EXCHANGE DIE KUNST, MUSIK ZU VERMITTELN - Miz.org

A GUIDE TO SELF-EVALUATION –
AND SOME RECOMMENDATIONS
For the study, we talked to many education
managers and music educators from
orchestras and concert halls. We had indepth
discussions and got inspired by
questions. An intense expert-conference
half way through the study helped to
structure and deepen our understanding
of the subject matter.
The film documentary featuring five
successful projects improved our awareness
of the factors that affect the quality
of such projects. All interviews were
conducted in a friendly, open-minded
and reflective manner – more than once,
interviewees told us that our interest in
the quality of music education encouraged
them to make time for detailed reflection
about its parameters. This reaction,
in turn, encouraged us to compile
guidelines based on what we have experienced
and observed and the insights
identified. These guidelines can be used
in various ways.
HOW TO USE THE GUIDELINES
For the manager
The guidelines ask you to think about
the ultimate goals your work is aiming
for. They also encourage you in various
ways to reflect on your latest projects.
They might give you new ideas for your
next project. You might also want to allow
for a conscious moment of rest and to use
mistakes or shortcomings to learn for the
future. All new insights can be used to
document and to evaluate your project.
For the team
The questions listed in the guidelines
might be used as a basis for discussing
your work with the team. Team meetings
can be held within your department, together
with all other departments or together
with all participants of the latest
project (teachers, artists, freelancers,
etc). If major changes within the organisation
are on the horizon, perhaps consider
hiring an external facilitator.
For the supervisor
Education managers and music educators
often state that, although they are in constant
contact with a large number of people,
they are lone fighters when it comes
to their actual work. The study wants to
encourage the use of supervision to manage
the pedagogical and organisational
challenges in the complex world of music
education and can serve as a tool to improve
work satisfaction and self development.
The guidelines provide a springboard
for a supervisor to start the conversation.
We conclude with further practical advice,
which, while we would not claim it
to be complete, we hope can help to improve
music education.
RECOMMANDATIONS
Recommendations to improve structural
quality
> Support from management is essential
when establishing education projects
in orchestras or concert halls.
> Investing in a wide range of university
courses for continued professional development
in music education is indispensable
to improve professionalism.
> Education managers and music educators
need a wide range of educational
skills as well as an in-depth knowledge
of social sciences and project manage-
134
ment. Both facets need to be cultivated
and developed continually.
> Internal PR is necessary to introduce
all staff members to the concerns and
goals of music education projects.
> External PR and excellent cooperation
with the marketing department are of
equal importance.
> Sustainable projects cannot be undertaken
without adequate funding.
> Music education can trigger changes
in the field of education and hence in
society. It therefore has the added
responsibility to reach people who
otherwise would never set foot inside
a concert hall.
> Professionalism in the field can be
improved by networking with colleagues
at a national and international
level. The continual exchange of ideas
in social networks is beneficial and
can serve as a platform, from which to
develop professionally.
Recommendations to improve process
quality
> The development stage is the key to a
successful project. Joint conceptual
planning with teachers, musicians
and education managers as equal
partners ensures the effectiveness of
the team for later project stages.
> To avoid armchair decisions and projects
done by the numbers, it is worth
taking a good look at the wants and
needs of cooperating cultural and
educational institutions.
> Travelling is educational: even if time
is limited, it pays to get to know different
approaches – they might lead to
new forms of collaboration.
> Processes are often under an enormous
time pressure – in the field as