Music in Germany's State Education System

Ortwin Nimczik

MUSIC IN GERMANY’S STATE EDUCATION SYSTEM

In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 50–79

Published in print: December 2019 © German Music Information Centre http://www.miz.org/musical-life-in-germany.html https://themen.miz.org/musical-life-in-germany Kapitel |

Training music teachers at Rostock University of Music and Theatre

Music in GerMany’s state education systeM

2 Music education at school furthers the imagination, social skills and creativity. But for years Germany has had a shortage of trained teachers in this field. Here Ortwin Nimczik writes about recent developments and perspec tives in educational policy.

50 51 Music in Germany’s State Education System |

‘Schulen musizieren’ (Schools Make Music), a nationwide | Ortwin Nimczik gathering sponsored by the German Music Teacher Asso- ciation (BMU), gives school ensembles a platform on which to appear in public and make contacts. MUSIC IN GERMANY’S STATE EDUCATION SYSTEM

Germany’s state education system is rooted in two basic principles: the right of the individual to receive an education, and the responsibility of the state to pro vide it. The system is basically structured in a series of successive stages, beginning with elementary education and proceeding with primary schools to secondary schools (levels I and II), tertiary-level studies and continuing education (see Fig. 1).1 How- ever, since the 16 states (Länder) that make up the Federal Republic of Germany have independence in matters of culture and education, the legal foundations of the state education system are made up of 16 specific school laws. In practice, this has given rise to 16 contrasting educational landscapes differing marked ly in their structure and subdivisions and in the names they assign to forms and types of verted their grammar schools, or Gymnasien, from nine-year programmes (G9) school, particularly those that offer two or three educational channels. In some into eight-year equivalents (G8) in 2013, thereby shortening the school time from cas es, they even differ in the duration of compulsory full-time schooling. True, 13 to 12 years, some have since reverted to the earlier nine-year model.3 the ‘Standing Conference of the Ministers of Education and Cultural Affairs in the Länder of the Federal Republic of Germany’ (Ständige Konferenz der Kultusminis- The term ‘music education’ used below refers to music as a school subject. It inter der Länder in der Bundesrepublik Deutschland, or KMK) co-ordinates the inter- cludes a study of the subject’s prerequisites and underlying conceptions in the action between the federal government and the states, and among the states planning of lessons, as well as the actual conduct of those lessons, including an themselves. But when all aspects are taken into account, the result is a mare’s nest analysis of their place in the state school system. Lessons given at music schools or that makes it difficult if not impossible to achieve an overview of school education in the private sector are usually defined narrowly according to the ‘topic’ or instru- in Germany.2 ment involved, such as piano, voice, percussion or music theory.

Instruction at Germany’s state schools is aimed at all children and adolescents and MUSIC AS PART OF THE GENERAL CURRICULUM is broken down into specific subjects, such as German, mathematics, English and art. In particular, the educational channels of primary school and secondary level I Music education at state schools enables music to be taught on a profession- have increasingly augmented their curricula with so-called ‘learning areas’ as al and lasting basis. It thereby opens up perspectives for living with music in all overriding principles. This is especially the case in the natural and social sciences, stages of the pupils’ lives and contributes specifically to the development of their but it can also be found in music and the arts. In contrast, the scope and duration musical and general competence. Politicians and administrators, in their official of general education are inconsistent: although several states successfully con- statements on educational policy, attach special importance to the contribution of

52 53 Music in Germany’s State Education System |

Fig. 1 | Basic Structure of the Educational System in the Federal Republic of Germany

Qualification for vocational Higher education further education entrance qualification12 1 Some states have special types of transition from early childhood education to primary school education (Vorklassen, Schulkindergärten). Primary school comprises six grades in Berlin and Brandenburg. 2 Pupils with special needs are taught in inclusive classes at general education schools or at institutes with a focus on Abendgymnasium / Fachschule11 Higher education special education. The name given to such schools varies according to the law of the state concerned. Kolleg entrance qualification12 3 Grades 5 and 6 constitute a phase of particular advancement, supervision and orientation with regard to the pupil’s future educational path and particular direction. 4 19 Hauptschule and Realschule exist in appreciable numbers in only five states (Baden-Württemberg, Bavaria, Hessen, Lower Saxony, North Rhine-Westphalia). In Bavaria, the type of school comparable to Hauptschule is called Mittelschule. 13 Berufsober- 8 Hauptschule and Realschule courses are also offered at schools with multiple curricula, for which the names differ from Vocational qualification, polytechnics entrance qualification schule Gymnasiale 18 Oberstufe2,7 one state to another. 5 The following types of school combine Hauptschule and Realschule courses under a single educational and organisa- at grammar school tional umbrella: Regelschule (Thuringia), Sekundarschule (Bremen, Saxony-Anhalt), Verbundene Haupt- und Realschule 12 17 School types with focus on vocational education (Gymnasium), (Hessen), Regionale Schule (Mecklenburg-West Pomerania), Realschule plus (Rhineland-Palatinate), Regionalschule school types with three (Schleswig-Holstein), Oberschule (Brandenburg, Saxony), and Mittelstufenschule (Hessen). – Some types of school offer Fach- courses of education, curricula of Hauptschule, Realschule and also Gymnasium: Integrierte Gesamtschule, Kooperative Gesamtschule, Integrierte 11 16 9 Sekundarschule (Berlin), Oberschule (Bremen, Lower Saxony), Stadtteilschule (Hamburg), to some extent Regionale Schule Dual vocational Berufsfach- oberschule vocational grammar school (Mecklenburg-West Pomerania), Gemeinschaftsschule (Baden-Württemberg, Saarland, Saxony-Anhalt, Schleswig-Holstein, 2 10 training system schule Thuringia), and Sekundarschule (North Rhine-Westphalia). 10 15 6 The general education qualifications obtainable after grades 9 and 10 have particular designations in some states. These certificates can also be obtained at institutions offering secondary education for adults (known asZweiter Bildungsweg), at vocational schools or through an external examination before a state examining board. Leaving certificate after 10 years Mittlerer( Schulabschluss), 7 Admission to the Gymnasiale Oberstufe requires a formal entrance qualification, which can be obtained after grade 9 or leaving certificate after 9 years Erster( allgemeinbildender Schulabschluss)6 10. The general higher education entrance qualification (Allgemeine Hochschulreife) can be obtained after the successful completion of 12 or 13 consecutive school years (eight or nine years at Gymnasium). As a rule, the Gymnasium course of 10 10th grade 16 studies is not reduced to eight years at schools which combine different curricula. 8 The Berufsoberschule has so far only existed in a few states. It offers school-leavers with the Mittlerer Schulabschluss who 9 15 School types have completed vocational education and training or five years’ working experience an opportunity to obtain a higher

2 education entrance qualification restricted to particular subjects Fachgebundene( Hochschulreife). Pupils can obtain the 8 comprising several 14 Hauptschule4 Realschule4 Gymnasium5 general higher education entrance qualification (Allgemeine Hochschulreife) by proving their proficiency in a second 7 courses of 13 foreign language. education4,5 9 The Fachoberschule admits pupils who have completed the Mittlerer Schulabschluss and qualifies them to study at poly- 12 6 technics (Fachhochschulreife). The states may also establish a grade 13 with an opportunity to obtain the Fachgebundene 11 Hochschulreife and, under certain conditions, the Allgemeine Hochschulreife. Secondary level I level Secondary 3 Orientation phase 10 5 10 Berufsfachschulen are full-time vocational schools diﬀering in entrance requirements, duration and leaving certificates. Basic vocational training can be obtained during one- or two-year courses at Berufsfachschulen, and a vocational 4 9 qualification is available at the end of two- or three-year courses. Under certain conditions entrance qualification for 3 8 polytechnics (Fachhochschulreife) can be acquired on completion of a course lasting a minimum of two years. Primary school1 11 Fachschulen cater to continuing vocational education (one to three year duration). As a rule they require the completion 2 7 of relevant vocational education and training in a recognised occupation and subsequent employment. In addition, entrance qualification for polytechnics Fachhochschulreife( ) can be acquired under certain conditions. 1 6 12

Primary education Primary With the exception of Fachgebundene Hochschulreife (see note 8), higher education entrance qualification is general in 5 scope (Allgemeine Hochschulreife) and entitles holders to admission to all subjects at all higher education institutions. It is usually obtained at upper Gymnasium level (gymnasiale Oberstufe) by passing the Abitur examination. 4 Inclusive classes or special institutesInclusive Elementary education Source: Basic Structure of the Educational System in the Federal Republic of Germany: Diagram, ed. Standing Conference

for pupils with special educational needs pupils with special educational for (optional) 3 of the Ministers of Education and Cultural Aﬀairs of the Länder in the Federal Republic of Germany, Berlin 2017 (data from 12 / 2016); and additional updated information from the websites of the state ministries of education and cultural aﬀairs Grade Age Pre-school educ.Pre-school II level Secondary (retrieved 05 / 2019). Edited by the German Music Information Centre.

54 55 Music in Germany’s State Education System |

Everry yeay ar membemembm ererse off the teacacchinh ng sttafa f andd has the task of ‘guiding pupils toward a responsible and independent attitude stut dende t body off the Bettttinai von Arnirnn m Schochhool toward the media in the face of today’s sensory overload’, and considers that it inn BBererlinin join foro ces inn a musm ic theatrat e projoject. ‘thus lays the groundwork for an independent and self-determined life’. › From the point of view of cultural policy, music education ‘is vital to main- taining and promoting musical culture in Germany. It conveys our musical heritage to members of the coming generation, giving them an understanding for the many forms of music by imparting deeper knowledge and skills. It also contributes to the development of the pupil’s own identity and inspires and enables the “audience of tomorrow” to actively take part and become involved in cultural life, where “cultural life” is understood to be not just the way that culture is passed on traditionally in local regions, but also an appreciation of the music of other peoples and cultures’. Popular music is expressly included: ‘The largely one-sided concentration on so-called highbrow culture that domi- nated the school music curriculum decades ago – i.e. classical or “art music” – music education in the school curriculum. Here the educational aims – whether has long given way to a broader understanding of musical culture that also related to the individual or society, to the subject itself or to its side effects – are embraces such phenomena as rock, pop and jazz as well as German and inter- usually viewed as equivalent in relevance. The KMK describes ‘education in music national folk music’. and the arts‘ (musische Bildung) 4 as ‘part of the cultural education of each individ- › Viewed from the perspective of the school as an institution, music has the po- ual and a prerequisite for participating in cultural life. It is an important precondi- tential to make ‘a signiﬁcant contribution to a school’s public image. Its wide- tion for coexistence in our society. Musische Bildung conveys such crucial skills as ranging activities have an impact on the general public outside of the school, fantasy, imagination, heightened sensory perception and the ability to achieve a influencing the school’s image and encouraging a sense of loyalty among holistic view. Studying art and music is a source of self-expression and communi- pupils, teachers and parents. Performances by music groups are a valuable ad- cation and makes it possible to acquire interpersonal expertise’.5 dition to school events and help to improve a school’s atmosphere’.6

The KMK specified three guidelines for music education that cut across all school Music education as institutionalised at the elementary level should begin as early types and grade levels to unite the educational policies of the federal states. Terse as possible and be led by qualified professionals, e.g. in day care centres, kinder- and concise, they have lost none of their relevance today: gartens or other preschool facilities. Thereafter, Germany’s state school system has the central task of potentially allowing every pupil to come into contact with › From a general teaching perspective, music education makes ‘a vital contribu- music education.7 Schools in the state system are the only places in society which tion to the social education of young people. The performance of music, can purposefully, continuously, systematically and constructively encourage and whether alone or in a group, helps to fulfil the existential need of each per- display the musical skills of all pupils. The overriding goal of this sort of broadly son for self-expression; it also develops perception and sensitivity, encourages conceived music education for children and adolescents is to promote their self- creativity and depth of feeling, furthers the ability to enjoy and create, and determined participation and active involvement in musical culture and to enable enhances imagination and tolerance’. The KMK stresses that music education them to contribute to its advancement and continuation.

56 57 Music in Germany’s State Education System |

In every type of school and in every German state, music is firmly anchored in the Fig. 2a | Hours allotted to music at primary schools (2018) curricula of primary schools and all grades of secondary levels I and II. Either it has the status of a mandatory or ‘compulsory elective’ subject under its own name, or Grade Federal state 123456 it is indirectly a component of larger learning areas or combined subjects, where Hours allotted: 6 Baden-Württemberg it is becoming increasingly fluid in its definition. The states differ in the number (reference value; school responsible for specific distribution) of weekly hours they allot to music. A pool or set number of hours is generally Hours allotted: 16 16 stipulated for learning areas. As a result, the schools themselves can, to a large ex- 1 Bavaria Basic instruction 22 tent, specify how the lessons are to be distributed or apportioned to satisfy local in combination with German, mathematics, conditions. So-called ‘compulsory elective areas’, where one subject must be cho- general knowledge and art sen out of a group of subjects, may provide additional opportunities for including Berlin 2 2 2 2 2 2 music lessons in day-to-day school operations, some times in combination with Hours allotted: 34 4444 Basic instruction2 in combination Brandenburg other art forms. Given these diverse conditions, in many cases (especially in grades with German, mathematics, in combination with art general knowledge and art seven through ten) a school will offer music instruction in alternation with other Bremen Hours allotted: 24 in combination with sports and art subjects in so-called lesson blocks, or Epochenunterricht, i.e. where the subject is Hours allotted: taught in concentrated periods rather than being evenly spread throughout the Hamburg 6 (with 45-min. lessons) 4.5 (with 60-min. lessons) school year. Sometimes it can even be dropped or replaced by other subjects (see Hours allotted: Figures 2a and 2b). Hessen 68 in combination with art (incl. crafts and textile design) Hours allotted: Mecklenburg- Up to now there has been no firm data concerning the extent to which the weekly 68 West Pomerania hours of instruction actually given in music coincides with the states’ lesson al- in combination with art, crafts and theatre 1122 lotment plans. Instead, we have to rely on partial surveys and extrapolations con- Lower Saxony or 4 (lesson allotment plan) ducted e.g. by musical education associations among their members. It is true that North Rhine- 3 to 4 3 to 4 4 4 Westphalia in combination with art Rhineland- 6677 Palatinate in combination with sports, visual arts, textile design and crafts 33 Saarland 22 in combination with visual arts Saxony 1 1 23 2 Saxony-Anhalt 1 to 2 1 to 2 1 to 2 1 to 2 Hours allotted: Schleswig- 10 14 Holstein in combination with art, textiles, technology and sports Thuringia at least 1 at least 1 at least 1 at least 1

Note: Primary school lasts six years in Berlin and Brandenburg. 1 The teacher does not assign special instruction subdivided by hours. 2 The lesson allotment plan assigns a total number of hours in the relevant subjects for grades 1 and 2. The lesson hours are distributed among the subjects on the basis of the individual learning achievements in the class. MaMakingin music withh pririimmarry schchochhoolo chic ldrren:en: mmuusics c teeacacherr 3 Only 1 hour as of the 2019-20 school year. trtraraining at RRosstockUk Univi ersityitty off MuM sics c ana d Theah atretrtrer Source: Compiled by Ortwin Nimczik using information from the state ministries of education and cultural aﬀairs.

58 59 Music in Germany’s State Education System |

school authorities and some state ministries of education publish absolute figures qualification phase the pupils must attend lessons ‘in literature or the arts for at for learning groups or weekly lesson hours in their official school statistics. How- least two semesters’.13 Occasionally achievements from instrument or voice lessons ever, they do not provide information on the actual relation these bear to what is may be included in the qualification phase or the final grade, but without directly set down in the allotment guidelines. Moreover, the statistics often blur the dis- sat isfying the stipulations of subjects in the arts. Germany’s states differ markedly tinction between extracurricular activities (choir, orchestra, mixed ensembles etc.), in the way they deal with these regulations in detail, particularly as regards the actual classroom music and vague terms such as ‘rhythm’.8 different durations of grammar school and the peculiarities in those states that set down uniform statewide questions for final school-leaving examinations. Given the problems outlined above, the increasingly urgent question arises as to whether music is losing its status as a self-contained subject, with a creeping de- Grammar school students may take music as a ‘subject with higher standards’ (for- cline in number of lessons and ultimately a loss of dignity as a discipline. In this merly called ‘advanced-level course’, or Leistungskurs) or as a subject requiring a light, the KMK resolution of 16 October 2008, in its version of 11 October 2018, con- written or oral final examination. However, this too depends on regulations spe- cerning the ‘interstate content demands for disciplines and pedagogical methods cific to the state in question. If music is ‘taken as a subject requiring a written ex- in teacher training’,9 should be viewed with a critical eye. Its section on primary amination, the written examination may be replaced by a special subject-related school education departs significantly from a need for solid musical expertise. Its examination containing a written section’.14 When music is chosen as a course of ‘disciplinary perspectives’ and ‘basics of teacher training’ function as ‘minimal re- study in the upper level of grammar school, the possible combinations of subjects, quirements’ for ‘aesthetics as a field of study: art, music, motion’. The ‘lesson con- the course offerings at the school in question and the pupil’s own educational path tents and aims related to primary school education in art, music and sports’ are become increasingly delimiting factors. Similarly, institutional prerequisites, such lumped beneath the heading of aesthetic education. Teacher trainees are allowed as minimum course sizes or predefined subject or course pathways, form ever to choose a subject area of this sort as an alternative to the traditional study of larger obstacles to the creation of music courses with higher standards. To ensure music for primary schools.10 If this resolution is put into practice in the federal consistency and comparability among the federal states, the KMK has defined states, the probable consequence will be a further deterioration in the quality of basic requirements for final examinations in music, as in all other school subjects.15 how music is taught in primary schools.

The ‘Design of Upper Level and Final Examinations’ at Germany’s grammar schools was agreed upon at the Conference of the Ministers of Education and Cultural Affairs in its current version of 5 February 2018. It calls for a ‘subdivision into a one-year introductory phase and a two-year qualification phase, the assignment of subjects to three task areas, a division of subjects into mandatory and elective, the possibility of setting individual points of emphasis, and the provision of lessons at different levels of difficulty’.11 All in all, pupils in the qualification phase attend ‘two to four subjects with higher standards. These subjects are taught at least four hours per week, or at least five hours for two subjects with higher standards’.12 Music is assigned to task area 1 (language, literature and art), but unlike other A workkshop offt the BBMBMUMU’s NatNa ionall Musu ici EEdEducatationonn Coonngressese . school subjects (such as German) it cannot by itself cover the entire area. As a rule, Inn 2012001018 someo 1,500 music teeachachers took advad aantagage of thiss natnationo - widwiwidege gatht eringg tot purpurssue fuf rththheer eduucacatattioiononon and exchanangnnges.ess this means that a second subject must be chosen from the same task area. In the

60 61 Music in Germany’s State Education System |

Fig. 2b | Hours allotted to music at secondary school level I (2018)

Grade Grade Federal state Type of school 5678910 Federal state Type of school 5678910 9 Gemeinschaftsschule Arts and music area additional 8 as elective subject Arts and music area (music/art and design, thea- (art and design, music, tre) plus compulsory elective in arts and music Baden- Werk- / Hauptschule 9 theatre) Württemberg Realschule 9 Mecklenburg- Orientierungsstufe 6X 9 West Gymnasium Integrierte additional 12 as elective subject Pomerania X 8 + 21 Gesamtschule 222 Mittelschule 22 – compulsory electives: music or art Regionale Schule X 8 + 12 Realschule 2211111 Gymnasium X 7 + 5 X Bavaria Gymnasium 222111 Musikgymnasium X 10 + 2 X Musisches 222222 Integrierte 343333 Gymnasium plus one ‘instrument’ hour in each grade Gesamtschule in combination with art Integrierte 2222 Without college preparation: X Sekundarschule in combination with art 212121 322 Oberschule in combination with art Berlin2 Gymnasium X2 in combination with art With college preparation: 222111 Gymnasium 22 2 2 2 1.5 (classical languages) in combination with art 431111 in combination with art, Combination of music and art Lower Saxony Hauptschule Gesamtschule X44 crafts in combination with art Brandenburg2 and textile design Oberschule X44 Gymnasium X44 432121 in combination with art, Combination of music, art and theatre Realschule Bremen Oberschule 12 crafts in combination with art and textile design Gymnasium 10 X Compulsory elective in arts 222111 (visual arts, music, theatre) Gymnasium With music as elective: 4 83 (with 45-min. lessons) 244444 Hamburg Stadtteilschule 3 63 (with 60-min. lessons) 88 Gesamtschule 4 84 (with 45-min. lessons) in combination with art Gymnasium 3 64 (with 60-min. lessons) 88 Sekundarschule Integrierte 86 in combination with art 2 Gesamtschule in combination with art North Rhine- 88 Hauptschule Practical programme: Westphalia in combination with art and textile design 21 88 Realschule Mittelstufenschule 4 1 in combination with art in combination with art and textile design in combination with art Middle-level programme: 86 Gymnasium X 4 in combination with art Hessen 642 Hauptschule Integrierte 89 in combination with art Gesamtschule in combination with visual arts Rhineland- Realschule 24 8 8 to 11 Palatinate Realschule plus 88 in combination with visual arts Gymnasium in combination with art Gymnasium 46 Gymnasium 86 X (eight grade levels) in combination with art X

62 63 Music in Germany’s State Education System |

Grade Note: This table shows the hours allotted to music at secondary school level I as far as they can be determined from the websites of the educational ministries of the states involved. For information on the basic structure of the educational system in Germany, inclu- Federal state Type of school 5678910 ding a classification of the various states' school types, see Fig. 1. Gemeinschaftsschule 221111 X = Grade level is not part of this type of school (or its secondary level I). – = No music instruction allotted. 2 1 Only compulsory elective group IIIb. 2 Saarland 222–2optional: Secondary schools in Berlin and Brandenburg begin at grade 7. 3 Depending on the resources of the school concerned, the proportion of lessons can be increased on a subject-specific basis through music or art Gymnasium the ‘Compulsory elective area of informatics, visual arts, music and theatre’. Music branch: 4 Depending on the resources of the school concerned, the proportion of lessons can be increased on a subject-specific basis through 444444 the ‘Compulsory elective area of visual arts, music, theatre, informatics and applied science’. 5 Expires in the 2018-19 school year. 2 6 Only 1 hour as of the 2019-20 school year. Oberschule 21111optional: 7 Saxony One hour each in music history, music theory, ear training, piano/guitar, voice and choral training. music or art 8 Two hours each in main instrument, music theory and ear training, chorus/orchestra; one hour each in rhythm, music education; one Gymnasium 2112 6 11 half-hour piano as supplementary subject. 4422 Source: Compiled by Ortwin Nimczik using information from the state ministries of education and cultural aﬀairs. Gemeinschaftsschule (eight grade levels) in combination with art

4422 Saxony- Sekundarschule in combination with art education Anhalt 333322 Of the 623,000 pupils in the ﬁnal two grades of Germany’s grammar schools in the optional: Gymnasium 2017-18 academic year, 30.7 per cent took basic-level courses in music. This is 3.1 per in combination with art education music or art education cent more than in 2007-08, and one of the highest levels in the past ten years. The Gemeinschaftsschule 814 proportion of those who completed a music course with higher standards in 2017-18 X (grades 5 to 9) in combination with art, theatre and sports was 1.9 per cent. Two thirds of all pupils in the upper two grades of secondary Gemeinschaftsschule 818 (grades 5 to 10) in combination with art, theatre and sports lev el II do not study music at all (see Fig. 3). Regionalschule5 10 12 X Schleswig- (grades 5 to 9) in combination with art, theatre and sports Holstein Regionalschule5 10 16 Finally, it is useful to look at the quite inconsistent treatment of music at so-called (grades 5 to 10) in combination with art, theatre and sports ‘vocational schools’ (berufliche Gymnasien, Fachgymnasien or Berufskollegien, Gymnasium 14 14 X depending on the state (eight grade levels) in combination with art and sports 16 Gymnasium 14 20 concerned), which dif- Schools with extended music curricula offer espe- (nine grade levels) in combination with art and sports fer markedly in this re- cially solid training to talented pupils. Detailed descrip- 444 Gemeinschaftsschule in combination with art spect from one state to tions of facilities for every type of school in every state Gesamtschule 222 the next. Such schools, can be found at the German Music Information Centre. Regelschule 222 which offer a general 2 Thuringia Special classes Gymnasium 43 school leaving certiﬁcate, are quite common in some states. They differ widely in music7: 66 in the way they regulate the obligation to take music courses, ranging from the 8,5 8,5 8,5 8,5 8,5 8,5 regular treatment found at ordinary grammar schools to complete disregard.17 It Musikgymnasium 8 music should be noted that the number of graduates of this form of full-time school who obtain a general matriculation standard (Abitur) is steadily growing.18

64 65 Music in Germany’s State Education System |

Fig. 3 | Music pupils in final two years of grammar school (Gymnasium)1 it should be noted that these figures shed no light on how the music teachers are actually deployed – information of great relevance to the distribution of resources Pupils enrolled in music3 in lesson allotment plans, but which has appeared in no published survey to date. Total number Basic course or subject at Advance-level course or subject of pupils in elementary level (up to 3 hours with higher standards (at least 4 final two years2 per week) hours per week) The shortage of music teachers remains a basic problem in day-to-day school opera tions. The education ministries of Germany’s federal states unanimously 4 School year Number Number % Number % note a structural shortage of music teachers and rank music as a hard-hit case. The 2007-08 547,203 150,995 27.6 12,659 2.3 abovementioned report of 2012 already confirmed that Germany’s pupils are inad- 2009-10 628,982 158,532 25.2 15,657 2.5 equately supplied with music education: ‘Assuming that roughly 6 to 7 per cent 2011-12 686,641 192,704 28.1 15,930 2.3 of compulsory instruction falls on art and music by the end of secondary level I, 2013-14 626,558 185,249 29.6 14,185 2.3 and that every teacher generally teaches two subjects, it follows that music teach- 2015-16 645,930 196,692 30.5 13,648 2.1 ers must focus their lessons almost exclusively on music if they are to meet the 2017-18 623,021 191,422 30.7 12,025 1.9 demand for compulsory music tuition’.21 Continuity of instruction is not ensured,

Note: To take into account the differing treatment of the final years of grammar school in Germany’s states, the Standing least of all in primary schools and, with subtle gradations, at secondary level I Conference of the Ministers of Education and Cultural Affairs (KMK) no longer speaks of ‘basic’ and ‘advanced’ courses, but of subjects with basic or higher standards (‘Vereinbarung zur Gestaltung der gymnasialen Oberstufe in der Sekundarstufe II’, (apart from grammar schools). Surveys carried out by music teachers’ associations KMK Resolution of 7 July 1972 in the version of 16 June 2016). At least two subjects with higher standards are mandatory in all states; a number of states have defined three or even four such subjects. at the state level suggest that a mere 20 to 30 per cent of music lessons in primary 1 For grammar schools with eight grade levels (G8): Qualification phases Q1 and Q2. For those with nine grade levels (G9): schools are taught by trained music teachers, whereas approximately 70 to 80 per grades 12 and 13. 2 Total number of pupils according to information supplied by the Federal Statistical Office. From the 2008-09 school year a cent are taught either by teachers from other fields or not at all. The percentage of distinction has been made between grammar schools with eight years (G8) and nine years (G9). The figures cover both G8 22 and G9 grammar schools as well as integrated comprehensive schools, Waldorf schools and special schools. lessons cancelled is largely unknown. 3 Number of music pupils according to information supplied by the KMK. The figures include G8 and G9 grammar schools as well as integrated comprehensive schools, Waldorf schools and special schools. 4 Since the 2011-12 school year music has no longer been taught in Bavaria as a subject with higher standards. Source: Secretariat of the Standing Conference of the Ministers of Education and Cultural Affairs of the Länder of the Federal Republic of Germany, and various annual issues of the Federal Statistical Office’s Subject series 11, series 1. A prososppepecece ttive musius c teacher at Rostock UniUn verv sity of Music and Theatre

TEACHER SHORTAGE AND LESSON CANCELLATION

The number of teachers who teach music at Germany’s various types of school cannot be precisely determined.19 The education report Bildung in Deutschland 2012, using a special analysis conducted by the KMK, arrived at a figure of slightly more than 37,800 teachers with training or certification to teach music.20 However, this report has gaps in the data from several states and also departs from the information provided by the Federal Statistical Office regarding the types of schools sur- veyed. It is safe to assume that between 5 and 7 per cent of teachers at general state schools possess this certification. The actual formal qualifications of these teachers, e.g. with regard to training and specific degrees, are not spelled out. Moreover,

66 67 Music in Germany’s State Education System |

The glaring shortage of trained music teachers leads to an accumulation of prob- so are the available space and media equipment for music instruction: excellently lems in conjunction with the tasks and demands faced by schools today: educa- equipped schools stand alongside others without music classrooms, instruments tional inclusion, heterogeneity, language training, differentiation. This particularly or audio-visual resources. affects special education, where music is known to have a great impact on the pupils’ advancement. The teacher shortage is further intensified by the fact that There have been hardly any designated studies of what music lessons look like in music instruction can rarely be handled in a professional manner when the teach er day-to-day practice. Given the large-scale shifts in musical culture in recent de- falls ill or is otherwise absent. cades and the strong bond between young people and music, conditions for music as a school subject have clearly changed and expanded. Because of its diversity and In view of the changes in society, the increasing age of music teachers and the omnipresence in today’s audio-visual and other media, music has proved to be an growing number of pupils, there is no assurance that an adequate supply of quali- integral part of our lives and the way we express ourselves. In light of Germany’s fied music teachers will be available at Germany’s state schools in the future. The educational mandate in the whole of society, and given an open-minded view of shortage of trained music teachers is part of a larger problem, namely, the short- culture, music instruction is meant to enable children and adolescents to partici- age of teachers altogether, especially in primary schools. The employment of later pate actively and with self-determination in musical culture, its evolution and its entrants and career changers, though promoted by state ministries of education, preservation, and thereby to seek and find their personal and social identity. In will not solve the underlying problems; rather, it will lead ineluctably to a creeping light of altered conditions, which will surely continue to change in the future, it deprofessionalisation of the music teachers’ calling.23 Here the ministries are en- is safe to say that there can be no such thing as a single sacrosanct form of music joined to work in concerted fashion with educational institutions in order to estab- education. The way music is taught in Germany’s state education system will de- lish extensive short-term further education and post-qualification programmes pend inter alia on the pupils involved, their personal backgrounds, the location of with clearly defined qualification standards so as to impart solid communication the lessons, the socio-cultural context and the school concerned. skills in the teaching of music. In 2005 the German Music Council (Deutscher Musikrat), in its Expert Committee GENERAL REGULATIONS FOR MUSIC EDUCATION on Music Education, defined a comprehensive framework for music instruction in Germany’s state school system. It consists of a total of seven points, covering a The contents and methods used in the teaching of music are regulated by the spectrum that ranges from pleasure in music and joint music-making to emotion al core curricula and/or general guidelines of the state concerned. On the one hand, and sensory experiences to intellectual insight, including teaching pupils to under- these are aimed at the formulation of responsibilities or refer to the breadth of stand their own musical culture.24 contents and the variety of methods to be employed. On the other hand, they also lay down specific contents for particular courses or thematic points of emphasis, MUSIC PERFORMANCE IN SCHOOLS including pre-defined works for the main school-leaving certificate (Zentralabitur). They place various emphases on educational theory with regard to its applicability Besides music instruction, music performance is especially important in those in various types of school, and lay down corresponding framework conditions. The schools that offer specially designed music courses for pupils with a particular inter- detailed elaboration of the contents and methods is, however, largely left to school est in music. These mainly involve grammar schools with a special focus on music confer ences and qualified music teachers. School textbooks, songbooks, lesson and the arts, some of which co-operate with music schools at the tertiary level. In materials, media packages and thematic booklets from various educational pub- addition to an increase in music instruction, these institutes, some of which are lishers, as well as articles in music education journals, provide ideas and assistance boarding schools, also offer intensive lessons in musical instruments, voice, music in the planning and conduct of lessons. Just as the staffing situation is inconsistent, theory or ear training. Such schools place a premium on orchestral and choral 68 69 Music in Germany’s State Education System |

Left: a chamber music course. Right: a concert in the school’s auditorium. Belvedere Castle School of Opposite page: a Saturday concert in the school’s Music (Musikgymnasium auditorium (top and bottom right); the classroom building (middle); the chamber music room (bottom left) Schloss Belvedere), a board ing school where highly gifted young musicians receive special training in coopera- tion with the University of Music FRANZ LISZT Weimar

work. The overriding objective of these specially oriented schools is to promote highly talented pupils in a targeted manner and potentially to prepare them for a musical career in adulthood. There are also a good many schools that provide expanded music instruction at various levels of concentration using a wide range of concepts.

In the case of Germany’s ‘normal’ state schools, intensive instrumental and vocal training is mainly provided in optional subjects or extracurricular activities. In such schools, choirs, big bands, orchestras, mixed ensembles, work groups in contemporary music, combos and similar formations are distinctive features of school life. However, their vitality depends equally on the commitment of the pupils and on teachers with sufﬁcient powers of motivation. Such teachers have found it increasingly difﬁcult, in administrative terms, to have this work counted as part of their teaching load.

Roughly over the last 25 years, different forms of classroom music-making have taken hold in Germany’s state schools with the aim of building up broad-based musical competence without special musical skills. These programmes speciﬁcal- ly attempt to reach pupils who do not have the opportunity to learn an instrument outside the school system. Recently this trend has accelerated as schools 70 71 Music in Germany’s State Education System |

seek to cultivate an image and develop greater autonomy, and as all-day schools Fig. 4 | Partnerships with public music schools become more widespread. In a general sense, the term classroom music-making Percentage of partnerships by partner (2017) is understood to mean all music-related activities performed jointly by a school 25 music class, including reﬂecting on those activities. Consequently, classroom Primary schools Other institutions 32.3% music-making can generally be incorporated into any form of music teaching at a Retirement homes 3.2% Churches 1.5% state school. More speciﬁcally, classroom music-making is carried out in so-called 1.6% Secondary schools (excluding Music clubs 7.7% ‘music classes’ in which every pupil learns an instrument and/or receives singing Gymnasien and Gesamtschulen) Total: 3.7% Choruses 0.8% lessons. Compared to regular weekly class lessons, music classes receive more hours 13,412 5.9% Gymnasien

3.1% of instruction per week (at least two hours on a continuing basis, and sometimes Gesamtschulen 2.4% Kindergartens and 1.3% Förderschulen three or more). In addition to the closed form of music class, there are also what day care centres Other schools are called Einwahlmodelle (omnibus models) where the pupils come from parallel 36.3% classes or an entire grade level. These models vary depending on the instruments

taught: music classes may be held for winds, strings, voice (also known as singing, 2007 2009 2011 2013 2015 2017 Percentage of 2007 2009 2011 2013 2015 2017 vocal or choral classes), keyboards, recorders, guitars, percussion, fretted mono- Number of cooperating music cooperating Number of cooperating partners schools music schools chords or diverse mixtures. They are most prevalent in grades five and six, with a among total music schools tendency towards continuation at middle-level. They are also coming increasingly Type of partner (2017)1 to the fore in primary schools. In all school types they constitute an important area Primary schools 722 742 774 783 711 743 80.1 3,222 3,926 4,054 4,347 3,769 4,332 Hauptschulen2 235 285 259 209 443 576 478 314 where music teachers from state schools and teachers from music schools and the 305 293 31.6 567 498 Realschulen2 268 305 310 304 450 478 493 486 private sector can work together on a constructive basis. Gymnasien 522 529 502 500 387 418 45.0 893 975 1.069 973 707 796 Gesamtschulen 140 138 151 172 202 233 25.1 195 201 371 263 354 416 At present, music classes, with their various forms of classroom music-making, Förderschulen 166 193 214 227 215 233 25.1 232 290 308 308 333 328 appear to be a very successful vehicle for music instruction. It is difficult to de- Other schools 71 82 70 67 97 93 10.0 80 127 106 112 203 175 Kindergartens and 596 665 731 721 568 605 65.2 3,775 4,592 5,379 5,567 4,425 4,865 termine how many currently exist, but it is absolutely certain that their numbers day care centres have recently increased. The conflicting concepts and practices in schools also Choruses 228 264 209 190 63 61 6.6 642 709 538 482 130 114 Music clubs 455 490 435 411 248 268 28.9 1,832 2,012 1,793 1,693 1,030 1,038 raise questions, of course. These questions are directed inter alia at conceptual Churches 314 355 252 215 89 96 10.3 725 848 606 538 207 221 objectives, course design and balance, methodological consistency, integration of Retirement homes ----104121 13.0 - - - - 163 204 classroom music-making or educational theory, and balance between those parts Other institutions 165 179 229 245 186 217 23.4 447 523 626 732 339 425

of the lesson devoted to general music instruction and those devoted to playing Note: Owing to a change of methodology in data collection, figures from 2014 on cannot be directly compared with those from an instrument.26 At the same time, classroom music-making speciﬁcally requires previous years. 1 Measured against the total number of VdM music schools on 1 January 2018. competence on the part of music teachers, meaning that changes are needed in the 2 From 2014 on the categories of Hauptschulen and Realschulen were combined under the heading weiterführende Schulen (secondary schools). 27 way they are trained. Source: Compiled and calculated by the German Music Information Centre from the various annual issues of the VdM’s Statistisches Jahrbuch der Musikschulen in Deutschland. In recent years a number of practical projects of limited duration and variable quality and relevance have been launched to reinforce school music-making, par- work of Bochum Music School and continued from 2007 in a co-operation between ticularly in primary schools. They began with the ‘JeKi’ project (for ‘Jedem Kind ein the Federal Cultural Foundation, the state of North Rhine-Westphalia and the Fu- Instrument’, i.e. An Instrument for Every Child) that originally emerged from the ture of Education Foundation (Zukunftsstiftung Bildung). In 2010 the project was 72 73 Music in Germany’s State Education System |

extended to the Ruhr area of North Rhine-Westphalia and became a model adopted No data is available on collaboration between state schools and private music in various forms in Hamburg, Hessen and other states. In North Rhine- Westphalia schools or freelance instrument or voice teachers. With the expansion of Ger- itself it was replaced in the 2015-16 school year by the successor programme ‘JeKits’ many’s all-day schools, however, a closer co-operation at a guaranteed qualitative (for ‘Jedem Kind Instrumente, Tanzen, Singen’, i.e. Instruments, Dancing and Sing- level is both necessary and desirable as a supplement to music education. ing for every child), which was opened for every municipality in the state and added the two other points of emphasis as alternatives to instrument lessons. FUTURE PERSPECTIVES Equally worthy of mention are many other projects and initiatives that provide very important and creative regionally-tinged supplements to Germany’s nation- The perspectives of music as a school subject are and will remain strongly in- wide mandate for music education from the preschool level to advanced training ﬂuenced by ongoing developments in Germany’s cultural, educational and school for music teachers. Many of these projects are the result of civic commitment and policies. Within this framework, it is particularly important to strengthen the po- unencumbered by bureaucratic red tape.28 However, such projects must be seen as sition of music in its speciﬁcity and uniqueness among the broad range of sub- complementary to school music instruction, not as a substitute for it. jects taught at every level of the state school system, to place it in educationally

The Song Festivals at the end of the ‘Klasse! Wir singen’ programme bring together thousands of children. Music education in the state school system is associated in many different ways with co-operative ventures with public music schools. The percentage of schools meaningful learning environments and to appreciate its importance to the whole that enter co-operations with VdM music schools has stabilised at the level reached of society from every vantage point. It is especially vital to ensure that music is in recent years. In 2017, for example, almost 80 per cent of VdM music schools promoted and taught on a continuous basis. To do so, the number of music teacher worked together with primary schools, and almost 45 per cent with grammar trainees must be increased, especially for primary and special schools. Equally im- schools (see Fig. 4). portant is the need to enable and establish inclusive teaching methods in which

74 75 Music in Germany’s State Education System |

music can successfully meet the many claims and demands placed upon it in 6 Sekretariat der Ständigen Konferenz der Kultusminister der Länder school life, both in its contents and its methodology. Finally, it is essential to dis- in der Bundesrepublik Deutschland, ed., Zur Situation des Musik- cuss the contribution that music education can and ought to make, both now and unterrichts im Fach Musik an den allgemeinbildenden Schulen in in the future, toward active and self-determined participation in our digital world. der Bundesrepublik Deutschland: Bericht der Kultusministerkonferenz vom 10.03.1998, (Bonn, 1998), pp. 11f. 7 The total number of students in Germany’s general education system was 8.3 million in the 2017-18 school year. Slightly more than 7 million Ortwin Nimczik is professor of music education and pedagogy at Detmold attended primary schools and schools of secondary level I. Figures University of Music and honorary president of the German Music Teacher from Federal Statistical Office, ed., Bildung und Kultur: Allgemein- Association (Bundesverband Musikunterricht). bildende Schulen, Schuljahr 2017/2018, Special series 11, series 1 (Wiesbaden, 2018), p. 10. 8 This vagueness is illustrated by the case of North Rhine-Westphalia, where the total number of hours allocated in primary schools to the ‘artistic subjects’ music and art in the 2017-18 school year should be 1 Illustrated in Grundstruktur des Bildungswesens in der Bundes- roughly equal. In fact, the 2017-18 statistics reveal that 4 hours were republik Deutschland: Diagramm, ed. Sekretariat der Ständigen accorded to art and art education for every 3 hours allocated to music Konferenz der Kultusminister der Länder in der Bundesrepublik and rhythm. See Ministerium für Schule und Bildung des Landes Deutschland (Berlin, 2017). Nordrhein-Westfalen, ed., Das Schulwesen in Nordrhein-Westfalen 2 Further discussion in Lutz R. Reuter and Margarete Menz, ‘Das Schul- aus quantitativer Sicht 2017/18 (Düsseldorf, 22018), pp. 86 and 91. wesen in der Bundesrepublik Deutschland’, in Gerhard Mertens 9 Sekretariat der Ständigen Konferenz der Kultusminister der Länder et al., eds., Handbuch der Erziehungswissenschaft, vol. II/1: Schule in der Bundesrepublik Deutschland, ed., Ländergemeinsame inhalt- (Paderborn, 2009), pp. 139-54. liche Anforderungen für die Fachwissenschaften und Fachdidaktiken 3 For details see Sekretariat der Ständigen Konferenz der Kultus- in der Lehrerbildung: Beschluss der Kultusministerkonferenz vom minister der Länder in der Bundesrepublik Deutschland [Secretariat 16.10.2008 i. d. F. vom 11.10.2018 (Bonn and Berlin, 2018). of the Standing Conference of the Ministers of Education and Cultural 10 Ibid., p. 66. In the meantime the introduction of such learning areas Affairs], ed., Das Bildungswesen in der Bundesrepublik Deutschland has led to corresponding degree programmes, e.g. at Cologne Univer- 2015/16: Darstellung der Kompetenzen, Strukturen und bildungs- sity. However, the proportion devoted to music in those programmes politischen Entwicklungen für den Informationsaustausch in Europa is extremely limited compared to the proper study of music. (Bonn, 2017), pp. 137f. 11 Sekretariat der Ständigen Konferenz der Kultusminister der Länder 4 To avoid historical connotations of musische Bildung (education in in der Bundesrepublik Deutschland, ed., Vereinbarung zur Gestaltung the arts) it would be meaningful and conceptually clearer to speak der gymnasialen Oberstufe und der Abiturprüfung: Beschluss der Kul- of musikalische Bildung (education in music). tusministerkonferenz vom 07.07.1972 i. d. F. vom 15.02.2018 (Berlin and 5 Sekretariat der Ständigen Konferenz der Kultusminister der Länder Bonn, 2018), p. 4. in der Bundesrepublik Deutschland, ed., Kunst- und Musiklehrer- 12 Ibid., p. 9. ausbildung: Beschluss der Kultusministerkonferenz vom 06.12.2012 13 Ibid., p. 8. (Berlin, 2012), p. 2. 14 Ibid., p. 12. 76 77 Music in Germany’s State Education System |

15 Einheitliche Prüfungsanforderungen in der Abiturprüfung Musik: Ausfall des Musikunterrichts an Gymnasien und Sekundarschulen Beschluss der KMK vom 01.12.1989 i. d. F. vom 17.11.2005, ed. Sekretariat (9. und 10. Klasse) (Bonn, 2015), online at http://www.miz.org/down der Ständigen Konferenz der Kultusminister der Länder in der Bundes- loads/statistik/91/statistik91.pdf (accessed on 2 November 2018). republik Deutschland (Berlin and Bonn, 2005). The German Music Council and the Bertelsmann Foundation are 16 The status of music at this type of school is discussed by Philipp Ahner: currently preparing a study of this topic, with initial findings Wahlfach ‘Musik’: Musikunterricht an beruflichen Gymnasien in der scheduled to appear in 2020. Sekundarstufe II in Baden-Württemberg aus der Perspektive von Jugend- 23 In 2017, 114 career changers were hired for music instruction in Berlin, lichen, Musikpädagogik und Kultusverwaltung (Norderstedt, 2011). 60 in North Rhine-Westphalia, 39 in Saxony and 31 in Lower Saxony, 17 Vereinbarung zur Gestaltung der gymnasialen Oberstufe und der Abitur- or 267 positions nationwide. See Sekretariat der Ständigen Konferenz prüfung: Beschluss der Kultusministerkonferenz vom 07.07.1972 i. d. F. vom der Kultusminister der Länder in der Bundesrepublik Deutschland, ed., 15.02.2018, ed. Sekretariat der Ständigen Konferenz der Kultusminister Einstellung von Lehrkräften 2017: Tabellenauszug, ed. (Berlin, 2018), p. 9. der Länder in der Bundesrepublik Deutschland (Berlin and Bonn, 2018), 24 Deutscher Musikrat [German Music Council], ed., ‘Sieben Thesen zur p. 8, note 4. Musik in der Schule’, in Musik bewegt: Positionspapiere zur Musikalischen 18 In Baden-Württemberg this figure was 18,646 in 2016, i.e. more than Bildung (Berlin, 2005), pp. 10-19, esp. pp. 11f. a third of all grammar school pupils who graduated in that year. 25 More detailed discussion in Michael Pabst-Krueger, ‘Klassenmusi zieren’, See Abiturienten nach Schularten, ed. Statistisches Landesamt Baden- in Werner Jank, ed.: Musik-Didaktik: Praxishandbuch für die Sekundar- Württemberg (Stuttgart, 2018), online at https://www.statistik- bw.de/ stufe I und II, (Berlin, 62017), pp. 158-68. BildungKultur/SchulenAllgem/LRt0302.jsp?path=/BildungKultur/ 26 Hans-Ulrich Schäfer-Lembeck, ed., Klassenmusizieren als Musikunter- SchulenBerufl/ (accessed on 5 October 2018). richt!? Theoretische Dimensionen unterrichtlicher Praxen: Beiträge des 19 The Federal Statistical Office gives the total number of teachers Münchner Symposions 2005 (Munich, 2005). Since then studies have been in Germany’s state school system at 679,478 in 2017-18, breaking published on this topic, including Gerd Arendt, Instrumentalunterricht für them down by type of school, scope of employment and sex, but alle? Zur langfristigen Relevanz des Klassenmusizierens und der Notwen- not by subject, owing to the inconsistent sources relative to the digkeit einer Reform des Musikunterrichts (Augsburg, 2009); Thade Buch- federal states. See Bildung und Kultur: Allgemeinbildende Schulen, born, Neue Musik im Musikunterricht mit Blas instrumenten (Essen, 2011); Schuljahr 2017/2018, ed. Statistisches Bundesamt, Special series 11, and Katharina Bradler, Streicherklassen unterricht. Geschichte – Gegenwart series 1 (Wiesbaden, 2018), pp. 696-744. – Perspektiven (Augsburg, 2014). For an integrative conception of music 20 Bildung in Deutschland [Education in Germany] 2012: Ein indikatoren- education see Bernhard Sommer et al., Leitfaden Bläserklasse: Ein Konzept gestützter Bericht mit Analyse zur kulturellen Bildung im Lebenslauf, für das erfolgreiche Unterrichten mit Blasinstrumenten (Innsbruck, 2018). ed. Autorengruppe Bildungsberichterstattung (Bielefeld, 2012), p. 335. 27 Further discussion in Ludwig Striegel, ‘Klassenmusizieren als integratives 21 Ibid., p. 191. Unterrichtskonzept: Das Mainzer Modell’, in Schäfer-Lembeck, ‘Klassen- 22 In March 2015 the study ‘Jugend/Kunst/Erfahrung: Horizont 2015’ inves- musizieren’ (see note 26), pp. 118-24, and Ortwin Nimczik, ‘Studienfeld tigated the cancellation of music education at grammar and secondary- Klassenmusizieren: Ein neuer Schwerpunkt im Studiengang Schulmusik level schools by polling pupils in grades nine and ten. The findings an der Hochschule für Musik Detmold’, in ibid., pp. 125-37. revealed that music education did not take place at 22 per cent of the 28 Examples include ‘Primacanta: Jedem Kind seine Stimme’; ‘SingPause: schools and was cancelled ‘frequently’ or ‘now and then’ at 27 per cent. Singen an Düsseldorfer Grundschulen’; ‘GanzOHR! Musik für Kinder’; The statistics were published by the German Music Information Centre in and ‘Canto Elementar’. 78 79 MusicAl life in Germany

This publication has been made possible by the kind support of the Minister of State for Culture and the Media. First edition, Bonn, March 2019 (German) and December 2019 (English)

Publisher The German Music Information Centre is supported by: German Music Council German Music Information Centre

Editorial office Stephan Schulmeistrat, Dr Christiane Schwerdtfeger

Picture editor Dr Karin Stoverock

Editorial assistants Tobias Meyer, Christiane Rippel, Timo Varelmann

Advisers Dr Jürgen Brandhorst (GEMA Foundation) | Prof. Dr Andreas Eckhardt | Dr Tilo Gerlach (Collecting Society for Performance Rights, GVL) | Prof. Reinhart von Gutzeit | Bernd Hawlat (German Broadcasting Archive, DRA) | Elisabeth Herzog-Schaffner (German Musicians’ Association, DTKV) | Prof. Christian Höppner (Ger- man Music Council) | Prof. Dr Joachim-Felix Leonhard, State Secretary ret. | Elisabeth Motschmann, MP | Stefan Piendl (German Music Council) | Prof. Dr Wolfgang Rathert (LMU Munich) | Dr Martina Rebmann (Berlin State Library – Prussian Cultural Heritage Foundation) | Prof. Dr Dörte Schmidt (Berlin University The translated version of this publication of the Arts) | Dr Heinz Stroh (German Music Publishers Association, DMV) | Antje Valentin (State Music was made possible by the kind support Academy of North Rhine-Westphalia) | Prof. Wolfgang Wagenhäuser (Trossingen University of Music) | of Hal Leonard Europe GmbH. Prof. Dr Robert von Zahn (State Music Council of North Rhine-Westphalia)

Translation: Dr Bradford J. Robinson Proofreading: Susanna Eastburn, Keith Miller

A publication of the German Music Information Centre

2 3 Picture credits

Note We wish to express our gratitude to all those persons and institutions that generously placed pictorial The present volume is an English translation of the German-language publication Musikleben in Deutsch- material at our disposal. Without their support this multifaceted view of ‘Musical Life in Germany’ land, which appeared in March 2019. The editorial deadline for the German edition was 30 September 2018; would not have been possible. information published after that date has been taken into account wherever possible and meaningful. All

the information has been obtained and checked with maximum care. Nonetheless, neither the German Unless otherwise indicated, picture credits on pages with more than one photograph occur line by line from left to right. Music Council nor the German Music Information Centre can assume liability for its accuracy. Readers are

invited to send all questions and comments regarding the contents to Title page/spine/bookmark: a member of the Youth Symphony Orchestra of Leipzig Music School performing at the German Orchestra Competition in Ulm, 2016. © Jan Karow

German Music Council Back cover: the roof of the Elbphilharmonie in Hamburg. © www.mediaserver.hamburg.de/Maxim Schulz German Music Information Centre Weberstr. 59 Page Copyright Page Copyright 53113 Bonn 5 © Veronika Kurnosova 16/17 © Claus Langer/WDR Germany 8/9 © Annette Börger 18/19 © Silvia Hauptmann Phone: +49 (0)228 2091-180, Fax: +49 (0) 228 2091-280 10/11 © MDR/Marco Prosch 20/21 Melt Festival © Stephan Flad [email protected] 12/13 © Heiko Rhode 22 © Elke A. Jung-Wolff www.miz.org 14/15 © Hartmut Hientzsch

Managing Director of the German Music Council: Stefan Piendl Page Copyright Page Copyright Director of the German Music Information Centre: Stephan Schulmeistrat 30/31 © Tobias Döhner/www.folklang.de 36 © Geoffry Schied | © Silverangel Photography | 32 © Lea Letzel © Martin Sigmund | © ICS Festival GmbH All rights reserved. This work, including every section contained within it, is protected by copyright. Any 34 © Jan Krauthäuser 39 © Claudia Höhne | © Benjamin Krieg 40 © Eliane Hobbing use beyond the narrow limits of copyright regulations without the previous consent of the publisher 35 © Vera Lüdeck (left) | © Heiko Rhode (top right) | © Landesakademie für die musizierende Jugend 44/45 © JeKits-Stiftung is prohibited and punishable by law. This applies in particular to mechanical reproduction, translation, in Baden-Württemberg/Foto: Steffen Dietze 47 © Hans Jörg Michel micro filming, and electronic storage and processing. (bottom right)

Production: ConBrio Verlagsgesellschaft mbH, Regensburg Printing and binding: druckhaus köthen GmbH & Co. KG, Köthen Ch. 2 | Music in Germany’s State Education System Maps: Silke Dutzmann, Leipzig Page Copyright Page Copyright Artwork and design: SINNSALON Reese, Design für Kommunikation, Hamburg 50/51 © Oliver Borchert 61 © Richard Filz Layout and typesetting: Text- & Graphikbüro für Kultur Birgit A. Rother, Werther (Westf.) 53 © BMU-Archiv 67 © Oliver Borchert 56 © Aaron Grahovac-Dres 70/71 © Gerold Herzog 58 © Oliver Borchert 74/75 © Anja Albrecht ISBN 978-3-9820705-1-3 4 Ch. 3 | Music Education Outside the State School System

Page Copyright Page Copyright

80/81 © Volker Beushausen für LMA NRW 93 © JeKits-Stiftung 82 © JMD 95 © Bo Lahola 85 © Jessica Schäfer 100/101 © Erich Malter 86 © VdM/Heiderich 104 © Landesakademie für die musizierende Jugend 90 © VdM/Foto: Kai Bienert | © VdM in Baden-Württemberg/Foto: Steffen Dietze 91 © VdM

616 Picture credits |

Ch. 4 | Music Communication Ch. 9 | Music Theatre

Page Copyright Page Copyright Page Copyright Page Copyright

108/109 © Emile Holba 119 © Stefan Gloede | NDR/Foto: Micha Neugebauer | 244/245 © Bayerische Staatsoper/Wilfried Hösl 255 © Gert Weigelt 111 © MDR/Stephan Flad © Bayerische Staatsoper/Wilfried Hösl | 247 © Bayerische Staatsoper/Wilfried Hösl 256/257 © Oper Frankfurt/Barbara Aumüller © Ursula Kaufmann/NTM 112 © Michael Habes | © Jörg Baumann 250 © Bernadette Grimmenstein (top left) | © Hans Jörg 258 © Paul Leclair 113 © Michael Habes 120 © Stefan Gloede Michel (bottom left) | © Stephan Floss (top right) | 260/261 © Monika Rittershaus © Pedro Malinowski/MiR (bottom right) 114 © Siegfried Westphal 124/125 © Netzwerk Junge Ohren/Oliver Röckle 262/263 © Disney/Stage Entertainment 118 © Niklas Marc Heinecke | © Holger Talinski 126 © Koppelstätter Media 251 © Marcus Ebener 266 © Iko Freese/drama-berlin.de 252 © Landestheater Detmold/Maila von Haussen 269 © Hans Jörg Michel/NTM

Ch. 5 | Education for Music Professions Ch. 10 | Concert Halls Page Copyright Page Copyright Page Copyright Page Copyright 130/131 © Thorsten Krienke 145 © Frank Beyer (top, middle, bottom left) | 274/275 © Guido Erbring 283 © Markenfotografie | 133 © Sonja Werner Fotografie | © Christian Kern © Thorsten Krienke (bottom right) 276 © Volker Kreidler © David Vasicek/pix123 fotografie frankfurt 134 © Heike Kandalowski 151 © Lutz Sternstein 279 © www.mediaserver.hamburg.de/Maxim Schulz | 285 © Heribert Schindler 156 © Kai Bienert | Pedro Malinowski 139 © Photo Proßwitz (top left) | © Torsten Redler © www.mediaserver.hamburg.de/Michael Zapf | 286 © Köln Musik/Matthias Baus (bottom left) | © Thorsten Dir (right) 157 © Aldo Luud www.mediaserver.hamburg.de/Michael Zapf/ 288 © Jens Gerber, 2016 | 143 © Robert Schumann Hochschule/S. Diesner Architekten Herzog & de Meuron | © Konzerthaus Berlin/David von Becker www.mediaserver.hamburg.de/Geheimtipp Hamburg 289 © Christian Gahl | © Daniel Sumesgutner 280 © Mark Wohlrab 293 © Stefan Gloede| © Christina Voigt 281 © VZN/B. Schaeffer Ch. 6 | Amateur Music-Making 296/297 © Naaro 282 © Sebastian Runge | © Frank Vinken | © Gert Mothes Page Copyright Page Copyright

160/161 © Notenspur Leipzig e.V./Foto: Daniel Reiche 175 © Bertram Maria Keller (top) | © Rebecca Kraemer 162 © Notenspur Leipzig e.V./Foto: Daniel Reiche (middle) | © Heiko Rhode (bottom) Ch. 11 | Festspiele and Festivals 176 © Volker Beurshausen für LMA NRW 166 © EPiD Page Copyright Page Copyright 167 © EPiD/Foto: Marianne Gorka | 178 © Bundesakademie Trossingen/Nico Pudimat © EPiD/Foto: Hartmut Merten 179 © Landesakademie für die musizierende Jugend 300/301 © Axel Nickolaus 315 © Janet Sinica 169 © DCV/Alex Zuckrow | © DCV/Rainer Engel in Baden-Württemberg/Foto: Steffen Dietze 303 © Bayreuther Festspiele GmbH/Foto: Jörg Schulze 316 © Kurt Weill Fest Dessau GmbH/ Fotos: Sebastian Gündel 172 © Jan Krauthäuser 180/181 © Jan Karow 304 © Bayreuther Festpiele/Enrico Nawrath 185 © Jan Krauthäuser 306/307 © KunstFestSpiele Herrenhausen, 319 © Thüringer Bachwochen Fotos: Helge Krückeberg, 2018 320 © Ansgar Klostermann Ch. 7 | Orchestras, Radio Ensembles and Opera Choruses 308 © Thomas Ziegler 321 © Marco Borggreve 312 © WPR Schnabel (top left) | 322 © Musikfest Erzgebirge Page Copyright Page Copyright © Lutz Voigtländer (bottom left and right) 325 © Claus Langer/WDR 313 © Lutz Edelhoff 188/189 © Peter Adamik 205 © Susanne Diesner | © Jan Roloff 191 © Matthias Creutziger 207 © Gert Mothes 192 © Markus Werner 208 © Adrian Schulz Ch. 12 | Contemporary Music 193 © Marian Lenhard 211 © WDR | © WDR/Thomas Kost 194/195 © Peter Meisel (BRSO) 212 © Marco Borggreve Page Copyright Page Copyright 198 © Stefan Höderath 213 © rbb/Thomas Ernst 328/329 © IMD/Daniel Pufe 338/339 © Klaus Rudolph 199 © Hans Engels 214 © Annette Börger 330 © Peter R. Fiebig | © grafox gestaltung und fotografie 341 © Deutscher Musikrat/Gerardo Scheige 202 © Ufuk Arslan 215 © Selina Pfruener | © Silvano Ballone 332/333 © SWR/Oliver Reuther 344 © IMD/Daniel Pufe 335 © Ursula Kaufmann/Ruhrtriennale 2018 345 © IMD/Jens Steingässer | © IMD/Daniel Pufe 336 © Martin Sigmund 348 © Antoine Porcher Ch. 8 | Independent Ensembles 337 © Koen Broos 349 © Markus Scholz (left and top right) | © Kathrin Singer (bottom right) Page Copyright Page Copyright 218/219 © Dominik Mentzos Photography 232 Ensemble Ordo Virtutum/SWR (top) | Hauptstaats- Ch. 13 | Popular Music 220 © Gerhard Kühne archiv Stuttgart/picture: Stefan Morent (bottom left) | Hauptstaatsarchiv Stuttgart/picture: Stefan Morent Page Copyright Page Copyright 222 © Holger Talinski | © Geoffroy Schied (bottom right) 223 © Sonja Werner (top) | © Geoffroy Schied (middle and 350/351 © Timmy Hargesheimer 365 © Christian Faustus bottom right) | © Holger Talinski (bottom left) 233 Stadtarchiv Konstanz/picture: Stefan Morent 353 © Reinhard Baer 366 © NDR/Rolf Klatt 226 © Holger Schneider 234 © Fabian Schellhorn 356 © Carsten Klick 369 © MDR/ORF/Peter Krivograd | 227 © Capella de la Torre/Andreas Greiner-Napp 236 © Kai Bienert | © Barbara Aumüller 358 © Sandra Ludewig © MDR/ARD/Jürgens TV/Dominik Beckmann 229 © Jörg Hejkal 237 © Walter Vorjohann 360 Melt Festival © Stephan Flad 372 © Jan Krauthäuser 238 © Beate Rieker/ensemble recherche 361 © ICS Festival Service GmbH/Rolf Klatt

617 618 Picture credits |

Ch. 14 | Jazz Ch. 19 | Music Museums and Musical Instrument Collections

Page Copyright Page Copyright Page Copyright Page Copyright

376/377 © Jens Schlenker 391 © Nikolai Wolff/Messe Bremen (top) | 486/487 © Kulturstiftung Sachsen-Anhalt, Foto: Ulrich Schrader 498 © Germanisches Nationalmuseum/ © Jan Rathke/Messe Bremen (middle and bottom right) | 379 © Wilfried Klei | © Jürgen Volkmann 488 © Kulturamt der Stadt Zwickau Foto: Dirk Meßberger © Jens Schlenker/Messe Bremen (bottom left) 380/381 © Elisa Essex 491 © Nationalarchiv der Richard-Wagner-Stiftung, Bayreuth 501 © Atelier Brückner/Michael Jungblut 392 © WDR/Kaiser | © WDR/Voigtländer 386 © Deutscher Musikrat/Thomas Kölsch | © Investitions- und Marketinggesellschaft Sachsen-An- 502 Foto: Frank Schürmann © Rock 'n' Popmuseum 395 © Jan Rathke/Messe Bremen 388/389 © Peter Tümmers halt mbH | © SCHAU! Multimedia | 505 © Uwe Köhn © Beethoven-Haus Bonn 506 © Bach-Museum Leipzig/Jens Volz 494 © SIMPK/Anne-Katrin Breitenborn 507 © André Nestler 495 © Musikinstrumentenmuseum der Universität Leipzig/ 508 © Aloys Kiefer | © Ulrich Perrey Ch. 15 | World Music Foto: Marion Wenzel Page Copyright Page Copyright

400/401 © Oliver Jentsch 408 © D. Joosten | © Frank Diehn 402 © Andy Spyra 409 © S. Hauptmann (top and bottom right) | Ch. 20 | Preferences and Publics © Matthias Kimpel (middle and bottom left) 405 © Silverangel Photography Page Copyright Page Copyright 410 © Daniela Incoronato 510/511 © Konzerthaus Berlin/David von Becker 521 © NDR/Foto: Micha Neugebauer 513 © Stefan Gloede 524 © Jonathan Braasch Ch. 16 | Music in Church 514 © Semperoper Dresden/Matthias Creutziger (top left) | 525 © Lutz Edelhoff Page Copyright Page Copyright © Martin Sigmund (bottom left)| © Niklas Marc 526 © NDR/Alex Spiering Heinecke (top right) | © Leo Seidel (bottom right) 529 KunstFestSpiele Herrenhausen, 414/415 © Beatrice Tomasetti 423 © Michael Vogl 515 © Bayerische Staatsoper/Felix Loechner Foto: Helge Krückeberg, 2018 416 © MBM/Mathias Marx 424 © Eugène Bornhofen 518 © Landestheater Detmold/Kerstin Schomburg | 530 © Saad Hamza 419 © Antoine Taveneaux/CC BY-SA 3.0 (top left) | 427 gemeinfrei | © Gottfried-Silbermann-Gesellschaft | Landestheater Detmold/A. T. Schäfer © Deutsches orthodoxes Dreifaltigkeitskloster © Michael Zapf | © Martin Doering (bottom left) | © Beatrice Tomasetti (top right) | 431 © Cornelius Bierer © Tobias Barniske (bottom right) 434 © Gert Mothes 420/421 © Hartmut Hientzsch 440/441 © Stefan Korte Ch. 21 | Music in Broadcasting 422 © Matthias Knoch Page Copyright Page Copyright

536/537 © Schwetzinger SWR Festspiele/Elmar Witt 546 © SAT.1/ProSieben/André Kowalksi Ch. 17 | Musicology 539 © WDR/Thomas Kost | © WDR/Ines Kaiser 549 © WDR/Herby Sachs 540/541 © Claus Langer/WDR 552 © ARD Degeto/X-Filme/Beta Film/ Page Copyright Page Copyright 542 © MDR/Marco Prosch Sky Deutschland/Frédéric Batier 559 © Schwetzinger SWR Festspiele/Elmar Witt 444/445 © HfM Weimar/Foto: Guido Werner 453 © Beethoven-Haus Bonn 545 © NDR/Micha Neugebauer 446 © Roman Wack 454 © Beethoven-Haus Bonn 448 © Staatstheater Nürnberg/Ludwig Olah 457 © Musikinstrumentenmuseum der Universität Leipzig, 449 © fimt/Sebastian Krauß (left) | Johannes Köppl Ch. 22 | Music Economy © Museen der Stadt Nürnberg, Dokumentations- 461 © HfM Weimar/Foto: Daniel Eckenfelder | zentrum Reichsparteitagsgelände (top right) | © HfM Weimar/Foto: Maik Schuck | Page Copyright Page Copyright © fimt/Abgabe Rüssel1 (bottom right) © HfM Weimar/Foto: Guido Werner | 450 © Ethnologisches Museum, Staatliche Museen © HfM Weimar/Foto: Alexander Burzik 566/567 © Timm Ziegenthaler 585 © WDR/Ines Kaiser zu Berlin/Foto: Martin Franken | 568 © Verlag Der Tagesspiegel 586 © Alciro Theodoro da Silva | © Ethnologisches Museum, Staatliche Museen 571 © Messe Frankfurt/Petra Weizel © Bärenreiter/Foto: Paavo Blåfield zu Berlin/Foto: Dietrich Graf 576 © Schott Music 589 © Musikalienhandlung M. Oelsner Leipzig 580 © BuschFunk 592/593 © C. Bechstein Pianoforte AG/Fotos: Deniz Saylan 582 Melt Festival © Stephan Flad 594/595 © Bach by Bike Ch. 18 | Information and Documentation

Page Copyright Page Copyright The German Music Council 464/465 © Stadtbibliothek Stuttgart/yi architects, 474 © Andreas Klingenberg/HfM Detmold Foto: martinlorenz.net 476 © Zentrum für populäre Kultur und Musik/ Page Copyright Page Copyright 467 © Eva Jünger/Münchner Stadtbibliothek Michael Fischer | © Zentrum für populäre Kultur 600/601 © DMR/Alfred Michel 610 © Heike Fischer | 468 © Falk von Traubenberg und Musik/Patrick Seeger 603 © Andreas Schoelzel © Marko Djokovic/Belgrade Philharmonic 469 © Claudia Monien | Foto: Costello Pilsner 477 © Zentrum für populäre Kultur und Musik/ 611 © Sascha Stiehler © Zentral- und Landesbibliothek Berlin Michael Fischer 604 © Erich Malter 612 © Knoch/Siegel 473 © Staatsbibliothek zu Berlin – PK, C. Seifert 480/481 © BSB/H.-R. Schulz 609 © Thomas Imo/photothek.net | © German Embassy New Delhi | © Maksym Horlay | © BJO/Meier

619 620