EXCHANGE DIE KUNST, MUSIK ZU VERMITTELN - Miz.org

even for many decades. These concerts
are usually offered to pupils aged 12 and
older, but targeting children under 12 is
becoming more and more common.
Small workshops in schools
Many of our interviewees offer short
workshops in schools. Usually, two musicians
visit a class, introduce their instruments
and, together with the pupils,
work on a piece of music they are later
going to hear in a final rehearsal or a
concert. The content of the workshop
always relates to the music, but another
aim is to establish a personal relationship
between children and adolescents and
the members of an orchestra. Ideally,
this personal contact will help spark interest
in classical music.
Large workshops in schools
This category includes all types of collaborations
with schools which run over a
longer period of time. They are often interdisciplinary,
usually incorporating
music and dance. They often conclude
with a performance by the pupils, which
becomes part of a concert played by the
orchestra or the ensemble.
Workshops in old people’s homes,
hospitals or prisons
It is no coincidence that in our diagram
these projects are known by their English
name i.e. ‘Community-Workshops’
since they are predominately offered by
British orchestras and concert organisers.
No German expression exists currently
that describes work involving people
who live in public institutions or people
who get together in community facilities
such as education or community centres.
QUALITY ATTRIBUTES
The quality of music education is subject
to specific criteria. These depend on
local organisational structures, the skills
and the professional know-how of the
music educators and education managers,
the artistic level of the ensembles
and creative staff involved, the attitude
of the co-operating partners, etc. Although
all approaches are highly individual, a
few parameters can be identified that are
relevant to all interviewees and influence
their way of working. We consider our 40
interviewees exemplary leaders in the
field of music education. We therefore
assessed the conditions, procedures and
results of their music education projects
and formulated a theory of Three Pillars
of Quality Development namely structure,
process and product quality. We believe
this could become a useful framework
for designing music education projects in
the future.
We consider the ability to formulate
goals and to verify if they have been
reached as fundamental to all questions
about music education quality. We therefore
placed a chapter about target orientation
as an introduction before the
three chapters about the pillars of quality
development.
INTRODUCTION:
> TARGET ORIENTATION
THE THREE PILLARS OF QUALITY
DEVELOPMENT:
> STRUCTURE
> PROCESS
> PRODUCT
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Target orientation
When asked about their vision, interviewees
identified the following goals:
> Orchestras and concert organisers
want their audience to experience
music.
> The concert house should be accessible
for a wide range of demographic
groups and a wide variety of music
should be offered.
> Music education is supposed to help
the audience to discover a number
of different musical styles.
> Central to all activities is the playing
and listening to music as well as developing
an understanding for music.
> Established orchestras and successful
concert organisers want their music
education projects to have the same
high artistic and pedagogical
standards as all their other artistic
activities.
> Music education is supposed to establish
music as a significant part of everyday
life and add joy to life in general.
> In music education, processes generally
play a more important role than
the finished products. The quality of
musical and pedagogical work with
schools and families is therefore considered
more important than the results
of this work. These are presented
to a wider public, either in the form
of concerts played exclusively by
children or as concerts where children
collaborate with an orchestra.
> Music education projects are supposed
to help raise interest in learning
to play an instrument or to sing in
a choir.