EXCHANGE DIE KUNST, MUSIK ZU VERMITTELN - Miz.org
EXCHANGE DIE KUNST, MUSIK ZU VERMITTELN - Miz.org
EXCHANGE DIE KUNST, MUSIK ZU VERMITTELN - Miz.org
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gogical skills and their ability to communicate.<br />
In big orchestras there are still<br />
musicians who ridicule music education<br />
efforts and who put up active and passive<br />
resistance against expanding such projects<br />
– their numbers are, however, negligible.<br />
On the other hand, there is an increasing<br />
number of dedicated musicians who want<br />
to play an active role in the creative planning<br />
of music education projects. They are<br />
also interested in professional development<br />
in this field and their ideas and<br />
thoughts are invaluable contributions<br />
when developing new projects.<br />
In the USA, big orchestras have recently<br />
developed a new form of cooperation<br />
with artists commonly known as<br />
‘teaching artists’. They supervise the education<br />
departments’ comprehensive<br />
long term music education projects with<br />
local schools. They work as independent<br />
contractors and are selected by the orchestra<br />
in an audition process. They are<br />
prepared for their assignments with indepth<br />
training.<br />
Educational aspects – process quality<br />
Subject matter<br />
Science of musical instruments is a<br />
central subject within all music education<br />
workshops which precede concerts.<br />
Orchestral musicians who visit schools almost<br />
always introduce their own instrument<br />
and explain design, technique, origin,<br />
instrument family and charac -<br />
teristics of timbre.<br />
Musical Theory i.e. theory of musical<br />
forms, rhythm and theory of harmony is<br />
the basis of most creative workshops<br />
that deal with one particular work of one<br />
composer to encourage children and<br />
adolescents to compose and create<br />
music. In most cases, no explicit reference<br />
to theory is made.<br />
Biographies of musicians are less<br />
prevalent in music education workshops<br />
than in concerts for children, where they<br />
are used to introduce a narrative element.<br />
There are numerous concerts that<br />
concentrate on fascinating aspects of the<br />
lives of composers such as Wolfgang<br />
Amadeus Mozart, Johann Sebastian<br />
Bach or Johann Strauss II. The composers’<br />
experiences are linked to the<br />
children’s personal experiences to raise<br />
interest in the composers’ work.<br />
Vocal and instrumental skills are less<br />
central to music education projects than<br />
they are to singing and music classes.<br />
They are, however, relevant in long-term<br />
projects, where instruments and voice are<br />
used and when children and adolescents<br />
are supposed to improve their skills either<br />
through professional voice coaching or<br />
experimental vocal forms of expression.<br />
In such workshops, children and adolescents<br />
can also improve their level of technical<br />
expertise on simple instruments<br />
such as a mallet or rhythm instruments<br />
or on their own instruments, if they are<br />
used in the course of the project.<br />
Musical Creativity is a most important<br />
subject matter in long-term music<br />
education projects, where children and<br />
adolescents are encouraged to create<br />
their own music, referencing a selection<br />
of musical parameters taken from important<br />
works of classical or modern music.<br />
Cooperation with other art forms<br />
When developing projects, which incorporate<br />
several art forms, silent power<br />
struggles about which art form ‘reigns<br />
supreme’ can result in tensions. In projects<br />
using dance or drama and even<br />
131<br />
WIE GELINGT<br />
<strong>MUSIK</strong>VERMITTLUNG?<br />
„We are trying<br />
to develop that well-grounded<br />
critical thinking adult.<br />
That would be my success.“<br />
more when using visual arts such as<br />
films or paintings, there is a risk that the<br />
music and its emotional impact are<br />
pushed into a subordinate role. ‚Mehr -<br />
spartenhäusern’ (theatres in German<br />
speaking countries that show opera, ballet<br />
and drama) usually prefer to develop<br />
projects that make use of the abilities of<br />
their own staff.<br />
Cooperation with schools<br />
Schools are generally very open to working<br />
with orchestras and concert <strong>org</strong>anisers.<br />
How difficult it is to plan and incorporate<br />
music education projects into the<br />
curriculum, depends on the type of<br />
school (primary, secondary, college, etc),<br />
the <strong>org</strong>anisational structure of the<br />
school, the availability of substitute<br />
teachers, the possibility of rescheduling<br />
classes and the general attitude towards<br />
cultural projects. Another decisive factor<br />
is the availability of financial support for<br />
long-term artistic projects from the education<br />
authorities. Teachers react very<br />
differently to extra-curriculum projects.<br />
Some prefer a type of cooperation where<br />
they contribute their own ideas, methods<br />
and approaches. The majority expects<br />
to be provided with a finished concept<br />
where they take on the role of a facilitator,<br />
who gives invaluable support as<br />
an expert of the local conditions and the<br />
distinctive characteristics of the pupils.<br />
Most of our interviewees view it as a sign<br />
of good quality, when they don’t just<br />
offer a project to be executed but develop<br />
an idea with a teacher. At the early<br />
stage of planning content and procedures,<br />
both sides usually benefit from<br />
their different cultural backgrounds.