Peter W. Schatt

Peter W. Schatt (* 1948 in Hamburg ) is a German music teacher , musicologist and artist .

biography

Peter W. Schatt was born in Hamburg in 1948 and grew up in a musically active family. In 1960 he became a member of the boys' choir of the North German Radio . At the age of 14 he began taking clarinet lessons, initially with Waldemar Wandel, and from 1966 as an extraordinary student with Ferdinand Rohland at the Hamburg University of Music . After graduating from high school in 1967, he studied school music for high schools in Hamburg (music education with Hermann Rauhe ), literary studies (with Karl Ludwig Schneider among others) and German studies (with Ulrich Pretzel among others ), and after the 1st state examination in 1972 also musicology (with Constantin Floros among others ). In 1973 he passed the diploma examination for clarinet and entered the civil service as a teacher. In 1974 he became a teacher for music and German and married the art teacher Gisela Wolff. In 1976 he finished his clarinet studies with the concert exam. Since then, in addition to his work as a teacher, he has been involved in countless concerts and radio productions - above all as a member of the Varius Ensemble Hamburg - in particular for new music .

In 1984 Schatt became a lecturer for clarinet at the Lübeck University of Music. It was founded in 1985 with a thesis on "exoticism in music of the 20th Century" at the Technical University of Berlin with Carl Dahlhaus Dr. phil. in musicology doctorate a year later he received a teaching of music education at the University of Hamburg . In 1988 he was seconded to the Hamburg University of Music for the subjects of music education, clarinet and new chamber music. In 1989 he accepted a professorship for music education at the Folkwang Hochschule Essen .

From 1994 to 2002 Schatt was co-editor of the magazine Musik und Bildung, from 1999 to 2004 and from 2007 to 2010 board member of the Institute for New Music and Music Education Darmstadt. At the Folkwang Hochschule - today Folkwang University of the Arts - Schatt was active in addition to his teaching activities as deputy head of the state examination office, as a representative for the teacher training courses, as dean and as a member and chairman of numerous committees and examination and appointment commissions.

Since his retirement in 2013, Schatt has devoted himself to scientific and artistic work. In 2015 he set up the Gisela and Peter W. Schatt Foundation together with his wife . Its purpose is to promote academic music education. It primarily awards grants for interdisciplinary doctoral projects in the field of music education as well as the "Sponsorship Prize of the Gisela and Peter W. Schatt Foundation" for outstanding music education dissertations.

Focus

The fourfold anchoring of his musical life practice in the artistic activity as a clarinetist, in the scientific work as a musicologist and music pedagogue and in the practical teaching activity is also reflected in Schatt's work focus. Many small publications are dedicated to the didactic analysis of music - including youth cultures - as a theory-based stimulus for teaching practice. Special emphasis is placed on the possibility of developing music through recourse to other arts, especially the visual arts. His schoolbook publication MusikBilder is dedicated exclusively to this topic . Thinking based on reception theory is already evident in his dissertation on exoticism in 20th century music. The question of the interaction between reception and production as well as the conditions and possibilities of authentic artistic work also determine his second book “Jazz” in art music . The aforementioned approach also forms the background for Schatt's music pedagogical focus. They lie in constructivist- based efforts to clarify the concept of culture and questions of intercultural music education. These led to his fundamental considerations on the peculiarities of music pedagogy in the 20th century, which he presented in his Introduction to Music Pedagogy and in his book Music Pedagogy and Myth . Here he focuses on the use of central music-pedagogical terms in a critical way. Against this background, he advocates a conceptual way of thinking that avoids ideologies and focuses on attentiveness to the specific teaching process.

Fonts (selection)

• Exoticism in 20th Century Music . Historical-systematic investigations into the metamorphosis of an aesthetic fiction (= Berlin musicological works, vol. 27.) Munich / Salzburg 1986
• Jazz in art music . Studies on the function of Afro-American music in compositions of the 20th century (= Perspektiven zur Musikpädagogik und Musikwissenschaft Vol. 18.) Regensburg 1995
• Music pictures . Contact between music and painting (= topic of music, secondary level II.), Leipzig 2003 schoolbook, teacher’s book for download at www.klett-verlag.de
• Introduction to music education . Darmstadt 2007
• Music education and myth . Between mythical explanation of the musical world and pedagogically guided work on Mythos, Mainz et al. 2008
• Music and politics (teaching model EinFach Musik, edited by N. Schläbitz), Paderborn 2013
• Music and nature (teaching model EinFach Musik, edited by N. Schläbitz), Paderborn 2014
• Music on the go: from hiking to flying (teaching model EinFach Musik, edited by N. Schläbitz), Paderborn 2015
• Nature and art as a mirror of the soul: On the relationship between composition and poetry in Arnold Schönberg's Gurre-Lieder , Munich 2014
• (together with Malte Sachsse): Encounters with non-European music , 2 volumes (= teaching model EinFach Musik, edited by N. Schläbitz), Braunschweig, Paderborn, Darmstadt 2016 a. 2017
• Music and Death (= teaching model EinFach Musik, edited by N. Schläbitz), Paderborn 2019

Editorships and co-author

• Shape and culture. Studies on musical education (with contributions by Jörg Lemberg, Ortwin Nimczik, Stefan Orgass, Peter W. Schatt, ed. V. PW Schatt) (= Folkwang -tex Vol. 11, ed. V. J. Fellsches), Essen 1995
• world @ music. Music intercultural (= publications of the Institute for New Music and Music Education Darmstadt Vol. 44, edited together with F. Förstel, R. Frisius, Marion Saxer), Mainz 2004
• Communicate new music. Analyzes - Interpretations - Teaching, (ed. Together with H. Bäßler and O. Nimczik), Mainz 2004
• "Our Faust: meet the composer". A composition project at schools in Essen: Report - Evaluation - Documentation, Regensburg 2009

Articles (selection)

• Music as a living music history - impulses for music lessons, in: Neue Musik 1999: Bilanz und Perspektiven, Mainz 2000, pp. 106–115
• New music - new experiences? Perspectives on the didactic reception of contemporary musical production, in: Neue Musik 1999: Bilanz und Perspektiven (= publications of the Institute for New Music and Music Education Darmstadt, vol. 40, ed. V. R. Frisius), Mainz 2000, p. 84– 105
• Hear rooms? Didactic considerations on musical space and spatial perception of music, in: Concert - Sound Art - Computer. Change in musical reality (= publications by the Institute for New Music and Music Education Darmstadt, vol. 42, edited by the Institute for New Music and Music Education Darmstadt), Mainz 2002, pp. 71–87
• Voice formation as enculturation. On didactics in a plural culture, in: Voice (= publications of the Institute for New Music and Music Education Darmstadt, Vol. 43, edited by the Institute for New Music and Music Education Darmstadt), Mainz 2003, pp. 203–215
• Vers une musique hybride - Opportunities for cultural innovation through pop composition? in: Pop Composition? Perspectives of a new course of study, ed. v. R. Mörchen (= Folkwang Studies, Vol. 4.) Hildesheim et al. 2007, pp. 11–26
• Classical handling of new music and cultural education, in: The senses and the arts. Perspectives on Aesthetic Education, ed. v. E. Liebau et al. J. Zirfas, Bielefeld 2008, pp. 191-213
• Culture transfer - a music educational task ?, in: Music - Transfer - Culture. Festschrift for Horst Weber, ed. v. S. Drees, A. Jacob, S. Orgass, Hildesheim 2009, pp. 507-528
• "Unconscious - highest pleasure"? Drafts of the sensuality of hearing, in: Anthropologie und Pädagogik der Sens, ed. v. J. Bilstein (= series of publications by the Pedagogical Anthropology Commission in DGfE Vol. 19), Opladen & Farmington Hills 2011, pp. 199–210
• Mimesis, transformation and performance. On the educational content of artistic production today, in: New Music in Motion. Music and dance theater today (= publications by the Institute for New Music and Music Education Darmstadt, vol. 51, edited by JP Hiekel), Mainz 2011, pp. 205–222
• “… Should the sensation be love? … “Perspectives on the thematization of feelings in music teaching contexts in: Music and feeling. Interdisciplinary Approaches from a Music Pedagogical Perspective, ed. v. M. Krause et al. L. Oberhaus, Hildesheim 2012, pp. 181–203
• Transformations: musical spaces, in: spaces of interruption. Theater - Performance - Pedagogy, ed. v. K. Westphal, Oberhausen 2012, pp. 105-136
• Music - without borders? The role of music in (teaching) educational processes, in: borderline relationships. Perspectives on Education in School and Theater (= Festschrift for Kristin Westphal on her 60th birthday), ed. v. W. Lohfeld and S. Schittler, Weinheim and Basel 2014, pp. 205–230
• "... the little word: and": considerations for exploring and shaping the relationship between music education and cultural studies, in: music education and cultural studies, ed. v. A. Cvetko and Chr. Rolle (= publications of the AMPF vol. 38), Münster et al. 2017, pp. 181–196

Web link

• Folkwang University biography
• http://www.gpw-schatt-stiftung.org