Making music in class

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Under Classroom (KM) is generally understood as any form of music-making in the school music classes where all students in a class or course are involved. This very broad description offers space for many existing forms of music-making in school, but also contains great innovation potential to expand the repertoire of forms of KM.

History of class music

The following is a brief historical outline of making music in music lessons . The history of KM is strongly linked to the history of music teaching as a general school subject . Until well into the 20th century, singing (folk) songs was practically the only form of music-making in school. Even the teacher (not a music teacher in the true sense of the word) did not use the violin or the piano any differently than in an emergency (Kramer, 1981, p. 44). It was not until the Kestenberg reforms, which for the first time also included the academic training of music teachers , that instrumental music found its way into the curriculum. Since the early 1920s, the recorder has been regarded as the instrument for school music . Their frequent use and also that of the so-called Orff instruments are more or less direct consequences of Kestenberg's reforms. However, singing has not been completely replaced by these "new" forms of KM.

Music lessons during the Nazi dictatorship took up the concepts of the 1920s and only “used” singing as a political instrument for indoctrination . After the Second World War , didactically it was practically seamlessly linked to what had been there before. It was not until Theodor W. Adorno's famous criticism of music lessons (“that someone fiddles should be more important than what he fiddles”) in the 1950s that reflective thinking about the content and methods of music lessons was initiated. Ultimately, Adorno's criticism resulted in the art didactics of the 1960s, which tried to focus on “the work itself”.

Especially due to the strong influences of popular styles of music, listening training has increasingly become a central music-pedagogical concept since the mid-1970s, resulting in a "renaissance of music-making" (Erwe, 1995, p. 244). Today there is a strong tendency to advocate pluralistic music lessons that do not swear by instrumental, vocal or purely theoretical approaches to music.

Forms of class music

literature

  • Johannes Bähr: making music in classes . In: Werner Jank (Ed.): Musikdidaktik . Berlin 2005, p. 159-167 .
  • Hans-Joachim Erwe : Making music in class . In: Helms / Schneider / Weber (ed.): Compendium of music pedagogy . Kassel 1995, p. 241-261 .
  • Mechtild Fuchs: Making music in a class - the new royal road of music education? In: Music and Lessons . Issue 49. Oldershausen 1998, p. 4-9 .
  • W. Kramer: Practice of music lessons in historical examples. From the elements of singing to elementary music education . Regensburg 1981.
  • Ralf Schnitzer: Singing is great . Mainz (2008 ff).

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