Recent Music Education

Stefan Hörmann, Otto-Friedrich University of Bamberg stefan.hoermann@ppp.uni-bamberg.de

Recent Trends _in German Music Education

1 have come here to you from a faraway country and am deeply honoured to be participating in the International Symposium of the KMES in Seoul. By being here,

1

am able to gain an insight into the state of music education in Korea and other countries in Asia and America and thus broaden my professional horizons. 1 am very grateful to have been given this opportunity.

1

would like to repay your kindness by attempting to briefly provide information about some of the current developments in our discipline in Germany. Perhaps you will also gain insights that can be of benefit to you.

Introduction

In recent decades, music education in Germany has frequently found itself faced with new challenges.

Changes in political, social and institutional framework conditions as weil as new insights gleaned through research make it necessary to constantly review old positions and structures in our discipline and to explore new perspectives.

In the following,

1

will devote my attention to the Diagram 1. Structural model of music pedagogy

presentation of four particularly important current developments. Before doing so, however, my attention will be directed towards a special structural model for our discipline. With its determination of certain levels and terms employed in our discipline, it forms the basis for my subsequent explanations.

Levels and terms employed in the subject

The aforementioned model is depicted in Diagram 1 . lt is an attempt to describe the structure of a discipline that deals with the diffusion and acquisition of music. The term usually employed today in German for this subject area is 'Musikpädagogik' (music pedagogy).

The structural model is mainly based on work conducted by Eckhard Nolte and it was introduced into the professional debate for the first time approximately a decade ago. lncidentally, this actually occurred at the 3rd International Symposium on Music Education of the Seoul Institute of Music Education - a fact that is certain to be of particular interest within the present context of this presentation

11 •

Since then, it has been adopted,

Structure of the Discipline of Music Pedagogy RESEARCH LEVELl2nd theoretical levell ~ firm knowledge

PLANNING LEVEL[l st theoretical levell ~[normative) concepts for action in music lessons PRACTICAL LEVEL -actual teaching

1) Cf. Nolte 1997 and 1998.

Scientific Music Pedagogy

Music Didactics

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1) Cf. Nolte 1997 and 1998

Stefan Hörmann, Otto-Friedrich University of Bamberg

developed further and brought to the attention of a broader professional audience, not least by the present speaker himself.

²¹

According to this model, we have to distinguish between three levels: a practical one, which relates to the concrete issue of teaching itself, and two theoretical levels. The latter are devoted to the planning of music lessons, that is, to the development of appropriate (normative) concepts for action as weil as to the exploration of subject-related facts in order to gain firm knowledge. In order to differentiale these concepts from each other, also from the point of view of terminology, one is referred to as "music didactics" and the other as "scientific music pedagogy".

At the heart of the following remarks are the developments on the planning and research levels within our discipline.

Acquisition of new areas of practical application

In the past decades, new areas have been acquired for the practical application of music pedagogy beyond music lessons at schools offering a general education and music lessons involving instruments or vocal training. Firstly, attention has been devoted to the early musical training of children who are of late kindergarten age, then the basic exposure to music for even younger children, right down to the foetus still in the womb, work with adults and senior citizens as weil as teaching music within the realm of social or cultural pedagogy. In the course of these developments, a whole range of publications in the field of music didactics have been produced containing suggestions and examples

2) Cf. Hörmann 2003, 233ff.; Ott 2005, 162.

3) Cf. especially Helms/Schneider/Weber 2001; Ribke/Dartsch 2002.

4) Cf. Lee 2002, 120ff.

5) Hartogh 2000, 94.

stefan.hoermann@ppp.uni-bamberg.de

for organising work invoMng music.'I

There are various factors that have influenced this development. For example, in an age of increasing media dominance, independent musical actMty for many people has reduced and so it happens that many young parents no longer sing with their young children. In addition, people are growing older and the amount of leisure time is increasing - time which is supposed to be filled with useful pastimes.

Finally, the demand for lifelong learning, which has been supported by recent findings in research, is increasingly gaining in importance.

Recently, particular attention has been paid to approaches

that span the generations. On the one hand, this aspect

focuses on creating concrete opportunities for young and

old people to play music together.'

¹

On the other hand,

within the discussion regarding an "orientation towards the

life world (Lebenswelt)" of our discipline, this idea is linked to

considerations that aim to lead rnusic pedagogy towards a

fundamentally new perspective - to that of musical 'agogics',

which encompasses all stages of life. This is characterised

by the fact that, from an anthropological perspective, it

involves and accepts all people in the way they are and

poses questions such as: where do the experiences of

music coincide for human and musical experience between

disabled and able-bodied people; where are the points of

contact between the life worlds of old and young people? lts

aim would ultimately be, while tracing what the generations

have in common, to gain valuable insights for one's own life

world and, in searching for a life worth living in the future, to

discover existential areas of experience through the

geragogic perspective.'

¹

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3) Cf.

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Helms/SchneiderM'eber 2001; Ribke/Ribke/Dartsch 2002.3) 4) Cf. Lee 2002,1200.

5) Hartogh 2000, 94.

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Stefan Hörmann, Otto-Friedrich University ol Bamberg

Research into Music Pedagogy

After the first approaches approximately a century ago, in the last third of the 20th century, music pedagogy increasingly established itself as a research discipline.

This development is closely linked to the integration of this subject into the universities and it happened against the background of the conviction that a qualitatively high concept of music teaching has to be rooted in subject- related research with a broad scope. However, the realisation of the necessity for research into music pedagogy is generally only met with a low level of interest in corresponding publications from outside the realm of the university.

In the course of time, four different areas of research have emerged which today represent the main sub- branches of scientific music pedagogy. These are historical music pedagogy, empirical music pedagogy, comparative music pedagogy and systematic music pedagogy. In the following,

¹

will briefly explain these fields. lt should be said, however, that these are not areas which can be clearly divided from each other. On the contrary, there are many points of contact and overlap between them.

Historical Music Pedagogy

Historical music pedagogy focuses its interest on the history of the theory and practice of music-related learning, education and teaching. In addition to exploring the subject's past, this area also attempts to shed light on the historical conditionality of present-day circumstances.

Historical research has to date mainly centred on the 19th and 20th centuries. Here, the initial focus lies especially

stefan.hoennann@ppp.uni-bamberg.de

on the historical development of music lessons at school and the people who were largely responsible for this development.

In recent years, attempts have increasingly been made to achieve a differentiated view of the history from how it was previously seen. For example, by also using archive materials, the specific features of the individual regions of Germany are explored. More attention is also directed towards areas of our discipline which Jie outside the realm of the classroom, features relevant to music pedagogy from centuries lang passed, as weil as the work of less well-known people. In addition, historical situations are illuminated from a personal perspective through interviews with contemporary observers and through autobiographical accounts. Finally, since German reunification, attempts are being made, especially in the new federal states, to explore the history of music pedagogy in the German Democratic Republic.

⁶¹

Recently, various bodies have started to !hink in a highly fundamental way about the recording of music pedagogical history, its value and its further prospects.

Above all, four demands seem to be important for the future:'

¹

• Recording history must be aware that historical reality can never be perceived objectively and that there is always a subjective element to its perception.

• Historical research requires questions that are formulated beforehand, that are plausible and relevant and not just a focus which is directed towards sources that have already been examined.

• lt is necessary to critically define the methodological approach and its scope which are to be selected in the respective context.

6) Cf. on the present state of knowledge in historical research especially Gruhn 2003 and Ehrenforth 2005. The series Beiträge zur Geschichte der Musikpädagogik as weil as the volume of reports published alter the conference of the Working Group on Research into Music Pedagogy (Arbeitskreis Musikpädagogische Forschung) entitled Vom Umgang des Faches Musikpädagogik mit seiner Geschichte (Schoenebeck 2001) provide a good overview on the current approaches employed in research.

7) Cf. Pfeffer 2003, 271.

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Stefan Hörmann, Otto-Friedrich University of Bamberg

• The hypothetical nature of judgements on historical situations must be clear.

Empirical Music Pedagogy

Empirical music pedagogy deals with the specific nature, requirements and conditions of the processes of learning, educating and teaching music. The term is derived from the use of empirical research methods (such as interviews, tests, observations or experiments). In addition to quantitative processes, qualitative processes are increasingly employed. Empirical music pedagogy can be divided into two sub-branches that have fundamentally different focuses, but which can be considered together in individual research situations.

Firstly, reference should be made to music pedagogical psychology and sociology. This field concerns itself, amongst others, with questions relating to the development of musical skills, a talent for music, tastes in music as weil as the effect of music. All these topics are of great relevance for the teaching of music, but are not directly related to it. In this field, we have already reached a differentiated state of knowledge. This is not least due to the fact that, more than in all of the other areas of the discipline-related theories, the findings of international research have also been taken into account.'I However, there are some topics which have only been treated with scant regard to date - such as the motivation for achievement within the realm of music.

The second branch of empirical music pedagogy is represented by music pedagogical teaching/learning research or research into teaching. Although this area is of central importance for our discipline, it is only gradually receiving more attention.'

¹

The most frequent forms of research here are interviews conducted by teachers with

stefan.hoermann@ppp.uni-bamberg.de

regard to their own teaching or by learners on the lessons they have received or wish to receive as weil as tests on the assessments of learning effects. In addition to music lessons at school, other practical fields, from the kindergarten to the university, have also frequently been incorporated in the meantime.

Particularly great attention, both within and outside of our discipline, has been paid in recent years to a wide-scale study conducted by Hans Gunther Bastian at Berlin primary schools. The study has revealed evidence of significant transfer effects of music or music training, such as positive effects on social skills, the motivation to learn and achieve, the ability to concentrate as weil as the emotional sensitivities of the pupils. However, it must be said that the methodological approach employed by the study has also been strongly criticised.

¹⁰¹

Comparative Music Pedagogy

Comparative music pedagogy examines music-related teaching, education and learning systems and processes in different countries and cultures. In doing so, it especially focuses thematically on similarities, mutual influences, differences and opportunities for transfer.

In the course of European unification and increasing globalisation in the world, the sub-discipline of scientific music pedagogy is increasingly receiving more attention.

In terms of its potential, however, it is still in its infancy.

A comparison of the various European syllabi for music lessons in primary education may be selected from the approaches to research available to date. The author constructs here, amongst others, the profile for a fictional European music syllabus that could provide inspiration for the construction of a future European framework syllabus for music in primary education.

¹¹1

Furthermore, it is

8) Cf. especially Bruhn/Oerter/Rösing 2002; Gembris 2002; La Motte-Haber/Rätter 2005.

9) Cf. especially Knolle 2006.

10) Cf. Bastian 2000; Gembris/Kraemer/Maas 2001.

11) Schlegel 2001, 337f.

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01.A.1 ^~2-IE 0101 Ä~.2:f-§ .Al~ 81110!1 ^01~ 'lief. Ol'EJ'2'10ll A-jQI ^.x1~g 0101 ~Jil~ ~.:;i ~:c.f 7Jf.AI~ g~.S:.ljl WI rrHg Oll, Q:f§:C.f ^-EJ-~-§ Cf-E 2§ 'E!C2'1:C.f f:!4-C12.f~ DH~ ~CH-Ofef

jl ~-'?- 91ef.

⁸}

.::J.2-iLf ~Q,~'2'10llAiQI {:"l?l~Pl2f ~g 4-Jil

Q:f§~.:;:i(music pedagogical teaching/leaming research) EE.

E ~Qt.Al~~.:;:i(research in teaching)OICf. OI 'E!C2'10I ^~Qt.:ui

~2:,fOllA1E 71{!" %R-Of-"1'21, OIOll cH8- -EJ-~g AiAiül -a-of.xl jj_ 91ef.

^9l

71{!" ~\!:!-01 Ol~Ol.Aljj_ 'llE ^~~g .Al{JOI ^~Al B .:ul-'?-~tg:JOll CH6HA1 6H'6 .:ulA~ 'C.!Ei-'fl. Of71Lf, Q:f~-§-Oll

7-ll igJ-g ^-'?~Oll cHtHA1, ^~ igJ"jj_ ~g -'?~Oll cH-ofQ:1 'C.!Efü ofE -3:! -l!/!'21 OfLl2.f Q:J-~7~ ~B Eil-"-EOll CH8- -3:!~~ ~

fil8-Cf. ^Bii'.1~E. Q:f.:ulOll.A.1QI ^~Qt-'?-~ -l!I! OfLl2.f ^~Äl~Oll Al.!:f.Ei CHQ:f:C.~QI 7 IEf ~Jil'El'2'10ll CHB ^~~~ ~fil.S:.ljl

'lief.

8) Cf.

^~ol

Bruhn/Oerter/Rösing 2002; La Motte-Haber/Rotter 2005.

9) Cf.

~ol

Nolle 2006.

10) Cf. Bastin 2000; GembrislKraemer/Mass 2001.

11) Schlegel 2001, 3371.

~12-0llE, till~~ ~~Q:f.:LJlQI B.6. T:IEi tJf.6.El'i'J"(Hans Guenther Bastian)OI ^~AIB CHT/-2QI ~-'T'-7f ~Qt.:ui~Q:f 'El'2'1 QI LH2l~'C.! ~ tgd"jj_ 'lief. 01 ~* ~Qt:C.f ~QtQ:f§OI Af.2:1~ 71~. Q:f§:c.f {:"l?I~ !f-18- -§-71, Q:f~QI ~%~ .:::12-ljl

Qt:c.f ^-EJ-~-§ .:ul-'?-, ^.:ui~. Q:f§.A.l.6.igj:c.f :c.~~ ~-'T'-ofE -3:!01 Cf. ^~-'T'-E 4-Jil ^{~~ ~} rrH ~Af{:"i, ~.2. 'EJ-gf .::J.2.ljl ^~OI

Ai, ~Qt.:ui~Q:fQI 01 -Of!f.l'E!'2'1g c-j~ -EI~~ 2.S2..:il 'lief. 01

'E!C2'10I 7f.Alj]_ 'llE ~JH~~ ~:z{ Bef~ -"l-5.g ^{.:::i ~71} 8111

2.fjj_ ~ * ^{'ll~ -3:!0lef.}

Stefan Hörmann, Otto-Friedrich University of Bamberg

particularly noticeable that, in the meantime, that there are a number of dissertations submitted to German universities by doctoral candidates from Asia who are working on music pedagogy in their respective home countries. Two of these works deal with the reception of Carl Orffs' music pedagogical conception.

¹²1

Systematic Music Pedagogy

lt is only in recent years that there has been increased reference made to systematic music pedagogy in the discourse within our discipline. However, what this term actually means is seen rather differently. In the understanding of the term preferred here, it refers to that area of scientific music pedagogy that concerns itself in its systematic approach with meta-theoretical aspects of music-related learning, education and teaching.

lmportant topics that, in this sense, have already received attention include, amongst others:

• The structural nature and interdependence of important dimensions of the process of transferring information such as ways of dealing with music as weil as the aims of learning, the contents and methods of music teaching

^1'1

• The levels of music pedagogy and their relationship to each other

^1'1

• The philosophical (epistemological, aesthetic) basis of music pedagogy

¹⁵¹

Otherwise, the same is true as for comparative music pedagogy: the research area of systematic music pedagogy is still at the beginning of its development.

12) Cf. Cho 1999; Lin 2003.

stefan.hoermann@ppp.uni-bamberg.de

The current music didactic debate within the discipline on teaching music at schools Fundamental approach

In the course of the past decades, an uncountable number of publications from the field of music didactics on the subject of teaching music in schools have appeared. They reach determinations and make suggestions on the organisation of music lessons. In this way, teachers are given guidelines and varied stimuli for their work that are usually determined by current music didactical considerations. The great interest in such publications can thus be also explained by the immediate link to their practical application.

General opinion holds that music education is to be structured in a broad and multidimensional manner. This relates both to the manner of dealing with music as weil as to the learning aims, content and methods.

^1'1

With regard to the way one deals with music, a comprehensive practical and theoretical encounter with music should take place in music lessons. This means, in concrete terms, that pupils ought to:

• sing and play pieces of music

• create music themselves

• listen to music

• think about music and acquire knowledge about it

• incorporate music into other artistic forms of expression (language, movement, scenic performance, images) In the context of the various manners of dealing with music, there are a great variety of subject-related and general intentions to be followed. Here, particularly the following aspects are involved:

13) Cf. especially Kaiser/Nolte 2003. Since its publication in 1989, this fundamental work has become one of the central publications in our discipline 14) Cf., by way of example, the comments in section 2.

15) Cf. especially works (particularly by Hermann J. Kaiser, Jürgen Vogt, Christian Rolle) which have resulted from research carried out by the Graduale School on Aesthetic Education at the University of Hamburg (Graduiertenkolleg zur Ästhetischen Bildung).

16) Cf. - also with regard to the following remarks - especially Helms/Schneider/Weber 1997ff.; Jank 2005; current German syllabi for music

teaching at school.

Ol~~Oil.S:., l;!J".A.f i'.~Oil 'ÄJE Of.A.IOf ~S!.I gQj°.lil~{!-5 Q:f{!j -§o 1 .=i_-§S!.I .:il~~ ~~Oil.A.1 ~.:;i~ cf-'?-S!.I fü-§o 1 '1!cfE

j:117-ll~ ~~.ii!.-&~

gQJ-.lil~ ~<2'10il.A.1 xil7il~ gQJ-.lil~2:,fOJI cH~ '[:1~01 ~OiLflll

~ ~.g ~12 ~ t:J-l.J-S!.I ~Olcf . .=:J.2.iLf OI §Oi7f ~;i:fü~. S!.I 01-01-E tJf2.fE ^q~ cfE.lll ~§~IE ~-Ofcf . .g ~S!.IOil.A.i 01 -'?-Oil '1!0i.A.iS!.I OilEf o I~~ ~~(meta-theoretical aspects)Oil

01~ gjj~Oil.A.i, .=i_-l.J-S!.I ^~.:;i % ^{~-01 ~~} 'gd".:il 'ÄJE ~7'11-§

.g Cfgi'.f ^~Cf.

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12) Cf. Cho 1999; Lin 2003

.:il '1!cf. ^01~ *oH, .lil.A.f-§.g -'?-~Oil cH~ cfY8 ^'2.JLH~ 'gd-7il

~l[lj .=i.-§S!.I ~Oil ~~ ~l~S!.I .lil-'?-ig:j~ ~H2.~0il 27i~ cf'21'

~ ::i:1=i~~ 'gd-7JI -tief. ^Ol2.i~ :Ai.A.f-§Oil.A.iS!.I ~~.g ~:i:il~§

S!.I ~7'11~. OI~~ .lil~7f .5!.~~~ ~OjLfO~~q. OI~ .:;ixil

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13) Cf.

^~ol

Kaiser/Nolte2003. 1989\::1 ;>::iAi Ol<H. Ol

7l~Aie

Ol 'i§Q12j

7f'2/%R~

;>::fli g ofLf7f

.r.i~q.

14)ct.

01011cH~011e~-§2j

·2· 'i!ll'Oll

'2.18~

cH"' 01q.

15) Cf. ~ol fil'i!~=t cH2:t2j o l2:t.ii!~ CH2:t~ (Graduiertenkolleg zur Ästhetischen Bildung)Oll 2.li5HAi ~i5H'[J \'!'i'-~(~ol, Hennan J. Kaiser, Jürgen Vogt, Christian Rolle).

16) Cf. -

cf~~?~~::::.!- ~51Helm&'SchneiderNVeber1997ff.;

Jank2005;

~ÄH Al~'i'.l.:il ~E &~

2:t.ii!OllAi2.I

~21.ii!* R~.

Stefan Hörmann, Otto-Friedrich University of Bamberg

• encouraging a positive attitude towards music in its various forms of expression

• fostering the ability to appreciate and understand music

• fostering instrumental and vocal skills and techniques

• encouraging the ability to express oneself in music and create music

• encouraging the skills required to transfer music into other forms of expression

• imparting knowledge on the structure, origin and application of music

• encouraging an understanding of music and the ability to judge its quality

• fostering of the individual development as a whole

• encouraging social competence

From the perspective of content, music from all cultures, periods and styles should be regarded in schools.

However, since it is only possible to select a limited scope due to the constraints of time, it is very important that a sensible choice be made. For this purpose and with regard to the different manners of dealing with music, a variety of criteria are suggested. According to these, above all, attention should be paid to aspects, which relate to characteristics of music, the pupils, the teacher as weil as learning aims and methods. A canon of works in which the musical repertoire is described individually, as was the case in bygone days, is clearly rejected in this approach.

¹¹¹

Firstly, the principles of 'action orientation' and 'pupil orientation' are to be mentioned as important methodological guidelines for organising lessons. These terms primarily refer to the inclusion of the practical production of music or paying attention to the interests and experiences of the pupils with regard to music. In the

17) Cf. Kaiser/Barth/Heß/Jünger/RolleNogt/Wallbaum 2006.

18) Cf. Gruhn 2003, 333f.; Weber 1999, 351.

19) Cf. Gies/Jank/Nimczik 2001, 21f.; Jank 2005, 9211.

20) Gies/Jank/Nimczik 2001, 22.

21) Bähr/Gies/Jank/Nimczik 2003, 38.

stefan.hoermann@ppp.lJrti,.bamberg.de

sense of completely understanding these two categories, other forms of action, in addition to singing, playing instruments as weil as open forms of teaching that provide room for individual work, are to be included. In addition, pupils should be involved as far as possible in the conception and evaluation of teaching.

¹⁸¹

Furthermore, the various manners of dealing with music should be constantly combined with each other in the music lessons. Finally, if the opportunity arises, complex issues can also be explained from the perspective of other subjects.

'Kulturerschließung' (cultural interpretation) as a guiding principle

Should the teaching of music achieve a high degree of attractiveness due to a broad and multidimensional approach, on the one hand, there is the danger, on the other hand, of variegation free from orientation or conception. In order to counter this danger, there is the need for a golden thread that focuses the abundant variety in a sensible manner. Such a guideline is offered by the current discussion within music didactics regarding the approach of 'cultural interpretation' within the framework of 'constructive music teaching' (see Diagram 2).

^1'1

The maxim here is the exploration of cultural variety by means of methodological variety.

²⁰¹

'Cultural interpretation' is understood as a double-sided

process which involves interpreting the musical-cultural

reality for a person and, at the same time, in reverse, the

person him- or herself discovers the musical-cultural

world, thanks to his or her own experience, application

and reflections in dealing with music, through the process

of making music, listening, investigating and describing.

²¹¹

~~ -2t2.f~1Cf.

•~Q.j"~ Cf§ ~""'-12.I .H.~~ {!~J..17'1-EC11 ~.fl.E)- 71~

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~~ !f.IE!" ~~~ a1~ol-E 7H~~ :Al.S:. ^~'gj -l'f! OfLl2.f Q,1"71 '23-9-Wl.S:. ~gj-!r.lül:Aiüt E)-cf. Ef.E!" ^~~ül :Al.5:.2.I 7HEl.2.f2.f

~7füll 7Jf:Al.S:. tf~üf.S:.~ üHOt E)-cf.

¹⁸¹

!f.'3:!.!i!.Cf.S:., ~Q,I"~ q -'FE Cfcm! ~~~.g ~Q,i"-9-~0JIJ..1 :x1~~ J..1~ '2'.il1l!r.lül

17) Cf. Kaiser/BarthlHeß/Jünger/RolleNogW/allbaum 2006.

18) Cf. Gruhn 2003, 3331.; Weber 1999, 351.

19) Cf. Gies/Jank/Nimczik 2001, 211.; Jank 2005, 92ff.

20) Gies/Jank!Nimczik 2001, 22.

21) Bähr/Gies/Jank/Nimczik 2003, 38

Ot E)-cf. ^Df:AI~~ 7l.2.17f ~O-j\::l"Cf'2'.i, Cf§ ili'.f.2.I ^tf~~

~üHJ..1 c1~ *~~'2J -9-Xil~~ c~ -9-.S:. ~Cf.

~~ ~~~.>421 'Kulturerschließung' (~.2~ iiH~)

7HEJ.2.f2.fE ~tf~ül ~~~'E17-ll ~ !f-1~{:1.S:. ~Cf. ül !f.l~Oll

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tf{d~ 01~01~ * ~E ~Df2.l7f ~.fl.ofef. Oie T{'j-9-2.I~

~Q,l":Al.S:.2.I ~Oll 4fül-E 'g.2.f'Si üH~· 2.I ~22f tf~-'EI ~Q,I"

.iil-9-~ 'i!JQ10JIJ..12.I 2ll ~2.I~ ~üH ~nj ~ -9- ~cf (.H. 2).

¹⁹¹

2f ~J..1011, Cf§ :e:'IOJIJ..1-E, ~Q,I"~ '2!~.::il. ~.::il. tfifo"f.::il, fl.

J..fof-E 2~~ ~oHJ..1 Äf~OI 'E:!Jil !r.l-E ~~. ~~ . .::J.2.l.::il {:"j

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^.A.As=

~Q,1"~:2:~ A-117-11~ ~{2üf

-E '61''21~ 2~~ ülüH~ -9- ^~q.211

Stefan Hörmann, Otto-Friedrich University of Bamberg

Diagram 2. Music education employing ·cultural interpretation·, according to a diagram developed by Gies/Jank/Nimczik 2001, 22. lt is depicted as the treetop that is borne by the branches, which represent the action of making music together and music-related activity. These branches, in turn, emerge from the trunk carrying the basic skills in music.

This can occur in various dimensions, the respective scope of which can be measured by means of polarities (see Diagram 3).

²²1

Diagram 3. Dimensions of cultural interpretation

DIMENSIONS Materialdimension Historical dimension Functional dimension

Aesthetic dimension Subjective dimension

22) lbid., 36.

DIMENSIONS [Part-wholel [Yesterday-todayl

[Intention - usel [Form - meaningl

[ Own - otherl

23) Cf. especially Jank 1996; Bäßler 2001; Memorandum 2001.

!>tefan.hoermann@ppp.uni-bamberg.de

The value of this approach in the coming years for the discussion within music didactics remains to be seen.

Reforms in the training of teachers for schools offering a general education

Intensive discussions have taken place in the past decade with regard to a reform in the training for professions within the sphere of music pedagogy. The background to this debate is firstly the insight that changes are necessary from the perspective of the discipline. In addition, music pedagogy, along with the whole German university system, finds itself confronted with implementing of the Bologna Process, as it is termed. Thus, particularly the introduction of a modular system with Bachelor and Masters qualifications is to be introduced, which, in the course of creating a unified European framework of education for all courses of study, is supposed to become the norm.

In the discussion regarding a new orientation particularly for the training of music teachers for schools offering a general education, above all, the following changes have been suggested:

²³¹

• an improvement in the relationship between theory and practice

• an improvement in the network between individual areas of study

• the creation of opportunities for students to establish individual profiles with options for selected areas of special focus

• an improvement in the link to other areas of training in music pedagogy

• a change in the structure of the studies: a more general

orientation of the first semesters of study (with an

.s=.±t2. ^'@2~ tH""'\' ~ 50.'fd~ ~~.li!.~. Gies/Jank/Nimczik (2001, 221)0!1 QitH ^7H~.§ 3"!Dlcf . .:::l'E/OllAi @2~ ~2QI ~Q,f -4'-~.g Lf~

~ ~~~ .H~.!E\L~, L~~CH71~ @-Q.t ~-§-712.~ @-<2.t~~ t!-iC'.!.§ ^~

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71."t

71~ {i~fE Lf~~7l~!f.Ej

q.gq_

o IE Cf~ .X~Oll.A.i, ~'2'.i~ 'i!:!"~~ ~~ofüi ~~~ -9- 'XlE .z{.z{QI 'g:j~ LHOll.A.i ~Ofät * ^{'I.!Cf (50.R 3).}

²²¹

.Xf~ (DIMENSION)

22) lbid., 36

:i:IJli~

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(Ql.50-

~~)

(~~-QIDI)

(l:f{:l-Ef\'I)

23) Cf.

^~ol

Jank 1996; Bäßler2001; Memorandum 2001.

"?-1::1, ilil~ ~'2'.IOll.A.iQI ~2.f7f ~RofefE '2J~Oil ~ Clf'6f"~

~Cf. OIOll Ciof0:1, ~Q_(JJL~~g. -t:!.Xil ~~ ctt~2l ~Ef Ci

*Dl. *~Lf ~il!>.(Bologna Process)*** Oll.Ai :i:il.A.l.§1 t:lf

~ Ol~5HO~ fil ^~~I .Xi5H 'I.!Cf. OIOll [[f2.f, ~~ol ~.A.f2.f

• o l-E:i!f ~:i:ilQI tf~~ 7H1::i

• 7H~ ~Q:1-cJ-QI Lil.§.~3. 7H-;'::I

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• ~g ~~QI ~2.f: ~71 ~7 IOll.A.i2J ^{~@Oll CH~} .!i!_cf ^~~~

Stefan Hörmann, Otto-Friedrich University of Bamberg

artistic and practical focus) - specific pedagogical orientation in the higher semesters (with the opportunity for establishing special focus areas and professional reorientation)

In the meantime, the reforms in teacher training in the whole of Germany are underway and there are many new regulations for study and examinations. Here, we see that chances for optimising study programmes are indeed being taken. Nonetheless, there are also greater problems to be faced which result from converting to a BA/MA system. For example, sound conceptional approaches are needed for the universities to offer the required number and range of courses and examinations with the staffing levels they maintain and for courses, which are planned for the long term, such as practical music education, to be incorporated into the new system.

Finally, intensive discussions between colleagues are also necessary to maintain a mutual basis for teaching training, especially in the light of the individual modules being introduced at the individual universities. This is particularly important in order to not hinder students in changing their place of study or, as in the case of my home state of Bavaria, to allow students to master a statewide examination at the end of their university education with a precisely defined core curriculum.

Prospects

Music pedagogy in Germany at the university level sees itself faced by great challenges at present. lt has focus on music education in an increasing number of practical areas and to convey the necessary competence in this discipline for this purpose. The latter is particularly linked to enormous demands from the modern form of broad-

based and multidimensional music education in schools.

In particular, music pedagogy also has to promote the expansion of the scientific level of this discipline - not least to be able to do justice to the high value attached to subject-related research for establishing music didactical concepts. Finally, a new system of studying has also to be adopted and integrated.

lt is clear that the situation described above brings with it

a great number of problems. However, it also represents

a unique chance to modernise the discipline for the

future. The extent to which this opportunity is realised will

become apparent in the coming years.

B~~. ~~ -ttxil21 il!Af .ill.-&Oll cHB 7H~OI ~~ ßOllJj

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Stefan Hörmann, Otto-Friedrich University of Bamberg

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stefan.hoermann@ppp.uni-bamberg.de

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