DOCUMENT RESUME ED 461 529 SO 027 148 AUTHOR Tapia, Ivan, Ed. TITLE Music Training in Germany. INSTITUTION Inter Nationes, Bonn (Germany). ISSN ISSN-0177-4212 PUB DATE 1994-00-00 NOTE 45p.; English translation, Brangwyn Jones. Theme issue. English edition of B&W titled "Education and Science." AVAILABLE FROM Goethe-Institut Inter Nationes, Division B2, Kennedyallee 91-103, D-53175 Bonn, Germany. E-mail: [email protected]; Web site: http://www.inter-nationes.de. PUB TYPE Collected Works Serials (022) JOURNAL CIT Bildung und Wissenschaft; n3 1994 EDRS.PRICE MF01/PCO2 Plus Postage. DESCRIPTORS *Cultural Activities; Elementary Secondary Education; Fine Arts; *Folk Culture; Foreign Countries; Jazz; Multicultural Education; *Music; *Music Appreciation; *Music Education; Musicians; Popular Culture; Popular Music IDENTIFIERS *Germany ABSTRACT This special-issue volume examines music education in the two Germanies and how music has had a great influence in the culture of the nations. The presentation is a professional and objective portrayal of music training and cultivation in Germany in the last decade of the present century..The articles attempt to outline the problems and tasks that need to be addressed in order to preserve the traditional role and function of music in German society. Articles include: (1) "A Land of Music" (Richard Jakoby); (2) "Music Education and Training in Germany" (Eckart Rohlfs); (3) "Mutuality through Music" (Michael Jenne); (4) "Where Does Youth Encounter Classical Music or Vice-versa?" (Reinhard Schulz) ; (5) "Alternative Music Training: Opportunities for Children and Young Persons Outside Music Schools and Music Associations" (Brigitte Schafer); (6) "Jazz and Popular Music in Germany" (Markus Woele); (7) "Jazz in the Former GDR: A Chequered History" (Bernd Noglik); and (8)"From the German Music Council's Point of View: A Final Word" (Franz Muller-Heuser) . (EH) Reproductions supplied by EDRS are the best that can be made from the ori inal document. BILDIJ\6UO INTER NATIONES IIISSE\SCHAFT ERCATIO SCIE CF 111/1994 Music in Schools Music Schools Music Training of Youth Colleges of Music and Conservatories Talent Promotion Professional Prospects in Music Jazz and Popular Music PERMISSION TO REPRODUCE AND DISSEMINATE THIS MATERIAL HAS BEEN GRANTED BY ._STA H TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) U.S. DEPARTMENT OF EDUCATION Office of Educational Research and improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC) jTnis doCument has been reproduced as received t rom the person ,or organization originating it. O Minor changes have been made to improve reproduction quality. Points of view or opinions stated in this docu- ment do not necessarily represent official OERI position or policy. 2 _BESPOCRYAVALABLE (NC JUT1N1NG IN EMMY LUIlleFILS CONTENTS page Music Education and Training in Germany Preface A Land of Music Music in Schools 5 O The structure of the education system O Elementary sector O Music in schools Music Training and Music Cultivation Outside School 9 O Music schools O Private music teachers Poster by Quint Buchholz, Munich, O Adult education centres for the Trade Union of Music Teach- O Amateur instrumental and vocal music ers and Concert Artists (GDMK) O Further training Professional Music Training 14 O The training system O Training institutes O Colleges of music O Conservatories, academies and church music schools O Special training courses O Professional prospects on the employment market Establishment and Promotion of Musical Talent 24 Education and Science (BW III/94) O The amateur sector Published by: O Promotion programmes during music studies Inter Nationes e.V., O Starting-up help for artistic professional practice Kennedyallee 91-103, D-53175 Bonn O Along the path to international success Editor and Layout: Ivan Tapia Youth and Music Production: Ilona Orthen Mutuality through music 28 English Translation: Where does youth encounter classical music and vice-versa? 29 Brangwyn Jones Alternative music training 31 Printed by: Druckpartner Moser Druck + Verlag GmbH, Jazz and popular music in Germany 34 D-53359 Rheinbach Jazz in the former GDR 35 Cover Photo: Ausserhofer A Final Word Reproducion permitted voucher copies From the German Music Council's point of view 37 requested (only articles with name and source require printig permission) Appendix 39 ISSN: 0177-4212 O Important Addresses 0 Bibliography Editorial closing date: 10 October 1994 2 Pretace YiLliND OFTN( Musicin its manifold formsmeans while being committed to a centuries- something to almost everybody, albeit old tradition, on the one hand, must al- in different ways. The commitment to so be prepared to react to the sociolog- the cultivation of music has many di- ical,political,ethical and esthetic mensions: the generally esthetic, the changes taking place in our society, on particular, the anthropological and the the other. As an integral part of overall -` sociopolitical. Within the industrial, education, musical education seeks to technological and economic processes promote the individual personality of and the political environment of the each and every person, including those leisure society, people's relations to who have no intention of pursuing a culture in general and music in partic- musical profession. Even so, it must ular are gaining in importance. Above also offer special training opportuni- all, young persons are turning towards ties for professional musicians desir- cultural activity, especially musical ous of achieving the high standards of activity. In so doing, people are creat- performance expected. ing their own spheres which can help them preserve or develop a positive at- In our endeavours vis-a-vis music cul- titude to life and society. Within the ture, we must remain free from any social structure of our cultural sphere, form of ideological bias, both in the Richard Jakoby history teaches us that music was al- professional and amateur sectors. The ways a constant factor in "human-bio- much discussed musical tradition has logical terms". Within an industrial/ its justified place both in the present technical civilization, it must be in the and future, as has the search for new interest of society to counteract the de- paths, which questions what is extant formation of the affective sector. From and which, in a vigorous confrontation this angle, concern with music belongs with tradition, creates new features, ar- to the human biosphere,inother tistically and educationally. words, to the fundamentals of human existence, and thus to our society. The extensive and chequered history of musical education in Germany can Despite the current financial difficul- obviously not be retraced here. Conse- ties which confront us, Germany con- quently, we will devote our attention tinues to be a land of music. Many mil- towards atleast two aspects with lions of persons play an active or pas- which, alongside the financial prob- sive role in this field: as professional or lems besetting all promotion of art, we amateur musicians, as audiences at are particularly concerned with at the concerts, operas, folk and light music present time. performances, house or church music, musical education in schools, music Because of the political division of schools, colleges and universities (as Germany (the German Democratic well as private tuition), in the jazz, Republic in the east, the Federal Re- rock or pop scene or via the enormous public of Germany in the west)the range of mass-media in the form of point of departure after World War II records, cassettes, CDs, radio and tele- resulted in differing developments in vision. the fields of composition, esthetic and political valuation of musical creativi- Music education is also embedded in ty, musical education and musical or- this rich musical landscape which, ganization. Following the unification 3 Al Preface of the two German states in 1989, the addition to these unificationprocess ation of the musicians and music processof coming together com- commitments, our musical lifeand teachers. Will the new technological menced in line with the historical, in- the musical education which serves it possibilities make musicians dispensa- tellectual-cultural and overall existen- must, in increasing measure, antici- ble? Will they give way to program- tial common features; after more than pate the impacts of European unifica- mers? Will technology and the econo- 40 years of separation, the smelting tion, the consequences of which are my completely replace or engulf live process will undoubtedly take a few hardly foreseeable as far as musical music? Will human beings be overtak- years. Like culture as a whole, musical education is concerned. The unifica- en by the technology they themselves education can provide considerable as- tion process, in particular, shows that created? This is a question which also sistance in creating identification, thus mergers of this nature take their time. arises in other areas, such as in medi- ensuring that the "new environment" We will have to surrender our sover- cine, for instance. Decades ago people in which we live does not lose its hu- eignty for the sake of Europe; with re- were already pessimistically forecast- manitarian aspects. Following politi- gard to cultural life, especially musical ing that technical mediators could par- cal unification, the bemoaned deficits life, however, we will be able to pre- alyze practical musical-making; as it still have to be compensated in the so- serve identities and by their means en- turned out, the opposite was the case. cial unification process. The fact that rich the European House in the spirit of The demand for direct musical experi- music is particularly suitable in this re- diversity in unity. ence tended to increase. This should spect stems from its communicative encourage all creative musicians, in- and integrative qualities. It makes us Any form of education (including mu- cluding music teachers, to face up to happy to know that there is now free- sical education) impinges on the future the future optimistically, to grasp and dom of movementwithout which art of our society.