Music mediation

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The term music mediation is primarily used for concert-pedagogical fields of activity, but increasingly also for teaching-pedagogical areas ( elementary music pedagogy , instrumental and vocal pedagogy , school music ) and the theming of music in the media ( music journalism ). “Music education” is today “one of the most commonly used terms in musical life” and “a natural part of our music world, albeit one that needs to be questioned again and again”.

Fields of activity

Music education should "arouse curiosity about music and (new) listening experiences [...]", "create relationships with music and initiate the direct experience of music", "and that in people of all ages and origins, socialization and education".

Concert pedagogy is based in orchestras, opera houses and music theaters, concert halls and music festivals, but also in the independent music scene. This is where programs are designed that are based on specific ideas; Introductory events are carefully prepared; Appearances are moderated or multimedia-based; Musicians have their say or become active in the scene; special target groups, such as children, school classes or families, are specifically addressed. In addition to attempts to lure the audience into the events, there are also attempts to bring the events to the audience. Solo, chamber and orchestral musicians visit a wide variety of institutions, for example within the organizational framework of “Rhapsody in School”, an initiative by pianist Lars Vogt . After all, the line between audience and artists is also completely crossed. B. in workshops at the end of which children, young people or adults are on stage for the first time.

The teaching pedagogy takes care of instrumental and singing lessons in all, especially new forms. She strives to create framework conditions for learning in the practical community, be it at the general school (" Every child an instrument " and similar programs), or at the music school (ensemble and band projects, carefully prepared class auditions). In order to bring musical instruments closer to the respective target group, “instrument presentations” are organized; the so-called "instrument carousel" is used for successive testing of several musical instruments. Methods that consistently use moving and singing play a prominent role in classroom education, e. B. the rhythm and the relative solmization .

Music journalism skills are required in the print media and at radio stations, but are also in demand on the Internet and in audio and video productions.

Detmold University of Music

education

The first course, which was called "Music Mediation", was a concert education course at the Detmold University of Music (1998) with the content of didactic interpretation of music, ensemble practice, moderation and speech training, scenic and rhetorical aspects as well as the basics of public relations. The establishment of music education as a subject “was a reaction to the crisis of legitimation and acceptance of traditional cultural life”, a crisis that had already led to the development of museum and theater education in the 1970s.

In the meantime, numerous music colleges and universities in Germany, Austria and Switzerland offer bachelor's and master's degrees, which are called "music education" and mix concert and teaching pedagogical as well as music journalistic aspects in different weightings.

The bachelor's degree programs at conservatoires and universities differ significantly from one another: At conservatoires, comprehensive instrumental and vocal training is usually integrated; at universities, there is usually close cooperation with the musicological institute; the standard period of study at music colleges is generally eight, at universities six semesters; The training at the music academies is aimed, among other things, at working at music schools and in private music education, while the universities open up either the “teaching subject of music” at elementary and mainstream schools or “a broad extracurricular professional field” for example with music organizers and in the media. A high school diploma or a comparable previous education and a subject-related aptitude test are usually mentioned as admission requirements.

After the bachelor's degree programs have almost completely replaced the old diploma degree programs, master’s degree programs with numerous different profile focuses are now taking the place of the old postgraduate courses. Many of these master’s courses are also called music education, for example in Augsburg, Detmold, Düsseldorf, Hamburg, Hanover, Karlsruhe, Linz, Lübeck, Trossingen and Zurich. In Hildesheim there is the possibility to study cultural mediation with a focus on music.

Other training offers accentuate social work or see themselves as part-time training, e.g. B. for church musicians.

history

In the Anglo-Saxon region, there were children's concerts with an educational component as early as the end of the 19th century. The concert series “Young People's Concert” launched by the conductor Leonard Bernstein in 1958 has become famous . An earlier relevant evidence for the word "music mediation" is an essay by the musicologist Hans Heinrich Eggebrecht from 1981 with the title music analysis and music mediation .

At the end of the 20th and the beginning of the 21st century, more and more music education, concert pedagogy and “education” programs were installed in the orchestra, opera, concert and festival landscape; Music colleges and universities introduced music education courses; Institutions and associations, initiatives and competitions were founded. The following important stations are to be mentioned:

  • the response projects of the Ensemble Modern in Berlin (1988) and Frankfurt (since 1990);
  • the establishment of the Cologne office for concert education as the first independent concert education service provider in Germany (1997);
  • a study in which 76 German professional orchestras were asked about their music-mediating activities for a young audience (1998);
  • the establishment of the first German course "Music Education" at the Detmold University of Music (1998);
  • an initiative of Jeunesses Musicales (Germany section) called "Initiative Concerts for Children" with the aim of "establishing concert life for children in the entire German-speaking area in an institutionally better and more stable way" (2000–2003);
  • a permanent column entitled “Music Education” in the Neue Musikzeitung (since 2000);
  • a commemorative publication on the occasion of the retirement of the Detmold music teacher Ernst Klaus Schneider (2001);
  • a convergence of music education and music mediation at the Jeunesses Musicales conference “Concerts for Children - Future Task for Orchestra” (2002);
  • a “Children and Music” project day organized by the Federal President in cooperation with the German Music Council (2003);
  • a first collection of essays on the subject of “music education” (2002);
  • the establishment of an "Education" department at the Berliner Philharmoniker (2002);
  • a city-wide music education festival in the cities of Bonn, Cologne, Düsseldorf and Duisburg (2004);
  • the high-impact film Rhythm Is It! , who talks about a dance project with Berlin schoolchildren to Igor Stravinski's orchestral work Le sacre du printemps (2005);
  • the establishment of a “young ears network” by three institutions: the Jeunesses Musicales (Germany section), the German Orchestra Association and the German Association of Music Publishers (2007);
  • the “first empirical study on questions of the conceptual design of concerts for children of kindergarten age” (2008);
  • a master's degree in “Music Education / Music Management” and the establishment of an “Institute for Music Education” at the Detmold University of Music (2009);
  • an extensive study on the “art of conveying music” (2010);
  • a completely revised new edition of the collection of essays published in 2002 (2011); finally
  • the so-called Bologna Process , which over the years has led to the introduction of numerous "music-mediating" events and courses at music colleges and universities.

Support measures

The institutions that specifically promote music education include the "netzwerk Junge ohren" in cooperation with the Federal Ministry for Family, Seniors, Women and Youth and the Strecker Foundation ( young ears prize , an award for "concert formats", "music education projects " and "Project ideas in the experimental fringe area of ​​music", since 2006) also the German Federal Government ( BKM Prize for Cultural Education , an award for "exemplary projects in cultural mediation", since 2009), the Lower Saxony Sparkassenstiftung ( advancement prize for music mediation , funding of "Projects in the field of music education and concert education ", also since 2009), the Körber Foundation ( Körber Masterclass on Music Education , an" Excellence Initiative for Music Mediators ", since 2010) and the Federal Cultural Foundation in cooperation with the Donaueschinger Gesellschaft der Musikfreunde ( music academy Donaueschingen , a “forum for encounter, learning, discussion ssion, mutual inspiration and the examination of fundamental questions about contemporary music and its communication ”, since 2011) as well as the four-year forerunner project Netzwerk Neue Musik (2007-2011).

criticism

The music journalist Holger Noltze criticizes "music education" on the one hand because of its tendency towards reductionism, simplification, miniaturization and under-complexity, on the other hand as "music education in the 'bubble'", by which he means that with music education programs, "as soon as you leave the school framework, predominantly only those can be reached in which a musical socialization is already present because an instrument is learned or at least occasionally a concert is attended ”. Noltze's suggestion is not "to stop efforts to mediate, but the other way round: to intensify, tighten, and expand". The music pedagogue Hans-Christian Schmidt-Banse argues in a similar direction, who criticizes the “harmless play concepts” and the “thin-bloodedness” of many communication approaches: “The real fascination of music only unfolds in the concert magic of the moment.” The composer Bernhard König takes a critical counter-position who rejects the recruitment of young concert audiences as a goal of music education. Instead, he calls for music education to be valued as an end in itself and to be used to bring heterogeneous social groups "into conversation with one another and thus make fruitful the wealth hidden behind cultural and generational breaks". The accompanying program “No Education” of the Ruhrtriennale , for example, can be understood as a practical implementation of this approach , to which the project homepage says: “It's not primarily about education, but about (...) an attitude that you don't teach, convey or can force, but only practice. "

literature

Books with a focus on topics

  • Anke Eberwein: Concert Education. Concepts of concerts for children and young people , Hildesheim 1998, ISBN 978-3980575461 .
  • Music - mediation - life. Festschrift for Ernst Klaus Schneider , edited by Ortwin Nimczik, Essen 2001, ISBN 978-3-89206-063-5 .
  • Scope of music mediation. Develop, design, experience concerts for children , edited by Barbara Stiller, Constanze Wimmer and Ernst Klaus Schneider, Regensburg 2002, ISBN 978-3-932581-53-3 .
  • Ulrike Schwanse: Family concerts in cooperation with primary schools - a concept and its effects , Essen 2004, ISBN 978-3-00-013415-9 .
  • Sabine Germann: The future model of concert education. A study on the encounter between schools and symphony orchestras , Saarbrücken 2006, ISBN 978-3-89727-342-9 .
  • Christine Mast and Catherine Milliken: Future @ BPhil. The education projects of the Berliner Philharmoniker. Teaching models for practice , Mainz 2008, ISBN 978-3-7957-0151-2 .
  • Music education on the way to communication science? 2007 meeting report of the Scientific Society for Music Education , edited by Martin Pfeffer, Christian Rolle and Jürgen Vogt, Hamburg 2008, ISBN 978-3-8258-0862-4 .
  • Barbara Stiller: Concert experience space. Processes of conveying music in concerts for children , Regensburg 2008, ISBN 978-3-932581-90-8 .
  • Rebekka Hüttmann: Ways of conveying music. A concept based on general design principles , Augsburg 2009, ISBN 978-3-89639-658-7 .
  • The concert. New performance concepts for a classical form , edited by Martin Tröndle , Bielefeld 2009, ISBN 978-3-8376-1087-1 .
  • Constanze Wimmer: Music education in context. Impulses - strategies - occupational fields , Regensburg 2010, ISBN 978-3-940768-19-3 .
  • Open listening rooms - design play areas. Concerts for children , edited by Ernst Klaus Schneider, Barbara Stiller and Konstanze Wimmer, Regensburg 2011, ISBN 978-3-940768-29-2 .
  • hear and see new things ... and convey. Educational models and reflections on New Music , edited by Michael Dartsch , Sigrid Konrad and Christian Rolle, Regensburg 2012, ISBN 978-3-940768-34-6 .
  • polyphony. networked. Perspectives on multimedia music education, edited by Michael Schmidt, Regensburg 2012, ISBN 978-3-940768-33-9 .
  • Communicate new music. Aesthetic and methodological issues , edited by Hans Schneider, Hildesheim 2012, ISBN 978-3-487-14834-2 .
  • Music education - what for? Outlines and perspectives of a young field of work , edited by Wolfgang Rüdiger, Mainz 2014, ISBN 978-3-7957-0864-1 .
  • Do you fancy something new ?! Ways of conveying new music , edited by Wolfgang Rüdiger, Augsburg 2020, ISBN 978-3-95786-225-9 .
"Main topic of concert education"

Specialized magazine issues with a focus

  • The Orchestra 1/2003: “Music Education. New tasks for orchestra ”.
  • The orchestra 9/2006: “Music education. Compulsory task - also for orchestra ”.
  • The Orchestra 11/2008: “Change of perspective. A new beginning in music education ”.
  • The orchestra 7–8 / 2011: “Funkpotenzial. Music mediation on the radio ”.
  • Discussion of music education , special issue 2 (2009): "Music Education - Concert Education in Detmold".
  • Discussion of music education , issue 54 (2012): “Music education as a task of music education”.
  • Musica sacra 3/2011: “Focus on concert pedagogy”.
  • Practicing & Making Music 5/2001: "New Listeners for Classics".
  • Practicing & Making Music 6/2006: "Music Education".

Web links

Individual evidence

  1. ^ Ingrid Allwardt: Musikvermittlung , PDF file at www.miz.org, as of May 8, 2014, p. 1.
  2. ↑ Wolfgang Rüdiger : On the concept of music education and the articles in this volume, in: Music education - what for? Outlines and perspectives of a young field of work , edited by Wolfgang Rüdiger, Mainz 2014, pp. 7–17, here p. 8.
  3. ↑ Ingrid Allwardt: Music Education, PDF file at www.miz.org, as of May 8, 2014, p. 1/2.
  4. ^ Ingrid Allwardt: Musikvermittlung , PDF file at www.miz.org, as of May 8, 2014, p. 5.
  5. ↑ See, for example, the artistic degree course in music education ( Memento of the original from April 17, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at the Robert Schumann University of Applied Sciences in Düsseldorf , the bachelor's degree in music education ( memento of the original from May 17, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at the University of Erfurt and the undergraduate degree in music education  ( page no longer available , search in web archives )  Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice. at the University of Cologne , as of May 15, 2014. @1@ 2Template: Webachiv / IABot / www.rsh-duesseldorf.de @1@ 2Template: Webachiv / IABot / www.uni-erfurt.de@1@ 2Template: Toter Link / verwaltung.uni-koeln.de  
  6. ↑ Information on the Master's in Cultural Mediation , accessed on May 15, 2014.
  7. ↑ See music education and music mediation in social work ( Memento of the original from May 17, 2014 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. at the Hoffbauer vocational academy and music education in the church sector at the Federal Academy for Cultural Education Wolfenbüttel , as of May 15, 2014. @1@ 2Template: Webachiv / IABot / www.hoffbauer-berufsakademie.de
  8. ↑ Dagmar Penzlin: History of music education. Music for young ears , article on www.swr.de, as of May 8, 2014.
  9. ↑ Tangible in Hans Heinrich Eggebrecht: Instruction in music. Essays on music pedagogy , Wilhelmshaven 1989, pp. 74–88, mentioned in Music Education - why? Outlines and perspectives of a young field of work , edited by Wolfgang Rüdiger, Mainz 2014, p. 137.
  10. ↑ The list follows Barbara Stiller: Music education: In the beginning was the buzzword. Attempt a critical chronicle , in: Musikvermittlung - what for? Outlines and perspectives of a young field of work , edited by Wolfgang Rüdiger, pp. 81–98; the literal quotations also come from this article; In addition, some stations referenced with individual records were included.
  11. ^ Ensemble Modern: Response - New music goes to school
  12. ^ Office for Concert Education: Online Archive
  13. ↑ Anke Eberwein: Concert Education. Concepts of concerts for children and young people , Hildesheim 1998.
  14. ↑ Music - Mediation - Life. Festschrift for Ernst Klaus Schneider , edited by Ortwin Nimczik, Essen 2001.
  15. ↑ nmz: music for children! With the Federal President
  16. ↑ Scope for music education. Developing, designing and experiencing concerts for children , edited by Barbara Stiller, Ernst Klaus Schneider and Constanze Wimmer, Regensburg 2002.
  17. ↑ www.stadt-klang-fluss.de
  18. ↑ Barbara Stiller: concert experience space. Processes of conveying music in concerts for children , Regensburg 2008.
  19. ^ Constanze Wimmer: Exchange. The art of conveying music. Qualities in music education and concert education, PDF file at www.miz.org, as of May 8, 2014.
  20. ↑ Open listening rooms - design play areas. Concerts for children , edited by Ernst Klaus Schneider, Barbara Stiller and Constanze Wimmer, Regensburg 2011.
  21. ↑ See young ears price ( Memento of the original from December 11, 2016 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (Call for applications at www.jungeohren.com), BKM Prize for Cultural Education (call for applications at www.bundesregierung.de), Music Mediation Award ( Memento of the original from May 8, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice. (Call for applications at www.nsks.de), Körber Masterclass on Music Education ( Memento of the original from May 8, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (Announcement on www.koerber-stiftung.de) and music academy Donaueschingen ( Memento of the original from May 9, 2014 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice. (Announcement on www.kulturstiftung-des-bundes.de), as of May 8, 2014 as well as Network New Music , as of December 5, 2017. @1@ 2Template: Webachiv / IABot / www.jungeohren.com @1@ 2Template: Webachiv / IABot / www.nsks.de @1@ 2Template: Webachiv / IABot / www.koerber-stiftung.de @1@ 2Template: Webachiv / IABot / www.kulturstiftung-des-bundes.de
  22. ↑ Holger Noltze: Terrible Simplifiers, Galloping Reductionism. Criticism of a mediation without criteria, in: Music mediation - what for? Outlines and perspectives of a young field of work , pp. 59–71, here pp. 60–68, especially p. 67.
  23. ↑ Holger Noltze: Terrible Simplifiers, Galloping Reductionism. Criticism of a mediation without criteria, in: Music mediation - what for? Outlines and perspectives of a young field of work , pp. 59–71, here p. 59.
  24. ^ Hans-Christian Schmidt-Banse: Rejuvenation of the music audience? , blogs.nmz.de, accessed on September 24, 2016.
  25. ↑ Bernhard König: Invisibility of the improper , netzwerkjungeohren.wordpress.com, accessed on September 24, 2016.
  26. ^ Project archive of the Ruhrtriennal , accessed on September 24, 2016.