ERIC ED461529: Music Training in Germany.

46 Pages·1994·1.3 MB·English

by  ERIC

DOCUMENT RESUME
ED 461 529
SO 027 148
AUTHOR
Tapia, Ivan, Ed.
Music Training in Germany.
TITLE
INSTITUTION Inter Nationes, Bonn (Germany).
ISSN-0177-4212
ISSN
PUB DATE
1994-00-00
45p.; English translation, Brangwyn Jones. Theme issue.
NOTE
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: "A Land of Music" (Richard Jakoby);
(1)
"Music Education and Training in Germany" (Eckart Rohlfs);
"Mutuality
(2)
(3)
through Music" (Michael Jenne);
"Where Does Youth Encounter Classical
(4)
"Alternative Music Training:
Music or Vice-versa?" (Reinhard Schulz) ;
(5)
Opportunities for Children and Young Persons Outside Music Schools and Music
Associations" (Brigitte Schafer);
"Jazz and Popular Music in Germany"
(6)
"Jazz in the Former GDR: A Chequered History" (Bernd
(Markus Woele);
(7)
"From the German Music Council's Point of View: A Final
Noglik); and (8)
Word" (Franz Muller-Heuser) .
(EH)
Reproductions supplied by EDRS are the best that can be made
from the ori inal document.
UO
BILDIJ\6
INTER NATIONES
IIISSE\SCHAFT
111/1994
SCIE CF
ERCATIO
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
EMMY
(NC JUT1N1NG IN
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-
ers and Concert Artists (GDMK)
O Amateur instrumental and vocal music
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
Education and Science
Establishment and Promotion of Musical Talent
24
(BW III/94)
O The amateur sector
Published by:
O Promotion programmes during music studies
Inter Nationes e.V.,
Kennedyallee 91-103, D-53175 Bonn
O Starting-up help for artistic professional practice
Editor and Layout:
O Along the path to international success
Ivan Tapia
Production:
Youth and Music
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
requested (only articles with name and
From the German Music Council's point of view
37
source require printig permission)
Appendix
39
ISSN: 0177-4212
O Important Addresses
Editorial closing date: 10 October 1994
0 Bibliography
2
Pretace
LliND
Yi
TN(
OF
while being committed to a centuries-
means
in its manifold forms
Music
old tradition, on the one hand, must al-
something to almost everybody, albeit
in different ways. The commitment to
so be prepared to react to the sociolog-
ethical and esthetic
the cultivation of music has many di-
political,
ical,
mensions: the generally esthetic, the
changes taking place in our society, on
the other. As an integral part of overall
particular, the anthropological and the
-`
sociopolitical. Within the industrial,
education, musical education seeks to
promote the individual personality of
technological and economic processes
and the political environment of the
each and every person, including those
who have no intention of pursuing a
leisure society, people's relations to
musical profession. Even so, it must
culture in general and music in partic-
also offer special training opportuni-
ular are gaining in importance. Above
ties for professional musicians desir-
all, young persons are turning towards
cultural activity, especially musical
ous of achieving the high standards of
performance expected.
activity. In so doing, people are creat-
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,
other
in
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-
quently, we will devote our attention
ties which confront us, Germany con-
least two aspects with
towards at
tinues to be a land of music. Many mil-
which, alongside the financial prob-
lions of persons play an active or pas-
lems besetting all promotion of art, we
sive role in this field: as professional or
amateur musicians, as audiences at
are particularly concerned with at the
concerts, operas, folk and light music
present time.
performances, house or church music,
Because of the political division of
musical education in schools, music
schools, colleges and universities (as
(the German Democratic
Germany
well as private tuition), in the jazz,
Republic in the east, the Federal Re-
public of Germany in the west)
rock or pop scene or via the enormous
the
range of mass-media in the form of
point of departure after World War II
resulted in differing developments in
records, cassettes, CDs, radio and tele-
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
ation of the musicians and music
of the two German states in 1989, the
addition to these unification
process
of coming together com-
commitments, our musical life
process
teachers. Will the new technological
and
menced in line with the historical, in-
the musical education which serves it
possibilities make musicians dispensa-
ble? Will they give way to program-
tellectual-cultural and overall existen-
must, in increasing measure, antici-
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-
education is concerned. The unifica-
years. Like culture as a whole, musical
en by the technology they themselves
tion process, in particular, shows that
education can provide considerable as-
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-
turned out, the opposite was the case.
serve identities and by their means en-
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-
ence tended to increase. This should
diversity in unity.
spect stems from its communicative
encourage all creative musicians, in-
and integrative qualities. It makes us
cluding music teachers, to face up to
Any form of education (including mu-
happy to know that there is now free-
the future optimistically, to grasp and
sical education) impinges on the future
dom of movement
without which art
process the consequences.
of our society. Consequently, let us
and art education, as in all intellectual
venture a few thoughts with regard to
sectors, cannot exist
and that, for ex-
the future. Like everywhere else in the
ample, the musical culture of the so-
world, the new technologies
with
called new
(constituent
Bundeslander
Prof
their omnipresent
availability
and
Dr. Richard Jacoby
states), which are richly endowed in
commercial aspects
in Germany are
(Honorary president of the German Music
tradition, is now accessable to all Ger-
accompanied by questions of the iden-
Council and head of the latter's Liaison Office
mans in reciprocal give and take. In
tity of musical culture, the future situ-
for International Relations)
II
a.
mom=
mob:ram &we
111111141111111=1.11.11.111111111111MININIZEIRMIIMUMW
.......misitInriTINL-wimi
NM MI
=MIN= 11111104111111111W
wqr
jperarKr?/
1
?..
-41C0
tfil/-
Ludwig van Beethoven: page of the "Ninth Symphony dedicated to Frederick III in the composer's own hand
4
Music Education and Training
in Germany
by Eckart Rohlfs
Music in Schools
timetables which include music as an
governments and local authorities
The structure of
independent compulsory subject and
within the sphere of their competence
the education system
part of the teaching pro-
integral
more or less provide support for
gramme. The extent to which this can
measures and projects. This explains
why musical
actually be realized, however, depends
activities federalwide
The basic structure of the German
very much on financial constraints, the
have varying focal points and manifes-
school system is clearly defined: 4
many and varied personnel and mate-
tations, stamped to some extent by lo-
rial circumstances prevailing locally.
years Grundschule (primary school), a
cal or regional traditions. In the final
further 5 years compulsory attendance
analysis, they depend on the personal
of a Hauptschule (main school), Re-
commitment and interest of the staff
The same applies to the other sectors
alschtile
(intermediate
of youth and adult education outside
school)
actively engaged in the various educa-
or
Gymnasium (grammar or college-pre-
tional institutions.
school. In the last few decades multi-
paratory school), thereafter a further 3
facetted and diverse availability has
years leading to a vocational qualifica-
developed in the music sector, provid-
tion at a Gymnasium culminating in
ed by public and private institutions
Elementary sector
the Allgemeine Hochschutreife (gener-
and a large number of special institu-
al right of entry to a higher education
tions and organizations. Alongside the
institution). The responsibility and
efforts on the part of the associations,
Musical education in the elementary
competence for education lie with the
private promotion and increased activ-
sector, i.e. for children from three to
Bundesläncler
(constituent
ity by sponsors, the state and county
states).
five years old, takes place mainly in
This means that there are certain devi-
ations and differences in the individual
sada
Lander (states).
The Bildungsplan
(Education Plan) submitted by the
Federal-Lander Commission in 1973
provides no more than a structural
framework. For paramount reasons,
the Standing Conference of the Minis-
ters of Education and Cultural Affairs
of the Lander is anxious to achieve as
much cooperation and adoption as
possible.
This also affects the role of music and
0 ,4)
o
musical education inside and outside
" o
4)°,..`tr.
schools of general education. Each
-----
Land makes its own decisions with re-
gard to directives, the promotion of
musical life and the cultivation of mu-
sic. It lays down school curricula and
Music.training must primarily impart joy in music
5
6
Music Education
Basic structure of the education system in the Federal Republic of Germany
c
0
0
ICI -
Further education
0 0
C7)
(general and vocation-related education
'n
Ui
In diverse forms)
Vocationan-qualifying studies
University
Vocation-qualifying
Entrance
courses
UNIVERSITY, TECHNICAL UNIVERSITY5)
TEACHERS TRAINING COLLEGE
EVENING OR DAY
TECHNICAL
FACHHOCHSCHULE
GRAMMAR SCHOOL
COLLEGE4)
ADMINIS. COLLEGE
FOR ADULTS
ART COLLEGE
AMALGAMATED UNIVERSITY
University entrance
19
Vocation-qualifying Cert.
18
13
GRAMMAR SCHOOL UPPER CLASSES
Fachhochschule entrance3)
Intermediate educat. cert.
(Gymnasium, Vocational Gymnasium,
17
12
Contin.
SENIOR
Vocation. training
FULL-TIME
Technical Gymnasium,
TECHNICAL
Vocal.
VOCAT.
VOCATIONAL SCHOOL & INPLANT
Comprehensive school)
16
11
School
SCHOOL
SCHOOL
(Dual System)
15
Vocat. Basic Train. Year
10
(school or cooperative)
Final cert. after 9 or 10 years. Intermediate Cert. 2)
16
10. Schuljahr
10
15
Corn-
9
GRAMMAR SCHOOL
INTERMEDIATE SCHOOL
MAIN SCHOOL
pre-
SPECIAL
14
hen-
SCHOOL1
sive
13
12
DIAGNOSTIC LEVEL
11
(related to school type
or independent
10
4
3
PRIMARY SCHOOL1)
SPECIAL
SCHOOL1
2
1
c
KINDERGARTEN
SPECIAL
4
(voluntary)'
KINDER-
Ui
GARTEN
3
Schematic diagram. There are deviations in the various Lander. If certain basic requirements are fulfilled, permeability between
types of school is basically guaranteed. Full-time compulsory school 9 years (in Berlin and Northrhine-Westphalia 10 years).
Compulsory part-time schooling 3 years.
1) Special schools with various sections according to the type of handicap wilhin the sector of normal and vocation schools.
2) Subsequent acquisition of these qualifications is possible for adults as evening grammar or intermediate schools.
3) The Fachhochschule admission qualification can be obtained, for example, at full-time vocational schools or technical colleges.
basic professional
4) Duration 1-3 years; including public health service schools for professions In the health service and nursing professions
training.
5) Including colleges offering university study courses (e.g. theology, philosophy, medicine, administration, sport).
6
IVIUIL CUULdllUI1
subsequent instrumental instruction
education. The manner in which they
in the preschool sector.
come into contact with music and are
taught music here influences their re-
lationship to music for their whole life.
This is why education in Germany at-
Music in schools
taches so much importance to music
having a firm place in schools. Musi-
cal instruction at schools is designed to
In the 1992/93 school year, within the
enable children to approach music ac-
framework of full-time compulsory
tively and consciously and to take part
school attendance lasting 9 or 10 years
in cultural life. It is for this reason that
(commencing at the age of six), 3.5
many schools are interested in and in-
million children in the primary sector
tent on offering vocal and instrumental
(6 to 10 year olds) attended the stand-
music ensembles
usually in the form
ard Grundschule (primary school). Of
of additional voluntary activities, par-
the 5 million children at secondary lev-
ticularly since this is simultaneously
el I (10 to 16 year olds), 30% chose
beneficial to the school community
Hauptschule (main school) or Real-
and enriches the organization of the
schule (intermediate school) and 40%
school day and interclass and regional
Gymnasium (grammar/college prepar-
school events. The inclusion of music
atory school) or Gesamtschule (com-
in the curricula for practically all class-
prehensive secondary school which
es, however, does not tell us much
usually combines all three afore men-
kindergarten, the attendance of which
about the actual importance attached
tioned types of school under one roof).
is voluntary on a half- or whole-day
to music in individual schools.
Of the 2.5 million pupils at secondary
basis. Some 42,000 kindergartens and
level II (16 to 19 year olds), 20% opted
creches, providing 2.2 million places,
for Gymnasium whilst the remainder
School music enjoys a great tradition
are available for 2.5 million children.
entered the vocational training sector,
in Germany reaching far back into the
The care of the children, which is tai-
e.g. Berufsfachschulen (full-time vo-
19th century, especially singing. Fol-
lored to general educational aims, is
schools), Fachoberschulen
cational
lowing school reform in the 1920s, the
provided by staff who have been
(senior technical schools) or Berufs-
technical subsidiary subject "singing"
trained at a Fachschule (specialized
was gradually elevated to "music, a
(part-time
schulen
vocational
college) or an academy of educational
schools). As a rule, lessons take place
subject enjoying the same cultural sta-
sociology. Depending on the study
in the mornings only. Additional op-
tus as other subjects". This implied
regulations, the training is variously
training courses for music
tional subjects take place in the after-
special
intensive in the music and movement
teachers who were then placed on an
noon to some extent.
sector. This means that the dedication
equal footing with colleagues teaching
and approach to music are corre-
The aim of the Hauptschule teaching
academic subjects. Today, the profes-
spondingly varied and dependent on
sion of music teacher at the different
lasting 5 to 6 years as a
programme
the particular skills and inclinations
school levels is a recognized training
is "to ensure that the majority of
rule
of the kindergarten staff. It is thus a
the pupils are provided with sound ba-
occupation. Depending on the school
matter of pure chance whether and
sic training with a pronounced bias to-
level and type of school, training takes
what in the way of music, singing, el-
wards the working world". The nor-
place at various institutes: at universi-
ementary instrumental work, move-
ties and colleges of education for
mally 6 years schooling at Realschule
ment elements and rhythmic games
Grund- and Hauptschule teachers,
provides pupils with a mittlerer Schul-
are included creatively and from the
and, to some extent for Realschule
abschh0 (intermediate school certifi-
therapeutical aspect in kindergarten
cate) and prepares them for entry into
teachers (secondary level I), following
programmes. This is frequently based
an (optional) music course, and, as a
vocational training; further education-
on "Music for Children", an educa-
al training at full-time schools (e.g.
rule, at colleges of music for music
tional programme devised by Carl
Fachoberschule) is also possible. In its teachers at Gymnasien (secondary lev-
Orff
Gunild
Keetmann
and
in
basic forms with a classical, modern
els I and II).
1950-54, using percussion and mallet
language or mathemics-science bias,
instruments. Many kindergartens are
as well as other special types Gymna-
Music is firmly anchored in all school
fairly well equipped with melody and
timetables. Even so, the number of
sium usually leads to a university en-
rhythm instruments of this
type.
trance qualification in 8 or 9 school
prescribed weekly lessons varies both
Alongside individual kindergartens,
in the individual types of school and
years (Classes/Grades 5 to 13).
music schools, in particular, offer
the 16 Bundeslander. One to two les-
special early musical education
School is the only place where all chil-
sons a week are scheduled for Grand-
which is simultaneously geared to
dren have the opportunity of musical
schulen, two lessons a week for (main-
7
r")
MUSIC taUCatICM
ly) Classes 5 and 6, and thereafter one
lesson at Hauptschulen. In some Bun-
deslander subjects such as art, music,
the performing arts, handicraft and
needlework are amalgamated in one
teaching area which is maintained at a
prescribed three to four lessons a week
over a number of years. Pupils can or
must decide for themselves within the
group of optional subjects of this na-
ture. In some cases music alternates
with another of the afore-mentioned
subjects on a half-yearly basis. This is
frequently left to the discretion of
school principals which, in turn, de-
pends on the actual number of subject
teachers available. Since only a small
percentage of would-be teachers study
music as a main or optional subject,
one to two music lessons a week can-
not be guaranteed at primary schools
and secondary level I.
The music school in Bad Godesberg, Bonn
From Class 7 or 8 in Realschulen, in-
ensembles, jazz bands, pop groups,
not only concerns itself nowadays with
tegrated (cooperative) Gesamtschulen
music theatre, new music can be the
a general introduction to music and its
and Gymnasien, timetables normally
content of all sorts of musical activities
elements, with the reception of and re-
reduce music by one lesson a week
and depend, in the final analysis, on
flection on musical works, their analy-
with similar rules, arrangements and
the instrumental and vocal possibili-
sis and interpretation, but also in in-
stopgaps. The demand for two weekly
ties and interests of the pupils or the in-
creasing measure with musical activi-
music lessons for all types of school
itiative and imagination of the music
ties and the realization of projects of an
and classes continues to remain unful-
teachers and their motivational pow-
interdisciplinary nature, including im-
filled. On the contrary, it is feared that
ers. Musical activities in all types of
provisation, composition, experimen-
the pruning of the number of teaching
schools have been enjoying increased
tal tonal design. Depending on exist-
continued reduction
the
posts,
in
ing possibilities, it also includes the
importance once more in recent years.
working hours and the demands by
Quantity and quality can be gathered
performance of vocal and instrumental
other academic and sociopolitical sub-
from the numerous local and suprare-
music within classes.
jects (which are considered more im-
gional school events, especially from
portant) in schools "are forcing music
the national event "Schulen musi-
Secondary level II (Classes I
to 13),
more and more into the background or
1
zieren" (Schools Make Music) which
provides basic and advanced courses
causing it to be removed completely
is held in a different place every two
for all subjects, including music. The
from the compulsory range of subjects
years or from the exemplary perform-
basic music course embraces two to
to quote a nationwide signa-
offered"
ances given during the likewise bien-
three lessons a week, the advanced
ture campaign which emanated from
nial National Music Week.
Music School
course five to six. It includes personal
National
the
1994
specialized work and vocal or instru-
Week. The campaign calls on the Con-
Instrumental instruction is not usually
mental requirements of a practical na-
ference of the Ministers of Education
provided in schools. The latter fall
ture. In such cases music becomes an
and Cultural Affairs of the Lander "to
back on the instrumental skills which
Ahitur (university entrance qualifica-
ensure that music teaching in schools
pupils have acquired outside school,
tion) subject. The number of schools
does not suffer further losses and that
such as at a music school or privately,
with advanced music courses is small
all pupils are offered adequate musical
for example. Only a few schools or
and varying. Often the prescribed min-
qualitatively and quanti-
instruction
types of schools provide instrumental
imum number of pupils for such cours-
tatively."
instruction, usually in the form of
es cannot be achieved.
group tuition. This is particularly the
Teaching content and learning aims
case at schools with extended musical
Apart from this, further practical per-
are laid down in curricula and tailored
instruction. In addition to the usual
formance of music is left to the option-
to the class concerned. These are con-
al range of subjects: school choir,
range of subjects, these schools offer
tinuously updated by state institutes of
interested pupils musical education in
playing groups, orchestral work, brass
curriculum research. Music teaching
8
i raining
iviusic
ull(51Cle JCI1001
(according to
fer special musical activities and in-
Deutscher
Schulmusiker
In
(German
the
depth.
1992
School Musicians Association) and
Musik-Almanach)
strumental and vocal tuition, in addi-
were
there
210
Arbeitskreis für Schuhnusik und
tion to normal music lessons in the
schools of this nature in fifteen of the
the
Of these,
Padagogik
allgemeine
Bundeskinder.
(Working
classroom.
were
139
Gesamtschulen,
Gymnasien,
Group for School Music and General
2
12
Education) which, inter alia, devote
Grund-
Realschulen
and
and
57
The associations representing the pro-
Hauptschulen,
mostly
themselves to further training and cur-
Baden-
in
fessional interests of music teachers in
Warttemberg and Bavaria (including
ricular matters at central conferences.
Verband
schools are, in particular, the
"Musische Gymnasien",
i.e. Gymna-
sien specializing in the teaching of art
and music).
The former special music schools (in
Berlin, Dresden, Halle and Weimar)
continue to exist at least in the form
of
Gymnasien
Musikgymnasien,
i.e.
specializing in music. They are intend-
ed for talented pupils (boarding) with
the occasionally exceptional ruling
that instrumental, vocal and theoreti-
.4
cal instruction remain the responsibil-
ity of the local college of music. There
Musikgymnasien
are other in Regens-
burg and Windsbach (Bavaria). In ad-
dition, there are a number of schools
with special music classes. Private
boarding schools (e.g. Christopherus
schools, Hermann Lietz schools) and
Photo KruNch
the Waldorf and Montesorri schools
School Association Orchestra of the
Protestant School Centre, Leipzig
also lay emphasis on esthetic educa-
(Schulen Musizieren, Marburg 1993)
tion in their teaching concepts, and of-
Music training and cultivation of music
outside school
themselves. Half of them are young
The diversity of musical education and
Music Schools
cultivation of music in Germany is
years of age. In this
persons under
25
context, the proportion of those who
characterized by a large number of or-
ganizations, associations, clubs and in-
can be described as professional musi-
cians in the widest sense
stitutions whose responsibilities em-
about
Music schools are a particularly im-
brace musical activities and corre-
is smaller than the number
250,000
portant institution for musical training
sponding artistic-cultural training and
of persons in the organized and non-
in the youth and amateur sector. In
organized amateur musician and mu-
further training. Some 10% of the Ger-
contrast to normal schools (which
man population, for instance
sic sector. True, it is difficult to estab-
i.e. over
have to be attended), music schools re-
8 million persons
are organized in
lish exactly, organizationally or statis-
gard themselves as institutions offer-
tically, who is making music in pop,
the musical sector and undoubtedly at
ing programmes of special content.
jazz, rock or folklore groups or in pri-
least half this number, i.e. over 4 mil-
They offer interested pupils elementa-
are musically active
lion
persons,
vate amateur circles.
ry musical training, instrumental and
9
t