Lüneburg

Hochschule für Musik u. Theater Hamburg3

Otto-Friedrich-Universität Bamberg

Julius-Maximilians-Universität Würzburg

Hochschule für Kirchenmusik Dresden1

Päd. Hochschule Karlsruhe

Westfälische Wilhelms-Universität Münster

Universität Augsburg

Musikhochschule Lübeck

Universität Hamburg 3

Katholische Universität Eichstätt-Ingolstadt

Ludwig-Maximilians-Universität München

Universität Passau

Carl von Ossietzky Universität Oldenburg

Friedrich-Alexander-Universität Erlangen-Nürnberg

Hochschule für Musik, Theater u. Medien Hannover

Universität Potsdam

Universität Flensburg

Hochschule für Musik Würzburg

Päd. Hochschule Schwäbisch Gmünd

Hochschule für Musik u. Theater „Felix Mendelssohn Bartholdy“ Leipzig

Universität Bremen

Staatl. Hochschule für Musik u. Darstellende Kunst Stuttgart

Hochschule für Kirchenmusik der Ev. Landeskirche in Baden (Heidelberg)2

Techn. Universität Dortmund

Universität Osnabrück

Folkwang Universität der Künste (Essen)

Päd. Hochschule Heidelberg

Universität RegensburgPäd. Hochschule Ludwigsburg

Universität Kassel

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© German Music Council/ German Music Information Centre

Cartography: S. DutzmannLeipzig, 2018

Source: German Music Information Centre, 2018

Primary schools or primary levelSecondary level I (general or special school forms)Grammar schools (Gymnasien) or secondary level IIVocational schools or secondary level IIRemedial or special education

1

2

3

4

1

2

3

4

Teaching position at grammar schools with a double degree in music with an emphasis on church music, in cooperation with the Dresden College of Music Carl Maria von Weber.

Parallel degree programme in church music and music education, in cooperation with the State University of Music and the Performing Arts, Mannheim.

Combined training in Hamburg for teaching positions at the primary level and secondary level I.

Possible to earn certification as a music teacher at remedial schools, but without training as a special needs teacher.

Teaching position at grammar schools with a double degree in music with an emphasis on church music, in cooperation with the Dresden College of Music Carl Maria von Weber.

Parallel degree programme in church music and music education, in cooperation with the State University of Music and the Performing Arts, Mannheim.

Combined training in Hamburg for teaching positions at the primary level and secondary level I.

Possible to earn certification as a music teacher at remedial schools, but without training as a special needs teacher.

TEACHING QUALIFICATION LEVEL

Note: The map shows state- and church-run facilities where music for the state school system can be studied as an educational and/or pedagogical subject for the type of school indicated.

related to music instruction. Besides events at training colleges, special im-portance is accorded to job shadowing and classroom teaching, whether super-vised or independent. Although the under lying KMK paper explicitly warns against it, the amount of independent instruction is quite large in many states, some times already beginning at the start of the training period. The suspicion there fore arises that the training charac-ter of preparatory service is being sum-marily dismantled in an effort to offset the current shortage of teachers.

One special form of training for music teachers is the so-called ‘dual subject teacher’, i.e. a teacher with ‘music as an extended subject of instruction’, which is offered in several states for grammar-school teachers.10 This allows prospective teachers to acquire a specific musical pro-file that enables them to set points of em-phasis both in classroom instruction and in the life of their school (e.g. classroom music-making and choral, band or orchestral work). On the other hand, owing to the absence of a second (or even third) subject of instruction, it is often more dif-ficult for school authorities or headmas-ters to employ such teachers flexibly in their day-to-day school operations.

At present it is not possible to meet the need for qualified music teachers in all forms of public schools, nor is this likely

150

to be the case in the future, given the changes in society, the aging of music teach-ers and the growing number of pupils. The shortage of trained music teachers, espe cially in primary schools, is part of a larger problem, namely, the shortage of teachers altogether. The employment of later entrants and career changers, though promoted by regional ministries of education, will not solve the under lying prob-lems; rather, it will lead ineluctably to a creeping de-professionalisa tion of the mu-sic teachers’ calling (see Ortwin Nimczik’s essay ‘Music in Germany’s State Edu-cation System’). From this vantage point, job prospects for fully qualified music teachers in the general education system can be called quite promising.

Teaching instruments and voice outside the school system

The training of instrument and voice teachers for use outside Germany’s gen-eral education system, especially at public and private music schools or in a self- employed capacity (sometimes in co-operations), takes place at Musikhochschulen, music academies, conservatories and in some cases at universities.11 Here, too, be-fore embarking on this course of study the student must pass an aptitude test. Besides theory and ear training, these tests have largely been content with exam-ining the students’ musical competence through an audition in their chosen field. With regard to the combination of core subjects, these institutions barely differ in their course requirements: a main instrument or voice, a second instrument, theo-ry, ear training and musicology are generally compulsory, as are courses related to the teaching profession (instrument or voice education, methodology, music psy-chology, vocational issues and internships with test teaching sessions or the like).

The breadth of subject matter called for in public music schools by the school cur-ricula and the ‘Music Education Plan for the Elementary and Primary Level’12 is re-flected in the training given to instrument and voice teachers. Besides a mastery of their voice or instrument, teachers are expected to have acquired educational, scholarly and methodological abilities and skills during their studies. As late as the 1970s training was based around individual lessons. But the traditional image of the instrument or voice teacher has substantially expanded with changes in the day-to-day reality of teaching, the inclusion of elementary music and lifelong learning in public music schools, and the co-operative supervision of wind, string and choral classes in the general education system.

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Thus, the teaching qualifications acquired today relate to the training of amateurs of every age and every level of proficiency. They include preschool lessons as well as training for a professional career and cover every recognised form of instrumen-tal and vocal instruction, from individual lessons to the teaching of large groups. Instructors now have to pass on additional skills, e.g. in improvisation, elemen-tary ear training, organology, dance, physical movement, stage acting and the basic treatment of the human voice. Moreover, greater expertise in musicology, music education and psychology is crucial, particularly in view of the altered na-ture of the profession. Scholarly work in instrumental and vocal instruction has been singled out for expansion at various learning institutions, paving the way for scholarly certification (doctoral degrees).

Not least, the political initiatives that have gained increasing social significance under the names of ‘JeKi’ (short for ‘Jedem Kind ein Instrument’, or ‘An Instru-ment for Every Child’), ‘JeKits’ (‘Jedem Kind Instrumente, Tanzen, Singen’, or ‘In-struments, Dancing and Singing for Every Child’) or ‘JEKISS’ (‘Jedem Kind seine Stimme’, or ‘Every Child Has Their Own Voice’) will succeed only if instrument and voice teachers command additional expertise in broad-based music education. The same applies to co-operative wind, string and choral classes, which now exist in every type of school in every federal state. They are generally taught jointly by

152

Fig. 5 | Degrees earned in programmes for music professions at tertiary-level schools of music,1 universities,2 teacher training colleges and polytechnics

Degree programme

Total degrees earned3 (majors) Difference between 2016 and 2000 (in %)

2000 2004 20084 2010 2012 2014 2015 2016

Music teaching atmusic schools and freelance

692(661)

766(720)

546(454)

668(536)

837(684)

738(603)

835(651)

716(623)

+3(-6)


1,252(797)

1,035(723)

1,146(764)

1,237(858)

1,294(836)

1,459(953)

1,433(927)

1,246(747)

0(-6)


407(281)

460(311)

673(447)

791(512)

1,166(797)

1,152(822)

1,017(720)

922(694)

+127(+147)

Composition 66(63)

61(56)

61(60)

71(71)

76(75)

74(71)

118(113)

95(94)

+44(+49)

Conducting 59(58)

81(79)

59(58)

70(69)

70(66)

84(84)

107(105)

100(97)

+69(+67)


1,540(1,532)

1,753(1,743)

2,012(1,968)

1,968(1,932)

2,213(2,130)

2,192(2,123)

2,351(2,267)

2,223(2,176)

+44(+42)

Voice 149(148)

242(240)

330(324)

366(360)

400(387)

373(362)

418(401)

405(385)

+172(+160)

Jazz and popular music 66(62)

136(127)

166(162)

172(170)

213(212)

215(212)

277(271)

212(208)

+221(+235)

Church music 116(113)

138(138)

123(123)

112(111)

104(103)

108(107)

122(119)

96(93)

-17(-18)

Rhythmics 7(7)

10(8)

5(5)

8(8)

3(2)

14(14)

12(12)

17(16)

+143(+129)

Studio engineering5 10(10)

3(3)

5(5)

15(14)

12(12)

19(19)

28(28)

20(20)

+100(+100)

Grand total6 4,364(3,732)

4,685(4,148)

5,126(4,370)

5,478(4,641)

6,388(5,304)

6,428(5,370)

6,718(5,614)

6,052(5,153)

+39(+38)

Degrees earned in 2016

12%

21%15%

2%2%

37%7%

4%2%


Music teaching in state school systemMusicology and music history

Studio engineeringRhythmics

ConductingComposition


Voice

Jazz and popular musicChurch music

Total degrees earned:

6,052

153


state school music teachers and instrument or voice teachers. Both courses of study have given rise to new educational tasks resulting from the large number of in-struments, the divergent levels of motivation and the structure of small and large groups. These tasks can only be efficiently carried out, on the basis of the modular BA/MA system, if new forms of teaching the curricula are incorporated on a trial basis in the early conceptual stage of educational and interdisciplinary events.

Every year over the last six years some 600 students successfully completed de-grees majoring in instrument or vocal teaching at Germany’s institutes of higher learning (see Fig. 5). The relatively large number of degrees in this area partly re-sults from the fact that many students (e.g. orchestra majors) use the degree to

Note: The figures are based on administrative data on registration for and completion of examinations, obtained by the examinations offices of state and church institutions of higher learning, submitted to the statistical offices of the states concerned and from thence to the Federal Statistical Office. The table covers the same institutions as for the nationwide figures in Figs. 1 and 3. It shows the total number of degrees awarded in music as a major and minor subject, with degrees for music majors enclosed in parentheses. Only those examinations that led to a passing grade and the completion of a degree are considered; intermediate examinations are excluded, whereas those involving advanced, supplementary and second degrees are included, as are doctoral degrees. The report covers the period between the winter semester and the following summer semester. When interpreting the data, it should be borne in mind that the increase in number of degrees earned may reflect the introduction of bachelor and master’s degrees as part of the Bologna Process, since students in bachelor programmes obtain their degree after a shorter period of study and the master’s degree represents another consecutive degree. As regards the assignment of degrees to the various degree programmes, it should also be borne in mind that the state statistical offices sometimes use conflicting classification systems, which can lead to anomalies in the series of figures. Similarly, the inclusion of music as a major and minor subject may cause students to be counted more than once. As a result, the figures at best represent orders of magnitude. Figures for WS 2017-18 could not be taken into account. See notes for Fig. 1.1 Incl. degrees at the tertiary-level schools of church music in Aachen (WS 2001-02 to WS 2006-07), Görlitz (up to WS 2007-

08) and Regensburg (from WS 2002-03) as well as Bayreuth, Dresden, Halle and Herford.2 Incl. Gesamthochschulen (‘comprehensive universities’. i.e. university cum technical university) until WS 2001-02.3 Excluding degrees earned in departments of performing arts, film, television and theatre studies (incl. set design, stage

direction etc.).4 Owing to changes in the classification scheme of the Statistical Office of the State of North Rhine-Westphalia for WS

2006-07, figures for particular subjects may differ from those in previous years while not reflecting changes in number of degrees earned.

5 Incl. course offerings in studio engineering at the Musikhochschulen in Berlin (UdK) and Detmold, the bachelor's program-me in music production and audio design at Berlin hdpk (University of Popular Arts, from WS 2010-11), the bachelor's programme in ‘Sound and Music Production’ at Darmstadt Hochschule (from WS 2013-14) and the master’s programme in ‘Sound’ at Dortmund University of Applied Sciences and Arts (from WS 2016-17). It should also be borne in mind that degrees earned in ‘Musikübertragung’ (sound transmission, i.e. studio engineering) at Detmold Musikhochschule from WS 2002-03 to WS 2004-05 were mistakenly categorised under ‘Music Education’. The number of degrees awarded in this sub-ject at Detmold during this period amounted to 2 to 5 per semester and should be taken into account when interpreting the data.

6 Plus degrees awarded by music academies, conservatories and tertiary-level schools of church music, none of which were covered by the Federal Statistical Office. The most recent figures for these degrees date from the academic year 2013, when they amounted to roughly 330 degrees.


154

expand their career prospects, thereby avoiding the generally tight job market for artistic professions in favour of neighbouring fields of activity or augmenting their original chosen profession.

Another course of study for activities outside the state school system is elemen-tary music education, or EMP (Elementare Musikpädagogik), which has a special task in connection with public music schools, day care centres, primary schools, retirement homes and church congregations. EMP initiates and promotes ‘learn-ing music with all the senses’, e.g. through singing, physical movement, listening to music, improvising and playacting, regardless of the age or proficiency of the learn ers.13 In view of the ongoing changes in society and culture, EMP teachers are facing new areas of work that require preparation at tertiary level: cultural dialogue in teaching children from migrant families, overlapping areas of instruc-tion for primary and special schools, and educational advancement and special training in music for educators, primary school teachers and special education teach ers. In all these areas there still exist training deficits because, alongside the musical and technical demands, additional educational requirements have arisen that have bare ly been addressed to date.

Besides the new points of emphasis within current educational structures, the past years have also witnessed the introduction of many course offerings, frequently as master’s degree programmes, with emphases of their own, e.g. on music ap-preciation/concert education, music therapy or training for special age groups (conducting children’s and youth choirs). This is an added benefit of the BA/MA system: it opens up opportunities to strike a balance between artistic and educa-tional perspectives and to work more deeply and purposefully toward professional qualifications that go far beyond the traditional picture of an instrument or voice teacher. Still, to complete a degree is not tantamount to entering the workforce as an instrument or voice teacher. Moreover, the working conditions and payment of casually employed instrument and voice teachers (e.g. owing to temporary contracts and varying numbers of lessons) are constantly subject to debate. Pro-fessional associations and unions are currently working to change this situation. Viewed in this light, the straightforward image of an instrument or voice teacher is destined to become obsolete. Instead, we will face a new type of teacher working in different fields with various employers. Yet precisely the patchwork nature of these music-educational activities can make them attractive.

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How is music education faring in Germany? Where can its teaching programmes and opportunities for advanced professional training be found?

The German Music Information Centre provides comprehensive coverage in its ‘Education and Training’ portal, including:

>> Training facilities and course offerings >> Statistics on trends in degree programmes >> Articles on various educational topics >> Opportunities in advanced and continuing education >> Music associations and contact information >> Studies and documents on educational policy

Taking together all these aspects of the expanding professional image, the need for broadly trained instrument and voice teachers will grow in the near future. Public or private music schools will still form the hub of professional activities in all their variety. Thus, from the standpoint of the Association of German Music Schools (Verband deutscher Musikschulen, or VdM), the core responsibility of tra-ditional instrument and voice instruction will remain intact. The students’ career prospects will depend directly on the breadth of courses offered at their particular Musikhochschule, university or conservatory, and on the open-mindedness of the students themselves.

PROSPECTS FOR THE FUTURE

Despite the long, intensive and high-level training necessary in the arts, pro-fessional prospects after graduation are generally hard to predict. In particular the German job market for orchestral musicians has changed significantly over the last 20 years, especially given the roughly 20 per cent decline in permanent jobs owing to the disbandment or merging of orchestras since 1992 (see also Ger ald Mertens’s essay ‘Orchestras, Radio Ensembles and Opera Choruses’). Similar trends can be

FACTS & FIGURES

156

The German Music Council promotes top young talents with its Conductors’ Forum (Dirigentenforum). A central feature is individual super -vi sion by renowned conductors.

Left: the winner of the 2018 German Choral Conducting Prize

(Deutscher Chordirigentenpreis). Right: a conducting course

with Gabriel Feltz. Opposite page: a workshop with Paul Mägi

noted in music theatres and professional choruses. To be sure, the so- called ‘free music market’ grants opportunities to play in or establish ensembles on a freelance basis, often with groups specialising in early or contemporary music. How ever, this frequently leads to the vagaries of self-employment and to patchwork careers that rarely manage to cover basic living expenses.14

In the teaching professions, it is already becoming clear that the need for coopera-tive ventures in music education inside and outside the school system will grow at most Musikhochschulen and universities. This extends from co-operations between EMP and music-related primary schools to modules involving wind, string and choral classes. Besides these co-operative modules, there will be more and more points of emphasis in elective areas, which will give rise to additional degrees. In conjunction with this, new fields have already emerged, e.g. with senior citizens and other social strata.

At present the Federation of German Associations for Music Education is working on an overall plan, called ‘Musical Education 2030’, that will point out networking possibilities among different providers of music education in a new concept. In

157


particular it will illustrate the deficits at day care centres and primary schools as well as afternoon instruction at all-day schools. Compounding the difficulties is the striking shortage of teachers, particularly music teachers, which dramatically pre-vents music instruction from being provided continuously and progressively in the general education system. Germany’s teacher training programmes will have to re-spond to this. Another source of extraordinary difficulty is that there are, at present, practically no satisfactory teaching concepts for the inclusion of the disabled, which has now been introduced nationwide. Here the educational know-how is simply missing, and must first be developed and implemented in training programmes.

For musicologists, too, traditional job areas are likely to be increasingly aug-mented by adult education and cultural programmes for senior citizens. Now that musicology programmes have clearly responded to recent changes in society and the job market, it is also safe to assume that the differentiation and expansion of course offerings will help to open up new fields in music management, music documentation and the new media (see Dörte Schmidt’s essay ‘Musicology’). Still, diversity in education, language and communication skills, flexibility and a will ing- ness to achieve will prove more decisive than ever before in determining the pro-fessional opportunities for musicologists.

158

Hans Bäßler is professor of music education at Hamburg University of Music and Theatre and honorary president of the German Music Teacher Association (Bundesverband Musikunterricht).

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

1 See e.g. Walter Salmen, Beruf: Musiker: Verachtet – vergöttert –

vermarktet: eine Sozialgeschichte in Bildern (Kassel, 1997).2 The possibility of a four-year bachelor’s programme in music

education has also been discussed, but it still awaits consistent

nationwide application. 3 In 2014 Baden-Württemberg, in a conference on the future of

tertiary music education (‘Zukunftskonferenz Musikhochschulen’),

defined special points of emphasis for its five institutions with

the goal of assigning particular focuses to each Musikhochschule.

See also https://mwk.baden-wuerttemberg.de/de/hochschulen-

studium/hochschularten/kunst-und-musikhochschulen/zukunfts

konferenz-musikhochschulen (accessed on 19 October 2018).4 Constanze Wimmer and Domen Fajfar, Opernstudios im deutsch-

sprachigen Raum: Eine Bestandsaufnahme, ed. Körber Foundation

(Hamburg, 2017), online at http://www.miz.org/downloads/

dokumente/902/2017_Studie_Opernstudios_Koerber-Stiftung.pdf

(accessed on 19 October 2018).5 Leo Kestenberg (1882-1962) was music advisor to the Prussian

Ministry of Science, Art and Popular Education from 1920 to 1930.

He introduced a comprehensive reform of music education sustained

by the notion of long-term music instruction from kindergarten to

university incorporating the conservation of folk music and all the

professional institutions of musical life.6 Ländergemeinsame inhaltliche Anforderungen für die Fachwissenschaften

und Fachdidaktiken in der Lehrerbildung, KMK Resolution of 16 October

2008, version of 16 May 2019, online at

159


https://www.kmk.org/fileadmin/Dateien/veroeffentlichungen_

beschluesse/2008/2008_10_16-Fachprofile-Lehrerbildung.pdf

(accessed on 26 June 2019).7 Special schools give individual support to children and adolescents

who are limited in their development and learning potential, e.g. owing

to physical disabilities. At present the status of special schools varies

widely owing to the different speeds and concentra tion at which ‘inclu-

sive conceptions’ have been implemented from one state to the next.8 The only tertiary-level music schools in Germany that do not offer

training for music teachers in the state school system are the Hanns

Eisler School of Music in Berlin, the Robert Schumann Hochschule in

Düsseldorf and the Hochschule für Musik in Nuremberg.9 Those aspects affecting all the federal states are outlined in the

KMK paper Ländergemeinsame Anforderungen für die Ausgestaltung

des Vorbereitungsdienstes und die abschließende Staatsprüfung,

KMK Resolution of 6 December 2012, online at https://www.kmk.org/

fileadmin/Dateien/veroeffentlichungen_beschluesse/2012/

2012_12_06-Vorbereitungsdienst.pdf (accessed on 19 November 2018).10 This training option is offered in Bavaria, North Rhine-Westphalia,

Saxony, Schleswig-Holstein, Thuringia and to a certain extent in

Baden- Württemberg. Rather than studying a second subject, the

trainees expand the subject of music to an appropriate degree.11 See the map ‘Music Education and Music Therapy Outside the School

System’ in the German Music Information Centre’s Musikatlas,

online at www.miz.org.12 Lehrpläne des VdM (Kassel, 1990- ) and Bildungsplan Musik für die Elemen-

tarstufe/Grundstufe, ed. Verband deutscher Musikschulen (Bonn, 2010).13 The Bildungsplan Musik (see note 12) presents a highly accurate picture

of what is absolutely necessary in elementary education, including such

key components as the integration of disabled people and children with

migrant backgrounds.14 See Orchestermusiker/in der Zukunft: Studie Sommer/Herbst 2014,

ed. Junge Deutsche Philharmonie (Frankfurt am Main, 2015), online at

http://www.miz.org/downloads/dokumente/734/2015_Orchester

musiker_Zukunft_Studie_Junge_Deutsche_Philharmonie.pdf

(accessed on 19 November 2018).

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

All rights reserved. This work, including every section contained within it, is protected by copyright. Any use beyond the narrow limits of copyright regulations without the previous consent of the publisher is prohibited and punishable by law. This applies in particular to mechanical reproduction, translation, micro filming, and electronic storage and processing.

Production: ConBrio Verlagsgesellschaft mbH, RegensburgPrinting and binding: druckhaus köthen GmbH & Co. KG, KöthenMaps: Silke Dutzmann, LeipzigArtwork and design: SINNSALON Reese, Design für Kommunikation, HamburgLayout and typesetting: Text- & Graphikbüro für Kultur Birgit A. Rother, Werther (Westf.)

ISBN 978-3-9820705-1-3

616

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.

Page Copyright

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

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

61 © Richard Filz67 © Oliver Borchert70/71 © Gerold Herzog74/75 © Anja Albrecht

Page Copyright

5 © Veronika Kurnosova8/9 © Annette Börger10/11 © MDR/Marco Prosch12/13 © Heiko Rhode14/15 © Hartmut Hientzsch

Page Copyright

16/17 © Claus Langer/WDR18/19 © Silvia Hauptmann20/21 Melt Festival © Stephan Flad22 © Elke A. Jung-Wolff

Page Copyright

30/31 © Tobias Döhner/www.folklang.de32 © Lea Letzel 34 © Jan Krauthäuser35 © Vera Lüdeck (left) | © Heiko Rhode (top right) |

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

Ch. 1 | Introduction: Musical Life in GermanyPage Copyright

36 © Geoffry Schied | © Silverangel Photography | © Martin Sigmund | © ICS Festival GmbH

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

EDUCATION FOR MUSIC PROFESSIONS · 2020. 3. 31. · 132 | Hans Bäßler / Ortwin Nimczik EDUCATION...

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