Music theater education

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Music theater education (synonymous music theater education ) is that form of theater education that deals with music theater (opera, musical, operetta, melodrama, ballet, music cabaret, experimental musical theater, instrumental theater) or works with musical methods in socio-educational fields. In contrast to concert pedagogy (often abbreviated to " music education"), music theater education deals exclusively with scenic interpretation or the mediation of scenic music. In music education one often speaks of opera education .

History and education

"Opportunity and Necessity"

Traditionally trained theater pedagogues who work at opera houses or multi-party theaters complain about the lack of musical know-how in order to be able to convey musical theater pieces not only in terms of subject (and text book), but also in terms of composition (and score). The demand for a specific music-related training of theater pedagogues was first raised on April 7, 2006 at the symposium "Music theater pedagogy - opportunity and necessity" in Berlin:

Very few German venues have a music theater education department in addition to the theater education department. Since there is no music theater pedagogy course, there is often no professional music theater pedagogy even at opera houses. The necessary work is either done outside the field or not at all. The cultural and socio-educational potential of musical theater remains largely untapped. The participants of the symposium therefore demanded that there must be special training opportunities for music theater education and that there must be permanent positions and independent departments for music theater education at all venues (Richter 2009, 114).

Although there have been positions for music theater pedagogues at the Stuttgart State Opera since 1995 and at the Berlin State Opera in 2001 , this press release is considered to be the birth of the term “music theater education”.

education

The Institute for Scenic Interpretation of Music and Theater (ISIM), founded in Berlin in 2001, conducts advanced training courses for theater teachers as well as training in “music theater mediation” at the Mozarteum in Salzburg. The Berlin State Opera ("Musiktheaterpädaggische Fortbildung") and the Frankfurt Opera ("Now Opera for You! Training") offer advanced training for theater and music theater teachers.

The concept

aims

The goal of music theater educational activity is a self-determined and self-reflective scenic interpretation of music or musical theater by children, young people or adult amateurs and, if necessary, the scenic production of a piece of music or theater. Depending on the institution (opera house, youth education center, old people's home, etc.) or educational context (school, therapy, social work, etc.), these music-immanent goals are superimposed on overriding and non-music-specific social, political, cultural, educational, etc. similar goals. Music theater pedagogy makes a music-related contribution to achieving general (educational) goals .

Methods

The overall process of scenic interpretation and production of music and theater can be described as a music-related development of the theater-pedagogical SAFARI model (Czerny 2006):

  • S = material (story and music) The material consists of a story (or a content stimulus) and the music. Both serve as a stimulus for the scenic play.
  • A = prelude ( warm-up) The warm-up exercises are designed as basic musical experiences. A music-related feeling for one's own body should be developed.
  • F = figure (empathy with roles) The players feel their way into other figures using role cards as well as through carefully selected pieces of music.
  • A = action (musical-scenic play ) From a scenic and musical improvisation as well as targeted exercises for musical postures, game scenes can be developed that contain musical activities.
  • R = reflection Both through specific interventions by the director in the musical and scenic play as well as in subsequent phases of reflection, game experiences are processed into learning experiences in dealing with music.
  • I = Staging (scenic production) The improvised scenes can be developed into an independent scenic-musical production, a musical, a music story, a music film, a street action based on Boal, a musical flash mob or experimental musical theater (Reinighaus / Schneider 2004) .

The individual methods are derived from this overall process, as listed in the "Catalog of Methods for Scenic Interpretation of Music and Theater" (see Brinkmann et al. 2010). The five-phase model carried out here contains, in the event that "Staging I" (scenic production) is omitted, a description as a counterpart to role empathy: A preparation - F empathy - A scenic play - F * empathy - R reflection.

Theoretical foundation

Both the music-related SAFARI model and the scenic interpretation and production of music are based on theater, music and educational science. From a theater studies perspective, music theater education is based on the works and theories of Konstantin Stanislawski , Bertolt Brecht and Augusto Boal (see Brecht 1970, Stanislawski 1986, Boal 1989); from a musicological point of view, it is based on the psychology of musical activity of Wolfgang Martin Stroh and Rudolf Nykrin's empirical learning (see Stroh 1984, Nykrin 1978); From an educational perspective, it is committed to educational constructivism (see Reich 1997). Markus Kosuch (Kosuch 2005) brought together these three lines of reasoning.

literature

  • Augusto Boal, Augusto (1989): Theater of the Oppressed. Exercises and games for actors and non-actors. Frankfurt am Main: Suhrkamp.
  • Brinkmann, Rainer O. et al. (2010): Catalog of methods for the scenic interpretation of music and theater. Handorf: Lugert-Verlag. ISBN 978-3-89760-156-7 .
  • Czerny, Gabriele (2006): Theater pedagogy: A training concept in the horizon of personal, aesthetic and social dimensions. Augsburg: Wißner.
  • Czerny, Gabriele (2010): Practice Pedagogy: Theater-SAFARI: Practice models for the primary level. Braunschweig: Westermann
  • Konold, Wulf & Ruf, Wolfgang (1997): Music theater. In: Music in the past and present. Part volume 6. Kassel / Stuttgart: Bärenreiter / Metzler. Column 1670-1714.
  • Kosuch, Markus (2005): Scenic interpretation of music theater: from a concept of action-oriented teaching to a concept of general opera pedagogy. Dissertation, University of Oldenburg. online: http://oops.uni-oldenburg.de/129/
  • Oberhaus, Lars & Stroh, Wolfgang Martin (2017): Postures, gestures and music. To professionalize the practice of scenic interpretation of music and theater. (= Special issue S8 from Discussion Music Education). Hamburg: Hildegard Junker publishing house.
  • Reich, Kersten Reich (1997): Systemic-Constructivist Pedagogy. Neuwied: Luchterhand.
  • Reininghaus, Frieder & Schneider, Katja (2004): Experimental music and dance theater. Laaber-Verlag: Laaber (= Handbook of Music in the 20th Century, Volume 7).
  • Richter, Christoph (ed.) (2009): Music theater education. (= Special issue S1 from Discussion Music Education). Hamburg: Hildegard Junker publishing house.
  • Stanislawski, Konstantin S. (1986) The actor's work on the role. Berlin: Publishing house of the European book.
  • Stroh, Wolfgang Martin (1984): Life Yes. On the psychology of musical activity. Stuttgart / Hamburg: Marohl / Argument-Verlag.

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