MUSIC IN GERMANY'S STATE EDUCATION SYSTEM
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Ortwin Nimczik MUSIC IN GERMANY’S STATE EDUCATION SYSTEM In German Music Council / German Music Information Centre, ed., Musical Life in Germany (Bonn, 2019), pp. 50–79 Published in print: December 2019 © German Music Information Centre http://www.miz.org/musical-life-in-germany.html https://themen.miz.org/musical-life-in-germany
Kapitel |
Training music teachers at Rostock
University of Music and Theatre
Music in GerMany’s
state education systeM
2 Music education at school furthers the imagination,
social skills and creativity. But for years Germany has had
a shortage of trained teachers in this field. Here Ortwin
Nimczik writes about recent developments and perspec
tives in educational policy.
50 51
Music in Germany’s State Education System |
‘Schulen musizieren’ (Schools Make Music), a nationwide
| Ortwin Nimczik gathering sponsored by the German Music Teacher Asso-
ciation (BMU), gives school ensembles a platform on
which to appear in public and make contacts.
MUSIC IN GERMANY’S
STATE EDUCATION SYSTEM
Germany’s state education system is rooted in two basic principles: the right of
the individual to receive an education, and the responsibility of the state to provide
it. The system is basically structured in a series of successive stages, beginning with
elementary education and proceeding with primary schools to secondary schools
(levels I and II), tertiary-level studies and continuing education (see Fig. 1).1 How-
ever, since the 16 states (Länder) that make up the Federal Republic of Germany
have independence in matters of culture and education, the legal foundations of
the state education system are made up of 16 specific school laws. In practice, this
has given rise to 16 contrasting educational landscapes differing markedly in their
structure and subdivisions and in the names they assign to forms and types of verted their grammar schools, or Gymnasien, from nine-year programmes (G9)
school, particularly those that offer two or three educational channels. In some into eight-year equivalents (G8) in 2013, thereby shortening the school time from
cases, they even differ in the duration of compulsory full-time schooling. True, 13 to 12 years, some have since reverted to the earlier nine-year model.3
the ‘Standing Conference of the Ministers of Education and Cultural Affairs in the
Länder of the Federal Republic of Germany’ (Ständige Konferenz der Kultusminis- The term ‘music education’ used below refers to music as a school subject. It in-
ter der Länder in der Bundesrepublik Deutschland, or KMK) co-ordinates the inter- cludes a study of the subject’s prerequisites and underlying conceptions in the
action between the federal government and the states, and among the states planning of lessons, as well as the actual conduct of those lessons, including an
themselves. But when all aspects are taken into account, the result is a mare’s nest analysis of their place in the state school system. Lessons given at music schools or
that makes it difficult if not impossible to achieve an overview of school education in the private sector are usually defined narrowly according to the ‘topic’ or instru-
in Germany.2 ment involved, such as piano, voice, percussion or music theory.
Instruction at Germany’s state schools is aimed at all children and adolescents and MUSIC AS PART OF THE GENERAL CURRICULUM
is broken down into specific subjects, such as German, mathematics, English and
art. In particular, the educational channels of primary school and secondary level I Music education at state schools enables music to be taught on a profession-
have increasingly augmented their curricula with so-called ‘learning areas’ as al and lasting basis. It thereby opens up perspectives for living with music in all
overriding principles. This is especially the case in the natural and social sciences, stages of the pupils’ lives and contributes specifically to the development of their
but it can also be found in music and the arts. In contrast, the scope and duration musical and general competence. Politicians and administrators, in their official
of general education are inconsistent: although several states successfully con- statements on educational policy, attach special importance to the contribution of
52 53
Music in Germany’s State Education System |
Fig. 1 | Basic Structure of the Educational System in the Federal Republic of Germany
Qualification for vocational Higher education
1
further education entrance qualification12 Some states have special types of transition from early childhood education to primary school education (Vorklassen,
Schulkindergärten). Primary school comprises six grades in Berlin and Brandenburg.
2
Pupils with special needs are taught in inclusive classes at general education schools or at institutes with a focus on
Abendgymnasium / Higher education
Fachschule11 special education. The name given to such schools varies according to the law of the state concerned.
Kolleg entrance qualification12 3
Grades 5 and 6 constitute a phase of particular advancement, supervision and orientation with regard to the pupil’s
future educational path and particular direction.
4
19 Hauptschule and Realschule exist in appreciable numbers in only five states (Baden-Württemberg, Bavaria, Hessen,
Berufsober- Lower Saxony, North Rhine-Westphalia). In Bavaria, the type of school comparable to Hauptschule is called Mittelschule.
13
schule8 Hauptschule and Realschule courses are also offered at schools with multiple curricula, for which the names differ from
Vocational qualification, polytechnics entrance qualification Gymnasiale 18 one state to another.
Oberstufe2,7 5
The following types of school combine Hauptschule and Realschule courses under a single educational and organisa-
at grammar school tional umbrella: Regelschule (Thuringia), Sekundarschule (Bremen, Saxony-Anhalt), Verbundene Haupt- und Realschule
12 School types with focus on vocational education (Gymnasium), 17
Secondary level II
(Hessen), Regionale Schule (Mecklenburg-West Pomerania), Realschule plus (Rhineland-Palatinate), Regionalschule
school types with three (Schleswig-Holstein), Oberschule (Brandenburg, Saxony), and Mittelstufenschule (Hessen). – Some types of school offer
Fach- courses of education, curricula of Hauptschule, Realschule and also Gymnasium: Integrierte Gesamtschule, Kooperative Gesamtschule, Integrierte
11 16
oberschule9 vocational grammar school Sekundarschule (Berlin), Oberschule (Bremen, Lower Saxony), Stadtteilschule (Hamburg), to some extent Regionale Schule
Dual vocational Berufsfach-
(Mecklenburg-West Pomerania), Gemeinschaftsschule (Baden-Württemberg, Saarland, Saxony-Anhalt, Schleswig-Holstein,
training system2 schule10 Thuringia), and Sekundarschule (North Rhine-Westphalia).
10 15 6
The general education qualifications obtainable after grades 9 and 10 have particular designations in some states. These
certificates can also be obtained at institutions offering secondary education for adults (known as Zweiter Bildungsweg),
at vocational schools or through an external examination before a state examining board.
Leaving certificate after 10 years (Mittlerer Schulabschluss), 7
Admission to the Gymnasiale Oberstufe requires a formal entrance qualification, which can be obtained after grade 9 or
leaving certificate after 9 years (Erster allgemeinbildender Schulabschluss)6 10. The general higher education entrance qualification (Allgemeine Hochschulreife) can be obtained after the successful
completion of 12 or 13 consecutive school years (eight or nine years at Gymnasium). As a rule, the Gymnasium course of
10 10th grade 16 studies is not reduced to eight years at schools which combine different curricula.
8
The Berufsoberschule has so far only existed in a few states. It offers school-leavers with the Mittlerer Schulabschluss who
9 15 have completed vocational education and training or five years’ working experience an opportunity to obtain a higher
School types education entrance qualification restricted to particular subjects (Fachgebundene Hochschulreife). Pupils can obtain the
Secondary level I
for pupils with special educational needs2
8 comprising several 14
Hauptschule 4
Realschule 4
Gymnasium 5 general higher education entrance qualification (Allgemeine Hochschulreife) by proving their proficiency in a second
Inclusive classes or special institutes
7 courses of 13 foreign language.
education4,5 9
The Fachoberschule admits pupils who have completed the Mittlerer Schulabschluss and qualifies them to study at poly-
12
6 technics (Fachhochschulreife). The states may also establish a grade 13 with an opportunity to obtain the Fachgebundene
3
11 Hochschulreife and, under certain conditions, the Allgemeine Hochschulreife.
5 Orientation phase 10
10
Berufsfachschulen are full-time vocational schools differing in entrance requirements, duration and leaving certifica-
tes. Basic vocational training can be obtained during one- or two-year courses at Berufsfachschulen, and a vocational
Pre-school educ. Primary education
4 9 qualification is available at the end of two- or three-year courses. Under certain conditions entrance qualification for
3 8 polytechnics (Fachhochschulreife) can be acquired on completion of a course lasting a minimum of two years.
11
Primary school1 Fachschulen cater to continuing vocational education (one to three year duration). As a rule they require the completion
2 7 of relevant vocational education and training in a recognised occupation and subsequent employment. In addition,
entrance qualification for polytechnics (Fachhochschulreife) can be acquired under certain conditions.
1 6 12
With the exception of Fachgebundene Hochschulreife (see note 8), higher education entrance qualification is general in
5 scope (Allgemeine Hochschulreife) and entitles holders to admission to all subjects at all higher education institutions. It
is usually obtained at upper Gymnasium level (gymnasiale Oberstufe) by passing the Abitur examination.
Elementary education 4
Source: Basic Structure of the Educational System in the Federal Republic of Germany: Diagram, ed. Standing Conference
(optional) 3 of the Ministers of Education and Cultural Affairs of the Länder in the Federal Republic of Germany, Berlin 2017 (data from
12 / 2016); and additional updated information from the websites of the state ministries of education and cultural affairs
Grade Age
(retrieved 05 / 2019). Edited by the German Music Information Centre.
54 55
Music in Germany’s State Education System |
Every
Everry yea
y arr memb
eem
m
mber
mbere off th
ers the teac
acchin
h ng staf
taff and
taff
ta andd has the task of ‘guiding pupils toward a responsible and independent attitude
stu
t den
dee t body
body off th
the Bett
tttina
i von n Arni
rn
rni
n m Scho
chhool
ol
toward the media in the face of today’s sensory overload’, and considers that it
in
n Ber
erlin
in jo
join for
o ces in
n a mus
m ic the
theatr
atr
a t e proj
oject
ect..
ect
‘thus lays the groundwork for an independent and self-determined life’.
› From the point of view of cultural policy, music education ‘is vital to main-
taining and promoting musical culture in Germany. It conveys our musical
heritage to members of the coming generation, giving them an understanding
for the many forms of music by imparting deeper knowledge and skills. It also
contributes to the development of the pupil’s own identity and inspires and
enables the “audience of tomorrow” to actively take part and become involved
in cultural life, where “cultural life” is understood to be not just the way that
culture is passed on traditionally in local regions, but also an appreciation of
the music of other peoples and cultures’. Popular music is expressly included:
‘The largely one-sided concentration on so-called highbrow culture that domi-
nated the school music curriculum decades ago – i.e. classical or “art music” –
music education in the school curriculum. Here the educational aims – whether has long given way to a broader understanding of musical culture that also
related to the individual or society, to the subject itself or to its side effects – are embraces such phenomena as rock, pop and jazz as well as German and inter-
usually viewed as equivalent in relevance. The KMK describes ‘education in music national folk music’.
and the arts‘ (musische Bildung) 4 as ‘part of the cultural education of each individ- › Viewed from the perspective of the school as an institution, music has the po-
ual and a prerequisite for participating in cultural life. It is an important precondi- tential to make ‘a significant contribution to a school’s public image. Its wide-
tion for coexistence in our society. Musische Bildung conveys such crucial skills as ranging activities have an impact on the general public outside of the school,
fantasy, imagination, heightened sensory perception and the ability to achieve a influencing the school’s image and encouraging a sense of loyalty among
holistic view. Studying art and music is a source of self-expression and communi- pupils, teachers and parents. Performances by music groups are a valuable ad-
cation and makes it possible to acquire interpersonal expertise’.5 dition to school events and help to improve a school’s atmosphere’.6
The KMK specified three guidelines for music education that cut across all school Music education as institutionalised at the elementary level should begin as early
types and grade levels to unite the educational policies of the federal states. Terse as possible and be led by qualified professionals, e.g. in day care centres, kinder-
and concise, they have lost none of their relevance today: gartens or other preschool facilities. Thereafter, Germany’s state school system
has the central task of potentially allowing every pupil to come into contact with
› From a general teaching perspective, music education makes ‘a vital contribu- music education.7 Schools in the state system are the only places in society which
tion to the social education of young people. The performance of music, can purposefully, continuously, systematically and constructively encourage and
whether alone or in a group, helps to fulfil the existential need of each per- display the musical skills of all pupils. The overriding goal of this sort of broadly
son for self-expression; it also develops perception and sensitivity, encourages conceived music education for children and adolescents is to promote their self-
creativity and depth of feeling, furthers the ability to enjoy and create, and determined participation and active involvement in musical culture and to enable
enhances imagination and tolerance’. The KMK stresses that music education them to contribute to its advancement and continuation.
56 57
Music in Germany’s State Education System |
In every type of school and in every German state, music is firmly anchored in the Fig. 2a | Hours allotted to music at primary schools (2018)
curricula of primary schools and all grades of secondary levels I and II. Either it has
Grade
the status of a mandatory or ‘compulsory elective’ subject under its own name, or
Federal state 1 2 3 4 5 6
it is indirectly a component of larger learning areas or combined subjects, where
Hours allotted: 6
Baden-Württemberg
it is becoming increasingly fluid in its definition. The states differ in the number (reference value; school responsible for specific distribution)
of weekly hours they allot to music. A pool or set number of hours is generally Hours allotted:
16 16
stipulated for learning areas. As a result, the schools themselves can, to a large ex-
Bavaria Basic instruction1 2 2
tent, specify how the lessons are to be distributed or apportioned to satisfy local in combination with German,
mathematics,
conditions. So-called ‘compulsory elective areas’, where one subject must be cho- general knowledge and art
sen out of a group of subjects, may provide additional opportunities for including Berlin 2 2 2 2 2 2
Hours allotted: 34 4 4 4 4
music lessons in day-to-day school operations, sometimes in combination with
Basic instruction2 in combination
Brandenburg
other art forms. Given these diverse conditions, in many cases (especially in grades with German, mathematics, in combination with art
general knowledge and art
seven through ten) a school will offer music instruction in alternation with other Bremen Hours allotted: 24 in combination with sports and art
subjects in so-called lesson blocks, or Epochenunterricht, i.e. where the subject is Hours allotted:
Hamburg 6 (with 45-min. lessons)
taught in concentrated periods rather than being evenly spread throughout the 4.5 (with 60-min. lessons)
school year. Sometimes it can even be dropped or replaced by other subjects (see Hours allotted:
Figures 2a and 2b). Hessen 6 8
in combination with art (incl. crafts and textile design)
Hours allotted:
Up to now there has been no firm data concerning the extent to which the weekly Mecklenburg-
6 8
West Pomerania
hours of instruction actually given in music coincides with the states’ lesson al- in combination with art, crafts and theatre
1 1 2 2
lotment plans. Instead, we have to rely on partial surveys and extrapolations con- Lower Saxony
or 4 (lesson allotment plan)
ducted e.g. by musical education associations among their members. It is true that North Rhine- 3 to 4 3 to 4 4 4
Westphalia in combination with art
Rhineland- 6 6 7 7
Palatinate in combination with sports, visual arts, textile design and crafts
3 3
Saarland 2 2
in combination with visual arts
3
Saxony 1 1 2 2
Saxony-Anhalt 1 to 2 1 to 2 1 to 2 1 to 2
Hours allotted:
Schleswig-
10 14
Holstein
in combination with art, textiles, technology and sports
Thuringia at least 1 at least 1 at least 1 at least 1
Note: Primary school lasts six years in Berlin and Brandenburg.
1
The teacher does not assign special instruction subdivided by hours.
2
The lesson allotment plan assigns a total number of hours in the relevant subjects for grades 1 and 2. The lesson hours are
distributed among the subjects on the basis of the individual learning achievements in the class.
Ma ing
Mak in mu
music
sic wi
with
thh pri
riim
mar
arryy scho
chool
ch ol chi
c ldrreen:
n: mu
mussicc teea
accherr 3
Only 1 hour as of the 2019-20 school year.
tra
tr
raini
ining
ng at Rosstoc
tockk U
Univ
niv i ers
ersity
ity
it
ty off Mu
M ssicc an
a d Thea
hea
attre
trre
r Source: Compiled by Ortwin Nimczik using information from the state ministries of education and cultural affairs.
58 59
Music in Germany’s State Education System |
school authorities and some state ministries of education publish absolute figures qualification phase the pupils must attend lessons ‘in literature or the arts for at
for learning groups or weekly lesson hours in their official school statistics. How- least two semesters’.13 Occasionally achievements from instrument or voice lessons
ever, they do not provide information on the actual relation these bear to what is may be included in the qualification phase or the final grade, but without directly
set down in the allotment guidelines. Moreover, the statistics often blur the dis- satisfying the stipulations of subjects in the arts. Germany’s states differ markedly
tinction between extracurricular activities (choir, orchestra, mixed ensembles etc.), in the way they deal with these regulations in detail, particularly as regards the
actual classroom music and vague terms such as ‘rhythm’.8 different durations of grammar school and the peculiarities in those states that set
down uniform statewide questions for final school-leaving examinations.
Given the problems outlined above, the increasingly urgent question arises as to
whether music is losing its status as a self-contained subject, with a creeping de- Grammar school students may take music as a ‘subject with higher standards’ (for-
cline in number of lessons and ultimately a loss of dignity as a discipline. In this merly called ‘advanced-level course’, or Leistungskurs) or as a subject requiring a
light, the KMK resolution of 16 October 2008, in its version of 11 October 2018, con- written or oral final examination. However, this too depends on regulations spe-
cerning the ‘interstate content demands for disciplines and pedagogical methods cific to the state in question. If music is ‘taken as a subject requiring a written ex-
in teacher training’,9 should be viewed with a critical eye. Its section on primary amination, the written examination may be replaced by a special subject-related
school education departs significantly from a need for solid musical expertise. Its examination containing a written section’.14 When music is chosen as a course of
‘disciplinary perspectives’ and ‘basics of teacher training’ function as ‘minimal re- study in the upper level of grammar school, the possible combinations of subjects,
quirements’ for ‘aesthetics as a field of study: art, music, motion’. The ‘lesson con- the course offerings at the school in question and the pupil’s own educational path
tents and aims related to primary school education in art, music and sports’ are become increasingly delimiting factors. Similarly, institutional prerequisites, such
lumped beneath the heading of aesthetic education. Teacher trainees are allowed as minimum course sizes or predefined subject or course pathways, form ever
to choose a subject area of this sort as an alternative to the traditional study of larger obstacles to the creation of music courses with higher standards. To ensure
music for primary schools.10 If this resolution is put into practice in the federal consistency and comparability among the federal states, the KMK has defined
states, the probable consequence will be a further deterioration in the quality of basic requirements for final examinations in music, as in all other school subjects.15
how music is taught in primary schools.
The ‘Design of Upper Level and Final Examinations’ at Germany’s grammar schools
was agreed upon at the Conference of the Ministers of Education and Cultural
Affairs in its current version of 5 February 2018. It calls for a ‘subdivision into a
one-year introductory phase and a two-year qualification phase, the assignment of
subjects to three task areas, a division of subjects into mandatory and elective, the
possibility of setting individual points of emphasis, and the provision of lessons
at different levels of difficulty’.11 All in all, pupils in the qualification phase attend
‘two to four subjects with higher standards. These subjects are taught at least four
hours per week, or at least five hours for two subjects with higher standards’.12
Music is assigned to task area 1 (language, literature and art), but unlike other A work
workksho
shopp of the
the B
BMU
BMMU
M ’s Nat
Na ion
ional
all Mus
u ic
i Educat
Ed atation
ion
on
n Coongr
ngress
ngressess..
es
In
n 20
201
0118 some
0 o 1,500
500 mu
music teeach
achers
ers to
took
ok adv
adva
ad antag
age of th
this
iss nat
nation
ion
o -
school subjects (such as German) it cannot by itself cover the entire area. As a rule,
wiide gatheri
wid
w ath
t eri
ering
ng
g to
t p
pur
ursue
sue fu
f rth
th
her
er eduucat
ca
ation
at
atio
on an
andd exch
xchan
ang
an
nges.ess
this means that a second subject must be chosen from the same task area. In the
60 61
Music in Germany’s State Education System |
Fig. 2b | Hours allotted to music at secondary school level I (2018)
Grade Grade
Federal state Type of school 5 6 7 8 9 10 Federal state Type of school 5 6 7 8 9 10
9
Gemeinschaftsschule Arts and music area
additional 8 as elective subject Arts and music area (music/art and design, thea-
(art and design, music,
Baden- Werk- / Hauptschule 9 tre) plus compulsory elective in arts and music
theatre)
Württemberg Realschule 9
Mecklenburg- Orientierungsstufe 6 X
9 West
Gymnasium Integrierte
additional 12 as elective subject Pomerania X 8 + 21
Gesamtschule
2 2 2
Mittelschule 2 2 – Regionale Schule X 8 + 12
compulsory electives: music or art
Realschule 2 2 1 1 1 11 Gymnasium X 7+5 X
Bavaria Musikgymnasium X 10 + 2 X
Gymnasium 2 2 2 1 1 1
Musisches 2 2 2 2 2 2 Integrierte 3 4 3 3 3 3
Gymnasium plus one ‘instrument’ hour in each grade Gesamtschule in combination with art
Integrierte 2 2 2 2 Without college preparation:
X 2 1 2 1 2 1
Sekundarschule in combination with art
3 2 2 Oberschule in combination with art
Berlin2 Gymnasium X 2 With college preparation:
in combination with art
2 2 2 2 2 1 1 1
Gymnasium
2 2 2 1.5 4 3 1 1 1 1
(classical languages) in combination with art
Combination of music and art in combination with art,
Lower Saxony Hauptschule
Gesamtschule X 4 4 crafts in combination with art
2
Brandenburg and textile design
Oberschule X 4 4
Gymnasium X 4 4 4 3 2 1 2 1
Combination of music, art and theatre in combination with art,
Realschule
Bremen Oberschule 12 crafts in combination with art
and textile design
Gymnasium 10 X
Compulsory elective in arts 2 2 2 1 1 1
(visual arts, music, theatre) Gymnasium With music as elective:
4 83 (with 45-min. lessons) 2 4 4 4 4 4
Hamburg Stadtteilschule
3 63 (with 60-min. lessons) 8 8
Gesamtschule
4 84 (with 45-min. lessons) in combination with art
Gymnasium
3 64 (with 60-min. lessons) 8 8
Sekundarschule
Integrierte 8 6 in combination with art
2
Gesamtschule in combination with art North Rhine- 8 8
Hauptschule
Practical programme: Westphalia in combination with art and textile design
2 1 8 8
in combination with art Realschule
Mittelstufenschule 4 1 in combination with art and textile design
in combination with art Middle-level programme: 8 6
4 Gymnasium X
in combination with art
Hessen
6 4 2 Integrierte 8 9
Hauptschule
in combination with art Gesamtschule in combination with visual arts
Realschule 2 4 Rhineland-
8 8 to 11
Palatinate Realschule plus
8 8 in combination with visual arts
Gymnasium
in combination with art Gymnasium 4 6
Gymnasium 8 6
X
(eight grade levels) in combination with art X
62 63
Music in Germany’s State Education System |
Grade Note: This table shows the hours allotted to music at secondary school level I as far as they can be determined from the websites of
the educational ministries of the states involved. For information on the basic structure of the educational system in Germany, inclu-
Federal state Type of school 5 6 7 8 9 10
ding a classification of the various states' school types, see Fig. 1.
Gemeinschaftsschule 2 2 1 1 1 1 X = Grade level is not part of this type of school (or its secondary level I).
– = No music instruction allotted.
1
2 Only compulsory elective group IIIb.
2
Saarland 2 2 2 – 2 Secondary schools in Berlin and Brandenburg begin at grade 7.
optional: 3
Depending on the resources of the school concerned, the proportion of lessons can be increased on a subject-specific basis through
Gymnasium music or art the ‘Compulsory elective area of informatics, visual arts, music and theatre’.
Music branch: 4
Depending on the resources of the school concerned, the proportion of lessons can be increased on a subject-specific basis through
4 4 4 4 4 4 the ‘Compulsory elective area of visual arts, music, theatre, informatics and applied science’.
5
Expires in the 2018-19 school year.
2 6
Only 1 hour as of the 2019-20 school year.
Oberschule 2 1 1 1 1 optional: 7
One hour each in music history, music theory, ear training, piano/guitar, voice and choral training.
Saxony
music or art 8
Two hours each in main instrument, music theory and ear training, chorus/orchestra; one hour each in rhythm, music education; one
Gymnasium 2 1 1 26 1 1 half-hour piano as supplementary subject.
4 4 2 2 Source: Compiled by Ortwin Nimczik using information from the state ministries of education and cultural affairs.
Gemeinschaftsschule
(eight grade levels) in combination with art
4 4 2 2
Saxony- Sekundarschule
in combination with art education
Anhalt Of the 623,000 pupils in the final two grades of Germany’s grammar schools in the
3 3 3 3 2 2
Gymnasium
optional: 2017-18 academic year, 30.7 per cent took basic-level courses in music. This is 3.1 per
in combination with art education music or art
education cent more than in 2007-08, and one of the highest levels in the past ten years. The
Gemeinschaftsschule 8 14
X
proportion of those who completed a music course with higher standards in 2017-18
(grades 5 to 9) in combination with art, theatre and sports
was 1.9 per cent. Two thirds of all pupils in the upper two grades of secondary
Gemeinschaftsschule 8 18
(grades 5 to 10) in combination with art, theatre and sports level II do not study music at all (see Fig. 3).
Regionalschule5 10 12
X
Schleswig- (grades 5 to 9) in combination with art, theatre and sports
Holstein Regionalschule 5 10 16 Finally, it is useful to look at the quite inconsistent treatment of music at so-called
(grades 5 to 10) in combination with art, theatre and sports ‘vocational schools’ (berufliche Gymnasien, Fachgymnasien or Berufskollegien,
Gymnasium 14 14
(eight grade levels) in combination with art and sports
X depending on the state
Gymnasium 14 20 concerned),16 which dif- Schools with extended music curricula offer espe-
(nine grade levels) in combination with art and sports
fer markedly in this re- cially solid training to talented pupils. Detailed descrip-
4 4 4
Gemeinschaftsschule spect from one state to tions of facilities for every type of school in every state
in combination with art
Gesamtschule 2 2 2 the next. Such schools, can be found at the German Music Information Centre.
Regelschule 2 2 2
2
which offer a general
Thuringia
Gymnasium 4 3
Special classes school leaving certificate, are quite common in some states. They differ widely
in music7:
6 6 in the way they regulate the obligation to take music courses, ranging from the
Musikgymnasium
8,5 8,5 8,5 8,5 8,5 8,5 regular treatment found at ordinary grammar schools to complete disregard.17 It
music8
should be noted that the number of graduates of this form of full-time school who
obtain a general matriculation standard (Abitur) is steadily growing.18
64 65
Music in Germany’s State Education System |
Fig. 3 | Music pupils in final two years of grammar school (Gymnasium)1 it should be noted that these figures shed no light on how the music teachers are
actually deployed – information of great relevance to the distribution of resources
Pupils enrolled in music3 in lesson allotment plans, but which has appeared in no published survey to date.
Total number Basic course or subject at Advance-level course or subject
of pupils in elementary level (up to 3 hours with higher standards (at least 4
final two years2 per week) hours per week) The shortage of music teachers remains a basic problem in day-to-day school
operations. The education ministries of Germany’s federal states unanimously
School year Number Number % Number4 %
note a structural shortage of music teachers and rank music as a hard-hit case. The
2007-08 547,203 150,995 27.6 12,659 2.3
abovementioned report of 2012 already confirmed that Germany’s pupils are inad-
2009-10 628,982 158,532 25.2 15,657 2.5
equately supplied with music education: ‘Assuming that roughly 6 to 7 per cent
2011-12 686,641 192,704 28.1 15,930 2.3
of compulsory instruction falls on art and music by the end of secondary level I,
2013-14 626,558 185,249 29.6 14,185 2.3
and that every teacher generally teaches two subjects, it follows that music teach-
2015-16 645,930 196,692 30.5 13,648 2.1
ers must focus their lessons almost exclusively on music if they are to meet the
2017-18 623,021 191,422 30.7 12,025 1.9
demand for compulsory music tuition’.21 Continuity of instruction is not ensured,
Note: To take into account the differing treatment of the final years of grammar school in Germany’s states, the Standing least of all in primary schools and, with subtle gradations, at secondary level I
Conference of the Ministers of Education and Cultural Affairs (KMK) no longer speaks of ‘basic’ and ‘advanced’ courses, but
of subjects with basic or higher standards (‘Vereinbarung zur Gestaltung der gymnasialen Oberstufe in der Sekundarstufe II’, (apart from grammar schools). Surveys carried out by music teachers’ associations
KMK Resolution of 7 July 1972 in the version of 16 June 2016). At least two subjects with higher standards are mandatory in
all states; a number of states have defined three or even four such subjects. at the state level suggest that a mere 20 to 30 per cent of music lessons in primary
1
For grammar schools with eight grade levels (G8): Qualification phases Q1 and Q2. For those with nine grade levels (G9): schools are taught by trained music teachers, whereas approximately 70 to 80 per
grades 12 and 13.
2
Total number of pupils according to information supplied by the Federal Statistical Office. From the 2008-09 school year a cent are taught either by teachers from other fields or not at all. The percentage of
distinction has been made between grammar schools with eight years (G8) and nine years (G9). The figures cover both G8
and G9 grammar schools as well as integrated comprehensive schools, Waldorf schools and special schools. lessons cancelled is largely unknown.22
3
Number of music pupils according to information supplied by the KMK. The figures include G8 and G9 grammar schools as
well as integrated comprehensive schools, Waldorf schools and special schools.
4
Since the 2011-12 school year music has no longer been taught in Bavaria as a subject with higher standards.
Source: Secretariat of the Standing Conference of the Ministers of Education and Cultural Affairs of the Länder of the Federal
Republic of Germany, and various annual issues of the Federal Statistical Office’s Subject series 11, series 1.
A pros
pros
osp
os pec
pec
e tiv
tiv musi
tive us c teacher at Rostock
Un ver
Uni v sity of Music and Theatre
TEACHER SHORTAGE AND LESSON CANCELLATION
The number of teachers who teach music at Germany’s various types of school
cannot be precisely determined.19 The education report Bildung in Deutschland 2012,
using a special analysis conducted by the KMK, arrived at a figure of slightly more
than 37,800 teachers with training or certification to teach music.20 However, this
report has gaps in the data from several states and also departs from the informa-
tion provided by the Federal Statistical Office regarding the types of schools sur-
veyed. It is safe to assume that between 5 and 7 per cent of teachers at general state
schools possess this certification. The actual formal qualifications of these teach-
ers, e.g. with regard to training and specific degrees, are not spelled out. Moreover,
66 67Music in Germany’s State Education System |
The glaring shortage of trained music teachers leads to an accumulation of prob- so are the available space and media equipment for music instruction: excellently
lems in conjunction with the tasks and demands faced by schools today: educa- equipped schools stand alongside others without music classrooms, instruments
tional inclusion, heterogeneity, language training, differentiation. This particularly or audio-visual resources.
affects special education, where music is known to have a great impact on the
pupils’ advancement. The teacher shortage is further intensified by the fact that There have been hardly any designated studies of what music lessons look like in
music instruction can rarely be handled in a professional manner when the teacher day-to-day practice. Given the large-scale shifts in musical culture in recent de-
falls ill or is otherwise absent. cades and the strong bond between young people and music, conditions for music
as a school subject have clearly changed and expanded. Because of its diversity and
In view of the changes in society, the increasing age of music teachers and the omnipresence in today’s audio-visual and other media, music has proved to be an
growing number of pupils, there is no assurance that an adequate supply of quali- integral part of our lives and the way we express ourselves. In light of Germany’s
fied music teachers will be available at Germany’s state schools in the future. The educational mandate in the whole of society, and given an open-minded view of
shortage of trained music teachers is part of a larger problem, namely, the short- culture, music instruction is meant to enable children and adolescents to partici-
age of teachers altogether, especially in primary schools. The employment of later pate actively and with self-determination in musical culture, its evolution and its
entrants and career changers, though promoted by state ministries of education, preservation, and thereby to seek and find their personal and social identity. In
will not solve the underlying problems; rather, it will lead ineluctably to a creeping light of altered conditions, which will surely continue to change in the future, it
deprofessionalisation of the music teachers’ calling.23 Here the ministries are en- is safe to say that there can be no such thing as a single sacrosanct form of music
joined to work in concerted fashion with educational institutions in order to estab- education. The way music is taught in Germany’s state education system will de-
lish extensive short-term further education and post-qualification programmes pend inter alia on the pupils involved, their personal backgrounds, the location of
with clearly defined qualification standards so as to impart solid communication the lessons, the socio-cultural context and the school concerned.
skills in the teaching of music.
In 2005 the German Music Council (Deutscher Musikrat), in its Expert Committee
GENERAL REGULATIONS FOR MUSIC EDUCATION on Music Education, defined a comprehensive framework for music instruction
in Germany’s state school system. It consists of a total of seven points, covering a
The contents and methods used in the teaching of music are regulated by the spectrum that ranges from pleasure in music and joint music-making to emotional
core curricula and/or general guidelines of the state concerned. On the one hand, and sensory experiences to intellectual insight, including teaching pupils to under-
these are aimed at the formulation of responsibilities or refer to the breadth of stand their own musical culture.24
contents and the variety of methods to be employed. On the other hand, they also
lay down specific contents for particular courses or thematic points of emphasis, MUSIC PERFORMANCE IN SCHOOLS
including pre-defined works for the main school-leaving certificate (Zentralabitur).
They place various emphases on educational theory with regard to its applicability Besides music instruction, music performance is especially important in those
in various types of school, and lay down corresponding framework conditions. The schools that offer specially designed music courses for pupils with a particular inter-
detailed elaboration of the contents and methods is, however, largely left to school est in music. These mainly involve grammar schools with a special focus on music
conferences and qualified music teachers. School textbooks, songbooks, lesson and the arts, some of which co-operate with music schools at the tertiary level. In
materials, media packages and thematic booklets from various educational pub- addition to an increase in music instruction, these institutes, some of which are
lishers, as well as articles in music education journals, provide ideas and assistance boarding schools, also offer intensive lessons in musical instruments, voice, music
in the planning and conduct of lessons. Just as the staffing situation is inconsistent, theory or ear training. Such schools place a premium on orchestral and choral
68 69Music in Germany’s State Education System |
Left: a chamber music course.
Right: a concert in the school’s auditorium.
Belvedere Castle School of Opposite page: a Saturday concert in the school’s
Music (Musikgymnasium auditorium (top and bottom right); the classroom
building (middle); the chamber music room (bottom left)
Schloss Belvedere), a boarding
school where highly gifted
young musicians receive
special training in coopera-
tion with the University of
Music FRANZ LISZT Weimar
work. The overriding objective of these specially oriented schools is to promote
highly talented pupils in a targeted manner and potentially to prepare them for
a musical career in adulthood. There are also a good many schools that provide
expanded music instruction at various levels of concentration using a wide range
of concepts.
In the case of Germany’s ‘normal’ state schools, intensive instrumental and vocal
training is mainly provided in optional subjects or extracurricular activities. In
such schools, choirs, big bands, orchestras, mixed ensembles, work groups in con-
temporary music, combos and similar formations are distinctive features of school
life. However, their vitality depends equally on the commitment of the pupils and
on teachers with sufficient powers of motivation. Such teachers have found it in-
creasingly difficult, in administrative terms, to have this work counted as part of
their teaching load.
Roughly over the last 25 years, different forms of classroom music-making have
taken hold in Germany’s state schools with the aim of building up broad-based
musical competence without special musical skills. These programmes specifical-
ly attempt to reach pupils who do not have the opportunity to learn an instru-
ment outside the school system. Recently this trend has accelerated as schools
70 71Music in Germany’s State Education System |
seek to cultivate an image and develop greater autonomy, and as all-day schools Fig. 4 | Partnerships with public music schools
become more widespread. In a general sense, the term classroom music-making
Percentage of partnerships by partner (2017)
is understood to mean all music-related activities performed jointly by a school
music class, including reflecting on those activities.25 Consequently, classroom Primary schools
Other institutions 32.3%
music-making can generally be incorporated into any form of music teaching at a Retirement homes 3.2%
Churches 1.5%
state school. More specifically, classroom music-making is carried out in so-called 1.6%
Secondary schools (excluding
‘music classes’ in which every pupil learns an instrument and/or receives singing Music clubs 7.7%
3.7% Gymnasien and Gesamtschulen)
Total:
Choruses 0.8%
lessons. Compared to regular weekly class lessons, music classes receive more hours 13,412 5.9% Gymnasien
of instruction per week (at least two hours on a continuing basis, and sometimes 3.1%
Gesamtschulen
2.4%
Kindergartens and
three or more). In addition to the closed form of music class, there are also what day care centres
1.3% Förderschulen
Other schools
36.3%
are called Einwahlmodelle (omnibus models) where the pupils come from parallel
classes or an entire grade level. These models vary depending on the instruments
taught: music classes may be held for winds, strings, voice (also known as singing, 2007 2009 2011 2013 2015 2017 Percentage of 2007 2009 2011 2013 2015 2017
cooperating
vocal or choral classes), keyboards, recorders, guitars, percussion, fretted mono- Number of cooperating music
music schools
Number of cooperating partners
schools
chords or diverse mixtures. They are most prevalent in grades five and six, with a among total
music schools
tendency towards continuation at middle-level. They are also coming increasingly Type of partner (2017)1
to the fore in primary schools. In all school types they constitute an important area Primary schools 722 742 774 783 711 743 80.1 3,222 3,926 4,054 4,347 3,769 4,332
Hauptschulen2 235 285 259 209 443 576 478 314
where music teachers from state schools and teachers from music schools and the 305 293 31.6 567 498
Realschulen2 268 305 310 304 450 478 493 486
private sector can work together on a constructive basis.
Gymnasien 522 529 502 500 387 418 45.0 893 975 1.069 973 707 796
Gesamtschulen 140 138 151 172 202 233 25.1 195 201 371 263 354 416
At present, music classes, with their various forms of classroom music-making, Förderschulen 166 193 214 227 215 233 25.1 232 290 308 308 333 328
appear to be a very successful vehicle for music instruction. It is difficult to de- Other schools 71 82 70 67 97 93 10.0 80 127 106 112 203 175
Kindergartens and
termine how many currently exist, but it is absolutely certain that their numbers 596 665 731 721 568 605 65.2 3,775 4,592 5,379 5,567 4,425 4,865
day care centres
have recently increased. The conflicting concepts and practices in schools also Choruses 228 264 209 190 63 61 6.6 642 709 538 482 130 114
Music clubs 455 490 435 411 248 268 28.9 1,832 2,012 1,793 1,693 1,030 1,038
raise questions, of course. These questions are directed inter alia at conceptual
Churches 314 355 252 215 89 96 10.3 725 848 606 538 207 221
objectives, course design and balance, methodological consistency, integration of Retirement homes - - - - 104 121 13.0 - - - - 163 204
classroom music-making or educational theory, and balance between those parts Other institutions 165 179 229 245 186 217 23.4 447 523 626 732 339 425
of the lesson devoted to general music instruction and those devoted to playing Note: Owing to a change of methodology in data collection, figures from 2014 on cannot be directly compared with those from
previous years.
an instrument.26 At the same time, classroom music-making specifically requires 1
Measured against the total number of VdM music schools on 1 January 2018.
competence on the part of music teachers, meaning that changes are needed in the 2
From 2014 on the categories of Hauptschulen and Realschulen were combined under the heading weiterführende Schulen (secondary
schools).
way they are trained.27 Source: Compiled and calculated by the German Music Information Centre from the various annual issues of the VdM’s Statistisches
Jahrbuch der Musikschulen in Deutschland.
In recent years a number of practical projects of limited duration and variable
quality and relevance have been launched to reinforce school music-making, par- work of Bochum Music School and continued from 2007 in a co-operation between
ticularly in primary schools. They began with the ‘JeKi’ project (for ‘Jedem Kind ein the Federal Cultural Foundation, the state of North Rhine-Westphalia and the Fu-
Instrument’, i.e. An Instrument for Every Child) that originally emerged from the ture of Education Foundation (Zukunftsstiftung Bildung). In 2010 the project was
72 73Music in Germany’s State Education System |
extended to the Ruhr area of North Rhine-Westphalia and became a model adopted No data is available on collaboration between state schools and private music
in various forms in Hamburg, Hessen and other states. In North Rhine-Westphalia schools or freelance instrument or voice teachers. With the expansion of Ger-
itself it was replaced in the 2015-16 school year by the successor programme ‘JeKits’ many’s all-day schools, however, a closer co-operation at a guaranteed qualitative
(for ‘Jedem Kind Instrumente, Tanzen, Singen’, i.e. Instruments, Dancing and Sing- level is both necessary and desirable as a supplement to music education.
ing for every child), which was opened for every municipality in the state and
added the two other points of emphasis as alternatives to instrument lessons. FUTURE PERSPECTIVES
Equally worthy of mention are many other projects and initiatives that provide
very important and creative regionally-tinged supplements to Germany’s nation- The perspectives of music as a school subject are and will remain strongly in-
wide mandate for music education from the preschool level to advanced training fluenced by ongoing developments in Germany’s cultural, educational and school
for music teachers. Many of these projects are the result of civic commitment and policies. Within this framework, it is particularly important to strengthen the po-
unencumbered by bureaucratic red tape.28 However, such projects must be seen as sition of music in its specificity and uniqueness among the broad range of sub-
complementary to school music instruction, not as a substitute for it. jects taught at every level of the state school system, to place it in educationally
The Song Festivals at the end of the ‘Klasse! Wir singen’ programme bring together thousands of children.
Music education in the state school system is associated in many different ways
with co-operative ventures with public music schools. The percentage of schools meaningful learning environments and to appreciate its importance to the whole
that enter co-operations with VdM music schools has stabilised at the level reached of society from every vantage point. It is especially vital to ensure that music is
in recent years. In 2017, for example, almost 80 per cent of VdM music schools promoted and taught on a continuous basis. To do so, the number of music teacher
worked together with primary schools, and almost 45 per cent with grammar trainees must be increased, especially for primary and special schools. Equally im-
schools (see Fig. 4). portant is the need to enable and establish inclusive teaching methods in which
74 75Music in Germany’s State Education System |
music can successfully meet the many claims and demands placed upon it in 6 Sekretariat der Ständigen Konferenz der Kultusminister der Länder
school life, both in its contents and its methodology. Finally, it is essential to dis- in der Bundesrepublik Deutschland, ed., Zur Situation des Musik-
cuss the contribution that music education can and ought to make, both now and unterrichts im Fach Musik an den allgemeinbildenden Schulen in
in the future, toward active and self-determined participation in our digital world. der Bundesrepublik Deutschland: Bericht der Kultusministerkonferenz
vom 10.03.1998, (Bonn, 1998), pp. 11f.
7 The total number of students in Germany’s general education system
was 8.3 million in the 2017-18 school year. Slightly more than 7 million
Ortwin Nimczik is professor of music education and pedagogy at Detmold attended primary schools and schools of secondary level I. Figures
University of Music and honorary president of the German Music Teacher from Federal Statistical Office, ed., Bildung und Kultur: Allgemein-
Association (Bundesverband Musikunterricht). bildende Schulen, Schuljahr 2017/2018, Special series 11, series 1
(Wiesbaden, 2018), p. 10.
8 This vagueness is illustrated by the case of North Rhine-Westphalia,
where the total number of hours allocated in primary schools to the
‘artistic subjects’ music and art in the 2017-18 school year should be
1 Illustrated in Grundstruktur des Bildungswesens in der Bundes- roughly equal. In fact, the 2017-18 statistics reveal that 4 hours were
republik Deutschland: Diagramm, ed. Sekretariat der Ständigen accorded to art and art education for every 3 hours allocated to music
Konferenz der Kultusminister der Länder in der Bundesrepublik and rhythm. See Ministerium für Schule und Bildung des Landes
Deutschland (Berlin, 2017). Nordrhein-Westfalen, ed., Das Schulwesen in Nordrhein-Westfalen
2 Further discussion in Lutz R. Reuter and Margarete Menz, ‘Das Schul- aus quantitativer Sicht 2017/18 (Düsseldorf, 22018), pp. 86 and 91.
wesen in der Bundesrepublik Deutschland’, in Gerhard Mertens 9 Sekretariat der Ständigen Konferenz der Kultusminister der Länder
et al., eds., Handbuch der Erziehungswissenschaft, vol. II/1: Schule in der Bundesrepublik Deutschland, ed., Ländergemeinsame inhalt-
(Paderborn, 2009), pp. 139-54. liche Anforderungen für die Fachwissenschaften und Fachdidaktiken
3 For details see Sekretariat der Ständigen Konferenz der Kultus- in der Lehrerbildung: Beschluss der Kultusministerkonferenz vom
minister der Länder in der Bundesrepublik Deutschland [Secretariat 16.10.2008 i. d. F. vom 11.10.2018 (Bonn and Berlin, 2018).
of the Standing Conference of the Ministers of Education and Cultural 10 Ibid., p. 66. In the meantime the introduction of such learning areas
Affairs], ed., Das Bildungswesen in der Bundesrepublik Deutschland has led to corresponding degree programmes, e.g. at Cologne Univer-
2015/16: Darstellung der Kompetenzen, Strukturen und bildungs- sity. However, the proportion devoted to music in those programmes
politischen Entwicklungen für den Informationsaustausch in Europa is extremely limited compared to the proper study of music.
(Bonn, 2017), pp. 137f. 11 Sekretariat der Ständigen Konferenz der Kultusminister der Länder
4 To avoid historical connotations of musische Bildung (education in in der Bundesrepublik Deutschland, ed., Vereinbarung zur Gestaltung
the arts) it would be meaningful and conceptually clearer to speak der gymnasialen Oberstufe und der Abiturprüfung: Beschluss der Kul-
of musikalische Bildung (education in music). tusministerkonferenz vom 07.07.1972 i. d. F. vom 15.02.2018 (Berlin and
5 Sekretariat der Ständigen Konferenz der Kultusminister der Länder Bonn, 2018), p. 4.
in der Bundesrepublik Deutschland, ed., Kunst- und Musiklehrer- 12 Ibid., p. 9.
ausbildung: Beschluss der Kultusministerkonferenz vom 06.12.2012 13 Ibid., p. 8.
(Berlin, 2012), p. 2. 14 Ibid., p. 12.
76 77Music in Germany’s State Education System |
15 Einheitliche Prüfungsanforderungen in der Abiturprüfung Musik: Ausfall des Musikunterrichts an Gymnasien und Sekundarschulen
Beschluss der KMK vom 01.12.1989 i. d. F. vom 17.11.2005, ed. Sekretariat (9. und 10. Klasse) (Bonn, 2015), online at http://www.miz.org/down
der Ständigen Konferenz der Kultusminister der Länder in der Bundes- loads/statistik/91/statistik91.pdf (accessed on 2 November 2018).
republik Deutschland (Berlin and Bonn, 2005). The German Music Council and the Bertelsmann Foundation are
16 The status of music at this type of school is discussed by Philipp Ahner: currently preparing a study of this topic, with initial findings
Wahlfach ‘Musik’: Musikunterricht an beruflichen Gymnasien in der scheduled to appear in 2020.
Sekundarstufe II in Baden-Württemberg aus der Perspektive von Jugend- 23 In 2017, 114 career changers were hired for music instruction in Berlin,
lichen, Musikpädagogik und Kultusverwaltung (Norderstedt, 2011). 60 in North Rhine-Westphalia, 39 in Saxony and 31 in Lower Saxony,
17 Vereinbarung zur Gestaltung der gymnasialen Oberstufe und der Abitur- or 267 positions nationwide. See Sekretariat der Ständigen Konferenz
prüfung: Beschluss der Kultusministerkonferenz vom 07.07.1972 i. d. F. vom der Kultusminister der Länder in der Bundesrepublik Deutschland, ed.,
15.02.2018, ed. Sekretariat der Ständigen Konferenz der Kultusminister Einstellung von Lehrkräften 2017: Tabellenauszug, ed. (Berlin, 2018), p. 9.
der Länder in der Bundesrepublik Deutschland (Berlin and Bonn, 2018), 24 Deutscher Musikrat [German Music Council], ed., ‘Sieben Thesen zur
p. 8, note 4. Musik in der Schule’, in Musik bewegt: Positionspapiere zur Musikalischen
18 In Baden-Württemberg this figure was 18,646 in 2016, i.e. more than Bildung (Berlin, 2005), pp. 10-19, esp. pp. 11f.
a third of all grammar school pupils who graduated in that year. 25 More detailed discussion in Michael Pabst-Krueger, ‘Klassenmusizieren’,
See Abiturienten nach Schularten, ed. Statistisches Landesamt Baden- in Werner Jank, ed.: Musik-Didaktik: Praxishandbuch für die Sekundar-
Württemberg (Stuttgart, 2018), online at https://www.statistik-bw.de/ stufe I und II, (Berlin, 62017), pp. 158-68.
BildungKultur/SchulenAllgem/LRt0302.jsp?path=/BildungKultur/ 26 Hans-Ulrich Schäfer-Lembeck, ed., Klassenmusizieren als Musikunter-
SchulenBerufl/ (accessed on 5 October 2018). richt!? Theoretische Dimensionen unterrichtlicher Praxen: Beiträge des
19 The Federal Statistical Office gives the total number of teachers Münchner Symposions 2005 (Munich, 2005). Since then studies have been
in Germany’s state school system at 679,478 in 2017-18, breaking published on this topic, including Gerd Arendt, Instrumentalunterricht für
them down by type of school, scope of employment and sex, but alle? Zur langfristigen Relevanz des Klassenmusizierens und der Notwen-
not by subject, owing to the inconsistent sources relative to the digkeit einer Reform des Musikunterrichts (Augsburg, 2009); Thade Buch-
federal states. See Bildung und Kultur: Allgemeinbildende Schulen, born, Neue Musik im Musikunterricht mit Blasinstrumenten (Essen, 2011);
Schuljahr 2017/2018, ed. Statistisches Bundesamt, Special series 11, and Katharina Bradler, Streicherklassenunterricht. Geschichte – Gegenwart
series 1 (Wiesbaden, 2018), pp. 696-744. – Perspektiven (Augsburg, 2014). For an integrative conception of music
20 Bildung in Deutschland [Education in Germany] 2012: Ein indikatoren- education see Bernhard Sommer et al., Leitfaden Bläserklasse: Ein Konzept
gestützter Bericht mit Analyse zur kulturellen Bildung im Lebenslauf, für das erfolgreiche Unterrichten mit Blasinstrumenten (Innsbruck, 2018).
ed. Autorengruppe Bildungsberichterstattung (Bielefeld, 2012), p. 335. 27 Further discussion in Ludwig Striegel, ‘Klassenmusizieren als integratives
21 Ibid., p. 191. Unterrichtskonzept: Das Mainzer Modell’, in Schäfer-Lembeck, ‘Klassen-
22 In March 2015 the study ‘Jugend/Kunst/Erfahrung: Horizont 2015’ inves- musizieren’ (see note 26), pp. 118-24, and Ortwin Nimczik, ‘Studienfeld
tigated the cancellation of music education at grammar and secondary- Klassenmusizieren: Ein neuer Schwerpunkt im Studiengang Schulmusik
level schools by polling pupils in grades nine and ten. The findings an der Hochschule für Musik Detmold’, in ibid., pp. 125-37.
revealed that music education did not take place at 22 per cent of the 28 Examples include ‘Primacanta: Jedem Kind seine Stimme’; ‘SingPause:
schools and was cancelled ‘frequently’ or ‘now and then’ at 27 per cent. Singen an Düsseldorfer Grundschulen’; ‘GanzOHR! Musik für Kinder’;
The statistics were published by the German Music Information Centre in and ‘Canto Elementar’.
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