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participants. They also have different
views on whether music students participating
in productions for children and
adolescents can be classified as professional
musicians. Particularly when involved
in projects for small preschool age
children, students of Early Childhood
Music Education often add to the artistic
team since they are knowledgeable
about the needs of this age group and are
trained to deal with them.
Quality of experience
Attending a concert not only provides
musical experiences, cultural education
and a sharpening of the perceptive skills,
it also offers a time of entertainment and
adventure. All interviewees consider it a
crucial element in their approach that
children, adolescents and families experience
time spent in a concert hall as
time shared. This shared experience can
affect interpersonal communication but
can also echo inside as a deeply individual
experience.
What do education managers and music
educators consider good quality? – 20
answers to the question ‘When does it
work?’
> ‘When the result feels well-rounded in
an artistic and educational sense.’
> ‘We are trying to develop that well
grounded critical thinking adult. That
would be my success.’
> ‘I find that music education works
when inside the listener something
happens to the music.’
> ‘Good quality in an education project
means that it follows a dramaturgical
concept, which keeps children interested.
Most importantly, all participa-
tion, all gimmicks, all jokes should
serve to draw attention to the music.’
> ‘The main purpose is the artistic quality
and authenticity of a production. It is
important that children deal with art
in a genuine way and in an appropriate
environment.’
> ‘When I am in a concert, I feel if it is
quality or not.’
> ‘When all participants, musicians and
clients alike have clearly understood
their respective roles in the project
and are at the right place at the
right time!’
> ‘We have a phenomenal orchestra that
enjoys getting involved. If it were different,
the performances would be
trivial and arbitrary. The orchestra is
the jewel in our crown, but it is
always on a level playing field with the
youngsters.’
> ‘When other art forms are integrated
into our work.’
> ‘The people who actually do the educational
work within the project are
true to their line of work.’
> ‘It’s all about opening children’s ears
and fine-tuning their senses. But at
the end of the day, they have their
own opinions. They must decide and
work and judge. We must not direct
them but make them aware of the
possibilities.’
> ‘When you establish a relationship
and spark excitement. My favourite
feeling it to get to know people
personally.’
> ‘When we know what we want. Our
goals have to be defined precisely,
since they define all other aspects
of a project.’
> ‘Can I keep the children’s attention or
am I losing it? It is like being a
133
teacher. When things don’t work they
have to ask themselves afterwards:
What went wrong? What needs to be
improved?’
> ‘What distinguishes our projects is
that we reach out to children and adolescents
and touch them. We “pick
them up where they are waiting”. We
don’t overwhelm them but simply
make music tangible in the truest
sense of the word.’
> ‘When it starts well and we all know
what our goal is.’
> ‘When they realise what it is we want
to convey. It can be a sound or some
formal structure. When they get it, it
means the project is good quality.’
> ‘Good quality means that good music
is played in a way that is appropriate
for the age and the abilities of the
target groups and in a way that is
entertaining.’
> ‘In principle, I want to be in tune with
the target group. I want to “pick them
up where they are waiting and guide
them from there to beyond”.’
> ‘For me it has to be clear that music
education is not some accessory that
is “nice to have“, but something that
management really wants.’