Intercultural music education

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With intercultural music education (with a capital "I") in Germany since 1983, the entire scientific, educational and didactic discussion about intercultural education through music, intercultural communication in music lessons, intercultural skills through music, and "music of the world" as a subject of instruction , denotes trans- and multicultural musical identities as well as the practice of consistently student-oriented teaching.

In a narrower sense, intercultural music education (with a lowercase "i") describes a specific concept of intercultural music education that is different from multicultural and transcultural music education and focuses on music lessons with children with a migration background.

If (intercultural) "music education" is used instead of (intercultural) "music education" (for the distinction between music education and music education, see music education ), what is meant is theory and scientific discourse and less guidance for concrete practical action or teaching methodology.

The word “mediation” (see music mediation ) is often used as a collective term for school and extracurricular educational work areas ( theater education , concert education , museum education , etc.), which is why the term “transcultural music education ” is also used.

Outside of the German-speaking area, terms such as “Multicultural Music Education” are preferred with the same meaning.

Principles and goals

Since the relevant publication by Irmgard Merkt in 1983, intercultural music education has always been student and action-oriented. None of the numerous concepts that have been developed since 1983 has challenged this principle. The student orientation means that the music lessons are primarily based on the students, usually a multicultural class, and not on a fixed music concept or a musical dominant culture. As a result, the subjects of instruction are less “classical” Western music than the music of the (whole) world. The action orientation means that the starting point of the lesson is the practical music acquisition, singing, making music, playing and dancing. The goals of intercultural music education have evolved over the course of German migration history and the theoretical discussion since 1983. While in the 1980s the mutual "understanding" within a multicultural school class was the main goal, there is now talk of developing and strengthening a transcultural musical identity for all students. Since migration has been increasingly noticed in Germany since 2015 and has also become a problem for many people, intercultural music education emphasizes the goal of giving all children and young people (not just those with a migration background or with refugee experiences) a self-determined and musical path to prepare for social life in a multicultural migration society.

history

In 1983, in response to the criticism of “ foreigner education”, Irmgard Merkt formulated the first concept of intercultural music education with a view to school classes in which an equal musical dialogue should take place between students of different origins. The concept was directed against traditional music lessons, which understood musical education to be the adoption of the canon of values ​​of "classical" Western music.

In the 1990s, the concept of intercultural music education was supplemented and criticized by theses on transcultural music education. Following Wolfgang Welsch , Volker Schütz demanded that intercultural music education should be aimed at all students (with and without a migration background) and contribute to individual enrichment in the sense of a transcultural personality. In 2013 “transcultural music education” was reformulated from the perspective of “transcultural music studies”.

At the beginning of the 2000s, when the “third generation” (guest worker grandsons) were already going to school in Germany, Wolfgang Martin Stroh formulated a “multicultural music education”, the goal of which was “active, conscious, self-determined and social musical activity in a multicultural Federal Republic and the globalized world of tomorrow ”. The preferred course content was therefore the music cultures of young people living in Germany with and without a migration background, as well as the music of the world as it is presented in the media.

In 2008 the “dynamic concept of culture” propagated by intercultural education was transferred to music education by Dorothee Barth. Without being given a new label, intercultural music education turned to Kersten Reich's constructivist pedagogy . The basic maxim was that the pupils should "construct" their own cultural concept and that music lessons should set controlled framework conditions for such activities. In this context, Irmgard Merkt's “interface approach” was further developed into the “extended interface approach”, which refers to the constructivist scenic interpretation .

Jens Knigge presented a detailed account of the history of intercultural music education in 2013.

The immigration of refugees in 2015–17 posed a particular challenge for intercultural music education . In addition to music lessons at general schools, which had to cope with 300,000 refugee children with no language skills, music-related refugee work was also in demand. Although no new concepts were developed, the focus was now on cultural and linguistic integration. In 2017/18 books were created with music that had been collected in field work among refugees (Erche / Jansen 2017; Erche Jansen 2018). In 2018, two extensive documentaries on music-assisted language acquisition were published (Kerkmann 2018; Barth 2018).

Teaching practice

The practice of intercultural music education is student and action-oriented, takes into account the multicultural situation in music lessons and takes into account the diversity of the “musical worlds” in which students move or could move today if they were offered appropriate opportunities. It combines music practice with reflection and information. It pursues awareness-building, identity-promoting, but not explicitly integrative goals. She uses different models and methods, also from neighboring disciplines: she

  • thematizes the music of the world in a "cultural way",
  • is based on models of anti-racist and peace education ,
  • promotes musical tolerance and diversity,
  • gives the students the freedom to deal with their own and other people's music in a self-determined manner.

See also

literature

  • Barth, Dorothee (ed.) (2018): Music - Language - Identity. Music lessons with refugee youth. Esslingen: Helbling.
  • Kerkmann, Ursula (2018): Songs to arrive. Language teaching and promotion through singing. Esslingen; Helbling.
  • Erche, Julia and Jansen, Alexander (2018): I brought my fairy tales with me. Stories, songs and games from refugee children. Munich: Don Bosco-Verlag (with CD).
  • Erche, Julia and Jansen, Alexander (2017): I brought my music with me. Songs, games and stories from refugee children. Munich: Don Bosco-Verlag (with CD).
  • Knigge, Jens and Hendrikje Mautner-Obst (eds.) (2013): Response to Diversity. Music lessons and communication in the field of tension between global and local changes. Stuttgart: "pedocs". on-line
  • Alge, Barbara and Oliver Krämer (eds.) (2013): Beyond Borders: Welt-Musik-Pädagogik. Music education and ethnomusicology in discourse. Augsburg: Wißner-Verlag.
  • Binas-Preisendörfer, Susanne and Melanie Unseld (eds.) (2012): Transculturality and Music Education. Opportunities and challenges in research, cultural policy and music education practice. Frankfurt: Peter Lang.
  • Lehmann-Wermser, Andreas and Anne Niessen (eds.) (2012): Music Education in Focus, Volume 2: Interculturality in Music Education. Augsburg: Wißner-Verlag.
  • Jank, Birgit (ed.) (2009): Perspectives of an Intercultural Music Education. Potsdam: Universitätsverlag (= series of publications on music education, volume 2).
  • Schläbitz, Norbert (ed.) (2007): Interculturality as a subject of music education. Music education research 28. Essen: Blue Owl.
  • Capol, Reto (2005): Music of the World. Worlds of music. A teaching aid for intercultural music lessons. Bern: hep-Verlag.
  • Ansohn, Meinhard and Jürgen Terhag (eds.) (2004): Music Lessons Today 5: Music Cultures - Foreign and Familiar. Oldershausen: Lugert-Verlag.
  • Helms, Siegmund (ed.) (2000): Music education between regionalization, Europeanization and globalization. Kassel: Bosse-Verlag (= series Musik im Diskurs Volume 15).
  • Gruhn, Wilfried (ed.) (1998): Music from other cultures. Kassel: Bosse-Verlag.
  • Böhle, Reinhard C. (Ed.) (1996): Aspects and Forms of Intercultural Music Education. Frankfurt / Main: IKO publishing house for intercultural communication (= contributions from the 2nd symposium on intercultural aesthetic education at the HdK Berlin).
  • Kruse, Matthias (ed.) (2003): Intercultural Music Lessons. Kassel: Bosse (= Volume 7 of the series Musikpraxis in der Schule).

Individual evidence

  1. ^ Altenburg, Detlef and Rainer Bayreuther (eds.) (2012): Music and cultural identity. Volume 1: Public Lectures, Round Tables and Symposia A. Kassel: Bärenreiter.
  2. ↑ Heinrich Klingmann: Transcultural Music Education: Music Education in a Music-Cultural No Man's Land? In: Melanie Unseld, Susanne Binas-Preisendörfer (Ed.): Transculturality and Music Education . Peter Lang, Frankfurt a. M. 2012, p. 201–218 , urn : nbn: de: 0111-pedocs-100273 ( pedocs.de [PDF]).
  3. ^ Multicultural Music Education. Retrieved January 29, 2016.
  4. ↑ Merkt, Irmgard (1983): German-Turkish Music Education in the Federal Republic. A situation report. Berlin: EXpress Edition.
  5. ^ Nieke, Wolfgang (2008): Intercultural upbringing and education: Value orientations in everyday life (3rd updated edition). Wiesbaden: Publishing house for social sciences
  6. ↑ Schütz, Volker (1998): Transcultural Music Education. In: Claus-Bachmann, Martina (ed.), Experiencing music transculturally. Suggestions for dealing with foreign cultures in schools. Bamberg: University of Bamberg. on-line
  7. ^ Pinto, Tiago de Olivera and von Adam-Schmidtmeier, Eva-Maria (2012): Transcultural Music Pedagogy: A Dialogue with Transcultural Studies. In: Music and Teaching 109, 11/2012. Pp. 56-61. Pinto / by Schmidtmeier 2013
  8. ^ Stroh, Wolfgang Martin (2002). Multicultural and intercultural music education. AfS magazine 13/2002. Pp. 3-7. on-line
  9. ↑ Barth, Dorothee (2008): Ethnicity, Education or Meaning? On the concept of culture in intercultural music education. Augsburg: Wißner-Verlag.
  10. ↑ Merkt, Irmgard (1993): Intercultural Music Education. In: Music and Teaching 9/1993. Pp. 4-7. on-line
  11. ↑ Stroh, Wolfgang Martin (2011): The extended interface approach. In: Eichhorn, Andreas and Reinhard Schneider (eds.): Music - Pedagogy - Dialogues. Festschrift for Thomas Ott. Munich: Allitera Verlag. Pp. 307-317. on-line
  12. ↑ Knigge, Jens (2013): Intercultural Music Education: Backgrounds - Concepts - Empirical Findings. In: Knigge, Jens and Hendrikje Mautner-Obst (eds.): Responses to Diversity. Music lessons and communication in the field of tension between global and local changes. Stuttgart: German Institute for International Educational Research (DIPF). Pp. 41-71. on-line
  13. ^ Richter, Christoph (ed.) (2006): Kulturerschlossender Musikunterricht. Special issue discussion music pedagogy 31. Hamburg: Junker-Verlag.
  14. ↑ Lüddecke, Julian et al. (Ed.) (2001): Intercultural and anti-racist education in schools. Berlin: ARIC (Anti-Racist Information Center).

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