Music Education Outside the State School System

Michael Dartsch

MUSIC EDUCATION OUTSIDE THE STATE SCHOOL SYSTEM

In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 80–107

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 |

Music Education outsidE thE statE school systEM

3 Music education outside the state school system ensures that people of every age can develop their musical abilities. Here Michael Dartsch describes the activities on offer in Ger- many as well as their sponsors and participants.

Advanced training for JeKits teachers at the 80 State Music Academy of North Rhine-Westphalia 81 Music Education Outside the State School System |

| Michael Dartsch wide range of ensembles. This was the case even before 2003, when the federal government began to promote the establishment of all-day schools. Nonethe less, the interweaving of music education inside and outside the state school system MUSIC EDUCATION OUTSIDE has doubtless proﬁted from the changes this entailed.

THE STATE SCHOOL SYSTEM In principle, music education outside state schools should give people of all ages an opportunity to develop their musical abilities and skills according to their individual interests and to integrate them into cultural life. This calls for broad- Besides music instruction in Germany’s state school system, music education based support with offerings that are both convenient to access and readily outside state schools is a field in its own right, with its own goals, tasks, structure afford able. But especially interested and gifted children and young people must and institutions. While music instruction in schools provides what amounts to also be offered training at a high level, providing future professionals with crucial mandatory general musical training for everyone, music education outside school groundwork before they enter college. is fundamentally voluntary. It also offers a wide range of individual options for tak ing an active part in music-making. Quite often the instruction centres on The range of offerings available outside the German school system is broad and learn ing an instrument, but great importance is also attached to ensemble playing. varied: public music schools can be found all across the country; private music schools have also emerged, as have freelance music teachers who offer private in- Recent developments have cast doubt on the strict separation of music educa tion struction on the open market; and day care centres for pre-school chil dren are also inside and outside state schools. For one thing, many of Germany’s state schools gaining in importance. Moreover, 3.7 million people of all ages are involved in ama- offer instrument lessons in cooperation with public music schools and freelance teur music-making in secular or church associations, which often provide lessons teachers. For another, they also provide opportunities for playing music in a very and support for their young members. Many art schools for young people, such as those in the dance and new media sectors, also include musical components, offering interdisciplinary possibilities for creative work in courses, workshops or other projects. Music courses are offered specifically for adults and families at adult and family education centres. And finally, more than 300 youth orches tras have joined together in Jeunesses Musicales Deutschland, providing many incentives for ensemble playing in their initiatives and projects.

There is a broad consensus in German society on the value of music education outside the school system, since the importance of its role in personal growth and cultural involvement is basically beyond question. Its signiﬁcance can be seen not least of all in the activities of theatres, concert halls and orchestras, which are in- creasingly addressing young audiences. Special inducements are provided by the programmes of the German Music Council and its member organisations. The AJA Jeunesses Mussiicacalles innterte nattionionala chacchh mbeb r musisic council’s nationwide competition ‘Jugend musiziert’ (Youth Makes Music) has been couurse at the Weikkersrsheih m Castle AcaAcA demy offM Musis c an established feature of the music scene for almost 50 years. The competition is

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held at regional, state and national levels, with from 15,000 to 25,000 young people PPriPrrir macmma anta:a cchchihildrl renen sini ginng innf fronr t taking part every year. Also worth mentioning are the national competitions off theth Röömererer iinn Frananka kfurfufurtta ammM Maininn ‘Jugend jazzt’ (Youth Plays Jazz) and ‘Jugend komponiert’ (Youth Composes). Last but not least, the German Music Council supports numerous music ensembles de- signed to foster up-and-coming young talent, such as the National Youth Orches tra of Germany and the state youth orchestras and choruses.

NURSERIES AND DAY CARE CENTRES

Outside the home, children of pre-school age are most likely to encounter music in day care centres or nursery schools, where ‘training in music and art’ (‘mu- sische Bildung’, to use the wording of the joint resolution of the Youth Ministers Confer ence and The Standing Conference of the Ministers of Education and Cultur- al Affairs) has become firmly anchored as an obligatory educational area in all of Germanys federal states.1 Arts education in general, and music in particular, are central in varying degrees to the newest educational plans of Germany’s states. levels. This is apparent in the state educational plans cited above, in a series of In addition to the dedicated field of music education, music can also be found as a projects aimed at establishing music in day care centres, and in appeals and posi- cross-sectional task that can be fruitful in combinaton with other areas of education papers issued by professional associations and political bodies.5 There has also tion, such as language, cognition, sense perception, body movements and emo- been an increase in attempts to counter the dearth of musical stimuli in day care tions. The core aim is to appeal to a child’s senses and emotions as well as fostering centres through continuing education projects for child care workers. Accord ing to creativity and imagination.2 Pre-school and day care centres have a special oppor- a survey by the Bertelsmann Foundation, more than 60 per cent of people working tunity to integrate music organically into the child’s everyday life. in kindergartens consider themselves middling to poorly trained in music education and perceive a correspondingly great need for further training.6 This is one Accordingly, music is also meant to play a role at vocational colleges, where early reason why foundations often become involved in fostering music at child care education workers are trained, and at institutions of higher learning, which have institutions. Recently some pre-school facilities have established themselves as begun to offer fields of study in this area, particularly since singing is a preferred ‘music kindergartens’. Some are also accompanied with research or concept devel op - activity in kindergartens.3 As a result, music is usually included in the curricula ment projects of the sort that Daniel Barenboim has introduced in Berlin’s Mu- of Germany’s states as an educational topic. It is treated as a subordinate field of sik Kindergarten and in the MusikKinderGartenWeimar. Germany’s profession al study under a name such as ‘Professional Design of Social Work in Fields of Edu- associations have likewise displayed great commitment to cultural education in cation’, or something similar. Usually the number of units devoted to music is left early childhood. open.4 Viewed as a whole, training in music often fails to meet the qualification standards desired by the responsible institutions. Often teachers from music schools or the freelance sector will give instruction in kindergartens, though this is sometimes rendered impossible by practical limita- The importance of cultural education in early childhood and the deficiencies of tions. Even so, roughly one out of every ten day care centres now cooperates with music education in kindergartens have by now entered public awareness on many a public music school.7

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qualiﬁcation, and school directors must have a degree in music. The VdM develops curricula, hosts continuing education programmes and congresses, and advises the schools in its membership. A number of the schools have developed additional quality assurance programmes.

In the past, public music schools have often proved open to new subjects and have kept abreast of developments in society. For instance, work during the final two pre-school years in what is called ‘early music education’ (‘Musikalische Früh- erziehung’) has become a set part of the schools’ offerings, as has the teaching of younger children and their caregivers. Since the 1990s, the VdM has also devoted more attention to adult beginners and people returning to music after a long ab- A presentation at the VdM Music School Congreress in 20117 sence. Today some 10 per cent of those enrolled at public music schools are 19 years or older (see Fig. 2). Demographic changes have also led to a greater focus on music education for seniors. At present 1.8 per cent of the VdM’s clientele are above the PUBLIC MUSIC SCHOOLS age of 60. Standard publications expressly emphasise the importance of a sufficient number of qualified offerings in this area. Public music schools play a key role among the providers of music education outside the state school system. As non-profit institutions, they perform Since the early 1980s the VdM has also made a concerted effort to integrate children educational, cultural, socio-political and youth-oriented tasks and have become of immigrants. Most recently the association, faced with population changes, has permanent fixtures in Germany’s educational landscape. launched a project called ‘Musikalische Bildung von Anfang an’ (Music Education from the Very Beginning), which Today 930 public music schools are members of the Association of German Music deals with concepts of intercultur- Where’s the nearest music school? The Ger- Schools (Verband deutscher Musikschulen, or VdM).8 The central values of the VdM al music education and addresses man Music Information Centre lists all pub- are to enable everyone to participate in music, to provide continuity and common families from differing cultural, lic music schools in the VdM throughout educational experiences, to secure the organisational structure of the course offer- linguistic and social backgrounds. Germany, as well as many private facilities. ings, to take part in social developments and to promote variety in musical cul- More than half of the music schools ture.9 Many public music schools offer instruction at various branch locations, so also offer instruction for the disabled. The VdM runs its own continuing education that we can assume a total of some 4,000 locations in Germany. They are scattered programme to train music teachers in this area. Finally, the music schools of the across all the German states, although there are variances in regional distribution. VdM have initiated many offerings in connection with refugees.10 The locations are on average ten kilometres apart, allowing for near blanket cover- age everywhere in the country, including rural regions (see Fig. 1). The variety of musical genres taught at music schools has constantly grown. Pop- ular music has long been a regular part of music school curricula. Special courses Schools seeking to join the VdM must fulfil numerous quality criteria. This means of study at university level offer degrees in teaching popular music. In addition to that, for the state and for parents, membership guarantees a certain level of ex- instruments such as the electric guitar, bass, saxophone and keyboards, schools pertise. Teachers must have studied music education or have a comparable level of also have ensembles playing rock, pop or jazz. Schools in rural areas will, as

86 87 Music Education Outside the State School System | Fig. 1 | Schools in the Association of German Music Schools (VdM)

Herten a matter of course, form ensembles or of- Marl Sources: Association of German Music Schools, 2018 Gladbeck Reckling- Hamm (data as of 2016); Bevölkerung und Erwerbs- Gelsen- hausen tätigkeit, ed. Federal Statistical Office, Special fer instruction in instruments particular kirchen series 1, series 1.3 (2016) Oberhausen Lünen to folk music. Today instruments native Duis- Bochum Dortmund burg Essen Husum Schleswig to the folk traditions of other countries, Mülheim Velbert Hagen Kiel Düssel- such as the Turkish ba÷lama, can also be dorf Wuppertal Heide Hilden Werdohl studied at many music schools. Bad Segeberg Lübeck Solingen Monheim Bad Oldesloe Leverkusen Pinneberg Wittmund Norder- Ratzeburg NUMBER OF STUDENTS stedt Stade Neubrandenburg Structure Emden Hamburg Seevetal > 5,000

Berlin Bremen Schwedt/Oder Oldenburg 3,000 - 5,000 For public music schools, the VdM has Soltau Cloppenburg Verden Eberswalde 2,000 - 3,000 developed a compulsory structural plan, Syke Meppen Vechta Nienburg Gifhorn Falkensee Strausberg 1,500 - 2,000 which was last updated in 2009. The Hannover Nordhorn Osnabrück Peine Wolfsburg 1,000 - 1,500 Berlin Frankfurt (Oder) plan divides studies into four levels: Potsdam 750 - 1,000 Kleinmachnow Beeskow Braun- elementary/basic, lower, middle and Magdeburg Münster Waren- schweig 500 - 750 Bocholt Bielefeld Hildes- dorf heim Lübben Emmerich Gütersloh 250 - 500 advanced. The elementary/basic lev el, Lüdinghausen Goslar < 250 Paderborn Herzberg 11 Lippstadt which has its own educational plan, Halle (Saale) Moers Göttingen Torgau Krefeld District music school Neuss Brilon presents fundamental instruction that is Viersen Kassel Bautzen Mönchen- Leipzig Radebeul Görlitz Music school locations with more gladbach than 2,000 students are indicated not only meaningful in its own right, but Erkelenz Franken- Zeitz Borna Dresden Grevenbroich berg Erfurt Jena Löbau by name. Frechen Köln can also serve as the basis for later spe- Brühl Siegen Glauchau Freiberg Bornheim Chemnitz Aachen Marburg Zwickau NUMBER OF STUDENTS cialisation. It is noteworthy for its broad by state Annaberg-Buchholz Bonn Limburg Students per thsnd. inhabitants and diverse range of offerings: songs and Ober- Bad Nauheim Reichenbach im Vogtland Koblenz ursel Friedrichsdorf Eschborn Nidderau 27.3 vocal improvisation cover the area of Bad Vilbel Wiesbaden Schweinfurt Ingelheim Frankfurt a.M. Bamberg 18 - 20 singing; the instrumental category is re- Bad Kreuznach Aschaffenburg Mainz Langen Alzey 14 - 16 presented by free and structured playing Otterberg Ludwigshafen Erlangen Merzig Würzburg 10 - 13 of various instruments, usually small Heidelberg Fürth Nürnberg Mannheim Mosbach < 10 Germany: 17.6 Saarbrücken Wiesloch Bad Friedrichshall percussion or what are called ‘Orff instru- Bruchsal Heilbronn Regensburg Bietigheim- Ludwigsburg ments’, named after the German com- Bissingen Karlsruhe Lauffen am Neckar Backnang Ettlingen Winnenden Calw Ingolstadt poser and music educator Carl Orff; and Kornwest- Waiblingen Salzweg heim Schwäbisch Gmünd Achern Herren- Schorndorf berg the category of body movement in cludes Ulm Stuttgart Offenburg Augsburg Esslingen Erding in cooperation with Schramberg Reutlingen München dance, improvisational movement and Böblingen Emmen- Ismaning dingen Trossingen Fürstenfeldbruck Nürtingen Villingen- Biberach Ebersberg body percussion. Closely interlinked with Tübingen Schwenningen Unterhaching Leinfelden- Filderstadt Staufen Freiburg i.Br. Tuttlingen these categories are perception and ex- Echterdingen Schliengen Ravensburg Wangen im Allgäu Cartography: S. Dutzmann perience, which range from stimulat ing Konstanz Leipzig, 2018 Lörrach Waldshut- Tiengen National boundary the senses and listening to highly diverse 025 5075 100 km © German Music Council/ State boundary German Music Information Centre pieces of music, to experiencing instruments that children might later learn to 88 89 Music Education Outside the State School System |

play. There is also a place in the programme for thinking about music, e.g. sharing indispensable mainstay of public music schools, which often distinguishes them musical impressions or discussing musical structures and notation. Finally, music from private instruction. Every music school currently offers an average of 20 en- is linked to other forms of expression, such as theatrical scenes, rhythmic decla- sembles. They also offer a broad spectrum of complementary subjects, such as ear mation, visualising music through pictures or building instruments. According training, music theory, or music and movement. The curriculum is rounded off to the educational plan, instrument lessons take place on the lower, middle and with projects and special events. In fact, VdM music schools have on average two advanced levels. In addition to individual lessons, the lower level in particular also such events per week of instruction, including many events from other institutions provides for group or classroom instruction. with which the music school is connected. The structural plan also calls for joint projects with other educational bodies in the municipal landscape. According to estimates from the VdM, more than half of all music schools offer a ‘college preparatory course’ for pupils who want to study music at the university Co-operative programmes level. This programme offers classes in the pupil’s primary instrument as well as instruction in a second instrument and preparation for the aptitude test in music As in day care centres, co-operative programmes between music schools and theory and ear training. On average, a quarter of first-semester music students at state schools have increased in overall importance, if only because of the growing university have completed such a course of study. In addition to the levels of in- amount of time pupils now spend at school. According to figures from the VdM, struction, the VdM’s structural plan also includes compulsory ensemble work and roughly one in every three co-operative programmes is linked to a primary school, complementary subjects. The VdM considers ensemble work in particular to be an with the number reaching 4,300 at present, or even more in connection with kindergartens and day care centres. Four of every five music schools in the VdM thus work together with primary schools. Co-operative programmes with other kinds of Outstanding young string players at VdM music schools can qualify for the German String Phil- harmonic. The young people between the ages of 11 and 20 meet several times a year for rehearsal periods and concert tours.

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state schools are now maintained by 25 to 45 per cent of the VdM’s members. In 2018 a thousand schools Co- operations with public music schools largely centre on the elementary/basic in North Rhine-Westphalia level, classroom instruction and various projects at all-day schools. At the ele- took part in JeKits. The mentary/basic level, in addition to the joint programmes that 65 per cent of pub- programme reached some lic music schools maintain with day care centres and nurseries, new models of 75,000 chil dren, including co-operation with primary schools have opened up fresh perspectives (see Fig. 3 many who had never before in ‘Music in Germany’s State Education System’). One particularly vigorous co- had access to singing, dancing operation is the so-called ‘JeKits’ programme (short for ‘Jedem Kind Instrumente, or instrument playing. Tanzen, Singen’, or ‘Instruments, Dancing and Singing for Every Child’). The aim is to enable every primary school student to learn to express himself or herself in music, regardless of the financial means of the parents. The programme was initiated in North Rhine-Westphalia as part of the Ruhr area’s year as European Capital of Culture in 2010, when it was called ‘JeKi’ (‘Jedem Kind ein Instrument’, or ‘An Instrument for Every Child’) and was financed with public and foundation funds. Since the 2015-16 academic year each participating school chooses one of three main points of emphasis: singing, dancing or the playing of instruments. In the first year, group instruction in music or dance is compulsory in every classroom. The second year then offers lessons in the chosen form and participation in a related ensemble.

In the meantime similar programmes have been adopted, with regional varia tions, by various communities and states, and group instruction in primary schools seems to have become a new ﬁeld of activity for both music school and freelance music teachers. Besides JeKi in Hamburg, Hessen and Saxony, other programmes focusing on instrument instruction or singing also exist in primary schools.12

The subsidised development of all-day schools in Germany has resulted in new organisational forms, tasks and student groups for music schools. Framework agreements between the VdM and the relevant state ministries are aimed at ensuring the quality of elective music courses at all-day schools and establishing VdM member schools as preferred partners in providing them.13 This kind of co-operation is especially suited for musical ensembles, complementary courses, classes in elementary music-making and special projects. Besides permanent co-operations, pub lic music schools are also intent on networking with other municipal institutions, such as libraries, museums, churches, youth centres and theatres.

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Fig. 2 | Age distribution at public music schools in the VdM More than 39,000 trained teachers teach at Germany’s public music schools, including some 20,000 on permanent contracts and another 19,000 as freelancers Percentage of pupils by age group, 2017 on a pro rata basis. Some 13 per cent of those on permanent contracts are employed

younger than 6 full-time. This means that the great majority work part-time. However, the abso- age not specified lute number of public music school teachers is probably slightly lower, as those 16.7% over 60 who teach at more than one school will appear multiple times in the statistics. 5.7% 26 to 60 1.8% 5.5% Under VdM guidelines, teachers and directors at music schools are, for the most 19 to 25 2.7% Total number part, supposed to be officially employed by the school’s financing entity, and of pupils: 32.0% 6 to 9 1,451,496 thus subject to the wage and salary agreements applicable to civil servants. The 10.3% 15 to 18 per centage of teachers paid in this way varies from one federal state to the next be tween almost 7 per cent (Berlin) and nearly 60 per cent (Bavaria), with a nationwide average of almost 40 per cent. A good 11 per cent are employed at a 25.4% different wage scale. Almost half the teachers at public music schools work on a 10 to 14 pro rata basis as freelance employees.14 Of these, a good half are paid between €19 and €24 per 45-minute lesson. Roughly one teacher in five receives less than Source: Compiled by the German Music Information Centre from the VdM’s Statistisches Jahrbuch der Musikschulen in that, and roughly one in four more. Considering that between 80 and 90 per cent Deutschland 2017 (2018). of teachers employed at music schools work part-time, it is safe to assume that

Students and teachers

Over 1.4 million pupils currently attend Germany’s public music schools, including more than two-thirds between the ages of six and 18 (see Fig. 2). A signiﬁcant percentage also falls on those under six years of age (17 per cent) who take advantage of the many offerings in early music education. Roughly 10 per cent of the pupils are adults.

The instruments taught most frequently at Germany’s public music schools are, in descending order, piano, guitar, violin, recorder, percussion and ﬂute (see Fig. 3). Meanwhile more than 45,000 children in state schools take part in wind classes conducted via music schools, and almost 14,000 in string classes. In addition there are 24,000 chorus and band classes, and classroom instruction is also given on other instruments. Recent years have witnessed an overall growth in classroom Instruction for the very young: a violin lesson at the Hamburg Youth Music School instruction.

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Fig. 3 | Pupils enrolled at public music schools, by instrument many of them have second jobs, sometimes at other music schools, in order to secure their livelihood. Number of pupils for most frequently chosen instruments

160,000 Financing Piano

140,000 Guitar In legal terms, the operation of facilities for music education outside the state 120,000 Drums and school system is a voluntary expense of the public sector. Roughly half of the 100,000 other percussions Recorder costs incurred by public music schools is paid from the public purse. The largest 80,000 Violin portion is provided by local authorities, while the portion borne by state govern-

60,000 ments varies widely from state to state, ranging in the non-city states from 1 per

40,000 cent to more than 19 per cent. A few states have legally binding guidelines for the Flute accreditation and funding of music schools, so that state funding is linked to VdM 20,000 criteria. 0 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 About two-thirds of VdM schools are operated by governments at the municipal

Percentage of pupils by instrument or voice, 2017 level. One-third are operated by associations but still receive substantial public funding. According to VdM ﬁgures, the overall budget for VdM music schools most Other subjects String instruments

10.6% recently amounted to roughly €1 billion. About half the costs were covered by 22.7% € Siging and other tuition fees. These in turn vary widely, amounting on average to roughly 85 vocal subjects Woodwind instruments 16.3% 3.8% per month for 45-minute lessons of individual instruction. According to the VdM Drums and other Total percussion 5.2% enrolment: membership criteria, there must be an ofﬁcial schedule of fees that allows for dis- 1 1,005,033 counts for socially disadvantaged pupils.

5.1% Brass instruments Plucked instruments 15.9% PRIVATE MUSIC SCHOOLS 20.4% Keyboard and bellows-driven instruments In addition to publicly funded music schools, Germany also has a very wide range of private or independent music schools. These include both large companies Note: This chart shows the number of students in instrumental and vocal subjects (without ensemble or supplementary and franchise operations, some of which train their own teachers or use their own subjects) enrolled at music schools in the VdM. Figures up to and including the year 2013 are taken from 1 January of the year concerned; those after 2014 are based on a full calendar year (1 January to 31 December of the preceding year). This teaching materials. Many music shops also offer instruction on various instruments. change of methodology has a significant impact on the number of students, for the later figures also include pupils enrolled in projects or other courses of limited duration as well as those who dropped out during the year and were thus previously Finally, there are private music teachers who run small schools at their own initia- excluded from statistics based on the 1 January reference day. 1 The total number of students differs from that given in Fig. 2, since the chart excludes pupils enrolled in ensemble and tive, usually with a single location and sometimes focused on a specific genre (e.g. a supplementary courses. 2 Other forms of instruction, such as band classes, instrument merry-go-rounds, classroom music-making or elementary genre of popular music) or a specific instrument. Such schools thus differ markedly music classes. in structure from public music schools, for only in Bavaria is the term ‘music school’ Source: Compiled and calculated by the German Music Information Centre from various issues of Statistisches Jahrbuch der Musikschulen in Deutschland, published annually by the VdM. protected and subject to particular stipulations. Since private music schools must be economically viable to survive, they must take in more money than they spend.

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This is in principle true even when small subsidies are provided by a local authority, Fig. 4 | Age distribution and subject enrolment at private music schools in the bdfm perhaps because it does not operate a music school of its own.

Percentage of pupils by age and sex (excluding pupils from co-operating schools), 2016

The German Association of Free Music Schools (Bundesverband der Freien Musik- over 65 schulen, or bdfm) is a consortium of private music schools with agreed standards younger 48.1% 51.9% 1.3% than 26 for certified membership. The first criterion for full membership is that a school 26 to 65 16.7% must not have, or be linked to, any purpose outside of teaching, for instance the sell - 26 to 65 42.6% 57.4% ing of instruments. Other criteria concern contractual agreements, teaching space, Total number of pupils: involvement in public music life and teacher qualifications, though here a standard 127,000 1 music degree is not mandatory. There are state groups or associa tions of the bdfm over 65 45.0% 55.0%

in many German states, with a total of roughly 340 schools with 127,000 pupils younger than 26 82.0% 0% 20% 40% 60% 80% 100% and 6,300 teachers in 2016. These ﬁgures are estimates based on a voluntary sur- male female vey conducted by the bdfm.15 Although the response rate was only 36 per cent,

the ﬁndings shed a certain light on the membership of the bdfm. Like the VdM Percentage of pupils by subject (including pupils from co-operating schools), 2016

schools, a large number of independent music schools co-operate with state Plucked instruments 23.7%

schools or other institutions, such as day care centres, music clubs and church con- Keyboard instruments 23.0%

gregations, as well as choruses, senior citizen facilities and adult education centres, Elementary music-making 19.6%

thereby incorporating an additional 31,000 pupils into their teaching activities. Percussion instruments 9.8%

Woodwind instruments 8.6%

Regarding the age groups of their pupils, independent music schools differ con- String instruments 5.9% siderably from their public counterparts. People 26 years and older make up only Singing, voice training 5.7% 7 per cent of pupils at the VdM’s member schools, but more than twice that number Brass instruments 2.2% at music schools in the bdfm (18 per cent). The bdfm lists the most popular instru- Other 5.0% ments only by group. Heading the list by a small margin are plucked instruments, 0% 5% 10% 15% 20% 25% followed by keyboard instruments. Ranked third on the popularity scale is elementary music-making, clearly ahead of percussion, woodwind and string instruments Note: Unlike the figures from the Verband deutscher Musikschulen (VdM), those for the number of pupils at member schools of the Bundesverband der Freien Musikschulen (bdfm) were compiled on the basis of a single reference day from a as well as voice and brass instruments (see Fig. 4). These ﬁgures sometimes differ voluntary survey of the 340 schools then among its members. The results are extrapolated from the data received (response rate: 36 per cent. markedly from those of the VdM, especially as regards the popularity of string in- 1 Figures from the bdfm regarding age groups and sex refer to registered pupils, excluding those from co-operating schools. struments. In addition to instrument lessons, the bdfm music schools also have The total number of pupils at bdfm schools in 2016 was 158,000, including 31,000 from co-operating schools. Source: Statistik 2016, ed. Bunderverband der Freien Musikschulen (2017). such extra offerings as band, music theory, chamber music, chorus and orchestra,

as well as instruction for senior citizens and disabled people.

Compared to VdM music schools, the members of the bdfm have far fewer teachers on permanent contracts. They are found in only some 7 per cent of the schools, whereas more than 90 per cent employ teachers exclusively on a pro rata

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‘Jugend musiziert’, Germany’s music competition for the young. Roughly a million children and adolescents have competed at the regional, state and national levels since the competition was founded in 1963. One bears witness in some cases to their high qualifications.16 They teach at all levels, fifth of the participants are taught privately. from beginners to pupils preparing for university studies, and in some cases they even work with profes sional musicians. Some of them are able to adapt to pupils’ basis. Of the latter, a good 40 per cent earn up to €18 per lesson, another 40 per cent scheduling needs or their desire for sporadic tuition. Often they are also able to between €18 and €24, and every sixth pro rata teacher more than €24. The fees respond to a student’s need for tuition at home. By joining together, freelance earned for group instruction and elementary music-making are higher. music teachers can offer an enlarged range of tuition, such as lessons in ensemble playing. Sometimes schools or church congregations organise private tuition The great majority of bdfm music schools are either one-person businesses (68.3 per and provide the necessary rooms for it to take place. In general, private teachers cent) or organised as non-profit limited liability companies (9.8 per cent), civil-law contribute to decentralised and customer-focused music tuition. It should also partnerships (6.5 per cent), non-profit associations (5.7 per cent) or, more rarely, be borne in mind that not every pupil can find a place in public music schools, for-profit companies (3.3 per cent) or for-profit associations (1 per cent). All in all, which could have accommodated 64,000 additional pupils in 2016 if the necessary 15.5 per cent of the member schools have non-profit status. Only about a quarter of resources had been available.17 bdfm schools receive subsidies from the public purse. Freelance music teachers often put together patchwork careers made up of pri- FREELANCE MUSIC TEACHERS vate lessons, fee-based teaching at music schools, concert appearances and the like. If they can prove that most of their income comes from freelance work in Freelance music teachers have always been a mainstay of music education out- music, they may also apply for admission to Germany’s social insurance scheme side Germany’s state school system. The very fact that a good fifth of the partici- for artists (Künstlersozialkasse, KSK). The KSK pays half of a member’s social wel- pants in the ‘Jugend musiziert’ (Youth Makes Music) competition on the national fare contributions, an amount normally paid by the employer in Germany. Since level are taught by private music teachers unconnected with music schools private music teaching does not necessarily require formal qualifications, many

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freelance music teachers join the German Musicians’ Association (Deutscher Ton- and examina tions are offered by the Federation of German Mandolin and Guitar künstlerverband, DTKV), which is in turn divided into statewide organisations. Players (Bund Deutscher Zupfmusiker, BDZ), the German Zither Music Federa tion Membership requires proof of professional qualifications and, as such, serves as a (Deutscher Zithermusik-Bund, DZB) and the German Harmonica Association (Deut- seal of commendation. The DTKV negotiates framework contracts with insurance scher Harmonika-Verband, DHV). Finally, amateur music associations train select companies, organises conferences and courses, and functions as an advocate for pupils from the age of 16 to be so-called ‘music mentors’ for youth work in their its members in the political arena. For example, its governing board and state sub- associations. Amateur music associations often enter into co-operative train ing ar- sidiaries are taking part in the debates on all-day schools. rangements with federal and state music academies, which offer a broad spectrum of courses all over the country. The financial circumstances of freelance music teachers can be quite precarious. Some of them have other professional or private priorities that restrict their activ- Those interested in musical activities and developing their musical skills and ities to a relatively small number of pupils. But many are intent on expanding the abilities can also find a variety of possibilities in church congregations. Directing number of lessons they give. Some succeed in establishing a good reputation in choirs and ensembles has been the responsibility of church musicians since time their catchment area, allowing them to attract regular pupils and achieve earnings immemorial and forms an essential part of their training. Here pastoral work inter- comparable to those of permanently employed music school teachers. But most locks with music teaching and artistic aspects. There are almost 34,000 church earn far less than their staff colleagues. According to a survey of music school choirs in the country, including numerous children’s and youth choirs, all of which teachers, conducted for the third time by the German trade union ver.di in 2017, are essential to church worship and parish life. Often there are also open singing lesson fees represent the sole or main source of household income for nearly a circles for seniors and, finally, church instrumental ensembles. The brass choirs as- third of all freelance teachers employed at music schools.18 sociated with the Lutheran church enjoy a particularly rich tradition. Altogether, more than 850,000 people in Germany sing or play in church ensembles, most AMATEUR MUSIC-MAKING of them in choirs. Children and young people account for more than one-quarter of the members of church choirs and instrumental groups. Many churches also Across Germany there are more than 22,000 secular amateur choirs and some organ ise special educational courses on music. 20,000 instrumental ensembles organised in associations.19 Numerous music associations independently organise and run instruction for their young members. ADULT EDUCATION AND FAMILY EDUCATION CENTRES Special courses exist that can lead to a license as a training supervisor at various lev els. The National Union of German Music Associations (Bundesvereinigung Besides music schools, Germany’s state-subsidised adult education centres Deutscher Musikverbände, BDMV) provides guidelines for the training of musi- (Volkshochschulen) can also be community providers of music instruction. These cians (among other things), holds contests and awards certificates of achievement. centres are mandated to offer courses of all kinds to adults. Rather than offering Its youth organisation, the Young German Wind Players (Deutsche Bläserjugend), fields of study in the manner of a university, they provide various personalised has children and young people up to the age of 27 in its wind ensembles and march- forms of continuing education. For instance, participants can learn a language, re- ing bands. Instrument training is offered by its own members, freelance teachers ceive an introduction to certain areas of computer use or make up part of a missing or music schools. The examinations (referred to as D1, D2 and D3) lead to bronze, school degree or leaving certificate. People book the instruction, including in silver or gold medals and include recital pieces at pre-defined levels of difficulty, music, as a course for one semester or a pre-set number of lessons. Rather than various exercises and written assignments related to music theory. Similar courses being salaried employees, the teachers are paid on a pro rata basis.

102 103 Music Education Outside the State School System |

CONCLUSION

Germany has a wide range of opportunities for all age groups in music education outside its state school system, from parent-child groups working with children as young as infants, to pre-school and school-age instruction and programmes aimed speciﬁcally at adults, including the elderly. Private providers complement the course offerings of public institutions. Particularly in rural areas, the duties of music education outside the schools often fall to amateur music associations. Public and private music schools, with their respective standards, are nonetheless widespread throughout all the German states. In short, people in Germany have access to a wide-ranging network of options for musical activities and for acquir-

AdAAdvdvaancnccedd tratraainiinniinngg forf educacaattorors at thhee Staatee Acaddememy innO Ochsch enhennhnhausauusseen ing and developing their individual skills and abilities.

In terms of music performance, the centres offer such things as group music- Michael Dartsch is a professor of music education at the University of making and instrument lessons. The number of performance courses on offer has Music Saar, where he is the director of the Elementary Music Education remained constant for years and amounts to nearly 12,000 annually throughout programme. the country. On average, the courses cover 17.4 lessons of 45 minutes each. Approx- imately 1,400 music theory courses, usually for slightly larger groups, are also offered at adult education centres.20

Finally, intergenerational opportunities in particular, such as parent-child groups, can be found at family education centres. These are basically similar to adult edu- 1 Gemeinsamer Rahmen der Länder für die frühe Bildung in Kinder- cation centres. They are often run and/or funded by churches, associations or local tageseinrichtungen: Beschluss der Jugendministerkonferenz governments and generally offer courses of limited duration. The courses cover a vom 13./14.05.2004 / Beschluss der Kultusministerkonferenz vom variety of subjects: health, parenting, life crisis management, continuing educa- 03./04.06.2004, online at http://www.kmk.org/fileadmin/Dateien/ tion in social pedagogy, but also ﬁelds of creativity. For instance, depending on veroeffentlichungen_beschluesse/2004/2004_06_03-Fruehe-Bildung- the centre, one might ﬁnd courses in dancing, guitar or groups for elementary Kindertageseinrichtungen.pdf (accessed on 25 September 2018). music-making. Family education centres seek to support families with their course 2 See the educational plans at https://www.bildungsserver.de/ offerings and to contribute to their personal guidance and education. One clear Bildungsplaene-der-Bundeslaender-fuer-die-fruehe-Bildung-in-Kinder indication of their social mission is that the courses are usually inexpensive. Thus, tageseinrichtungen-2027-de.html (accessed on 28 November 2018). music plays a role in many of these institutions as an opportunity to develop an 3 Peter Brünger, ‘Singen im Kindergarten’, in Andreas Lehmann- individual’s creative potential and to enrich family life. Wermser and Anne Niessen, eds., Aspekte des Singens: Ein Studien- buch (Augsburg, 2008), pp. 65-77.

104 105 Music Education Outside the State School System |

4 See also Bundesarbeitsgemeinschaft der öffentlichen und freien, 11 Verband deutscher Musikschulen [Association of German Musik nicht konfessionell gebundenen Ausbildungsstätten, Länderüber- Schools], ed., Bildungsplan Musik für die Elementarstufe/Grundstufe greifender Lehrplan Erzieherin/Erzieher – Entwurf vom 01.07.2012, (Bonn, 2010). online at https://www.bildungsserver.de/onlineressource.html? 12 See e.g. https://www.musikschulen.de/kooperationen/allgemein onlineressourcen_id=50329 (accessed on 26 September 2018). bildende-schulen/index.html (accessed on 24 September 2018). 5 Bundesvereinigung Kulturelle Kinder- und Jugendbildung, ed., Spiel 13 See https://www.musikschulen.de/kooperationen/allgemeinbildende- und Kunst von Anfang an: Kulturelle Bildung für junge und sehr junge schulen/rahmenvereinbarung-richtlinien/index.html Kinder: Positionen und Ziele (Remscheid and Berlin, 2016), online at (accessed on 27 September 2018). http://miz.org/downloads/dokumente/798/2016_BKJ_Positionspapier_ 14 For some time a debate has been heatedly conducted on raising the Spiel_und_Kunst_von_Anfang_an.pdf (accessed on 26 September 2018). percentage of permanently employed music school teachers. See the 6 See also Patricia Brinker et al., Musikalische Bildung in der Quali- VdM’s ‘Stuttgarter Appell’ of 2017 at http://miz.org/downloads/ fizierung für Kindertageseinrichtungen in Nordrhein-Westfalen, dokumente/862/2017_stuttgarter-appell-vdm-bundesversammlung. ed. Kompetenzzentrum Frühe Kindheit Niedersachsen der Stiftung pdf (accessed on 30 November 2018). Universität Hildesheim im Auftrag der Bertelsmann Stiftung (Hildes- 15 Bundesverband der Freien Musikschulen: Statistik 2016, online at heim, 2010), online at http://www.miz.org/dokumente/studie_ http://miz.org/downloads/dokumente/850/2017_bdfm_Statistik_ bertelsmann_kindertageseinrichtungen.pdf 2016.pdf (accessed on 29 September 2018). More recent data are (accessed on 26 September 2018). scheduled for publication by the bdfm in 2019. 7 Autorengruppe Bildungsberichterstattung, ed., Bildung in Deutschland 16 Verband deutscher Musikschulen, Statistisches Jahrbuch der Musik- 2012: Ein indikatorengestützter Bericht mit einer Analyse zur kulturel- schulen 2017, p. 28. len Bildung im Lebenslauf (Bielefeld, 2012), pp. 175-87, esp. p. 177, 17 Ibid., p. 16. online at https://www.bildungsbericht.de/de/bildungsberichte- 18 Jürgen Simon, Einkommenssituation und Arbeitsbedingungen von seit-2006/bildungsbericht-2012/bildung-in-deutschland-2012 Musikschullehrkräften und Privatmusiklehrern 2017: Ergebnisse der (accessed on 26 September 2018). Umfrage der Fachgruppe Musik der ver.di von Juli 2017 bis September 8 All figures listed below regarding public music schools are taken 2017, ed. ver.di | Vereinte Dienstleistungsgewerkschaft (Berlin, 2017), from the statistics of the Association of German Music Schools online at http://www.miz.org/downloads/dokumente/910/2017_ (Verband deutscher Musikschulen, VdM), which updates and Umfrage-Musikschullehrkraefte_verdi.pdf (accessed on 18 July 2018). publish es them at regular intervals. See Verband deutscher Musik- 19 See also Astrid Reimers’s essay on ‘Amateur Music-Making’. schulen, ed., Statistisches Jahrbuch der Musikschulen in Deutschland 20 See the statistics on music courses offered at adult education centres (Bonn, 2018). (Statistik Musikangebote der Volkshochschulen) at http://www.miz. 9 Verband deutscher Musikschulen: Grundsatzprogramm [2016], org/downloads/statistik/7/07_Musikangebote_Volkshochschulen_ online at http://miz.org/downloads/dokumente/786/2016_VdM_ 2018.pdf (accessed on 9 November 2018). Grundsatzprogramm.pdf (accessed on 26 September 2018). 10 See also the MIZ’s project database at http://integration.miz.org, which currently lists more than 350 initiatives, including offerings from public music schools (accessed on 30 November 2018).

106 107 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

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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

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

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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

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

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