Search

The article focuses on the criticism of the PISA tests and their impact on educational systems, particularly in Germany. Topics include the economic motivations behind PISA, the undermining of holistic educational goals, and the shift in focus from comprehensive education to improving test scores at the expense of subjects like the arts.

The article focuses on the efforts of Rebekka Deckart, music professional at the Hochschule fur Musik Nurnberg, to offers training to music students through a didactic intensive week. It highlights the lesson preparation, lesson planning and teaching practice involved in the training of students. It also reports on the recognition of Deckart with the Bavarian Culture Prize 2020 for her creativity in teaching, as of July 2021.

The article focuses on upcoming professional development opportunities announced in the June 2023. These opportunities include a Latin percussion workshop for teachers of all school types, covering Cuban and Brazilian instruments, and a session on GEMA and copyright in the context of music for teachers of all school types, addressing questions related to copyright-protected music and GEMA's role. The latter session will be held online and is free of charge.

Copyright of HORIZONT is the property of dfv Mediengruppe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article presents recommendations for competency standards for music education in schools in Austria for students at the end of grades 12 or 13. These recommendations address both music appreciation and music performance, either vocal or instrumental. Suggestions for teachers on how to implement outcome-based education programs are also offered.

The article presents recommendations for competency standards for music education in vocational training schools in Austria. These recommendations address both music appreciation and music performance. Some suggestions for teachers on how to implement outcome-based education programs are also offered.

The article presents recommendations for competency standards for music teacher education in Austria. These recommendations address music performance as well as music appreciation and the performing arts more broadly. Suggestions for teachers on how to implement outcome-based education programs are also offered.

The article presents recommendations for competency standards for music education in schools in Austria for students at the end of grades 12 or 13. These recommendations address both music appreciation and music performance, particularly of instrumental music. Suggestions for teachers on how to implement outcome-based education programs are also offered.

The article presents recommendations for competency standards for music education in schools in Austria for students at the end of grades 12 or 13. These recommendations address both music appreciation and music performance, either vocal or instrumental. Suggestions for teachers on how to implement outcome-based education programs are also offered.

The article presents recommendations for competency standards for music education in schools in Austria for students at the end of grade 8. These recommendations address such factors as singing, dance, and music appreciation. Suggestions for teachers on how to implement outcome-based education programs are also offered.

The article presents recommendations for competency standards for music education in schools in Austria for students at the end of grade 8. These recommendations address such factors as singing, dance, and music appreciation. Suggestions for teachers on how to implement outcome-based education programs are also offered.

The article presents recommendations for competency standards for music education in schools in Austria for students at the end of grade 8. These recommendations address such factors as singing, dance, and music appreciation. Suggestions for teachers on how to implement outcome-based education programs are also offered.

The article presents recommendations for competency standards for music education in schools in Austria for students at the end of grade 4. These recommendations address such factors as singing and playing musical instruments, dance, and music appreciation. Suggestions for teachers on how to implement outcome-based education programs are also offered.

The article presents a lesson plan for music education in secondary schools which uses line diagrams to help students with the analysis and appreciation of the contemporary classical music composition "Manische Linien" by Hungarian composer Márton Illés.

The article examines the cultivation of listening skills as a social practice in the 19th and 20th centuries. It discusses such topics as changing etiquette for theater, concert, and opera audiences, the development of bourgeois cultural capital through music appreciation, and the representation of listening in art.

The article presents a discussion on musical themes in composer Ludwig van Beethoven's first symphony. Historical details are provided regarding the publishing, first performance, and instrumentation of the work. Teaching materials and sheet music are included for secondary-level music educators wishing to have their students play an arrangement of themes from the symphony.

An essay is presented on the aesthetics of musical compositions and the formatting of musical notations. The authors discuss the necessity and effect of various formatting styles and symbols and explore variations throughout history and between composers. The artistic aspects of musical notation are addressed.

The article is a reprint of a text of an online essay on the topic of new music, which was written as though it were a spoken text for the online magazine "D sounds" at the website www.netzwerkneuemusik.de. The topic of the essay is how to overcome the barriers to comprehending new music and how to educate audiences in the appreciation of new music. The author refers to the writings of composers such as Alban Berg and Anton Weber, who helped him to understand the language of modern music.

The article discusses the work and attitude of German composer Hans Werner Henze. Henze has received multiple awards for the semantic and linguistic quality of his work, and a history of the latter is provided. Focus of the article is a Henze's less known song based on his poem titled "Ehmals und jetzt" (then and now). The song and poem are analyzed and discussed in detail.

The article discusses the avantgardistic music stream and progress, in a post-modern social and cultural situation. The structure and factors of modernism are analysed, such as the breaking of cultural taboos and antitraditionalistic concepts, as well as spirit and essence of musical and cultural developments in relation with one-another.

The article presents a selection of philosophic and analytical texts about contemporary music, such as hearing perception and the interpretation of the latter, the language and message conveyed through music, and pedagogic aspects of music. People quoted include Bruce Odland and Sam Auinger; the article relates to a German cultural project called Netzwerk Neue Musik and is written by a project employee, Barbara Bathelmes.

The article presents an interview with German composer Wolfgang Rihm. Topics discussed include the relation of music composition and music appreciation to history, politics, and society. Topics pertaining to musical form such as the emergence of polyphony in Western music are also discussed.

The article discusses the fascination of jazz and tries to profile both the artists and their listeners socially, politically, and otherwise. Stereotypes are explored and notable examples of artists and their influence, such as Miles Davis, are addressed. The music itself is analyzed, covering spontaneous composing, or improvisation, and other aspects.

The article discusses music appreciation and outreach programs in Germany directed at people with dementia and their families. Issues addressed include the challenges that organizing concerts for this group poses to orchestras, the therapeutic potential of classical music, and the collaboration between musical ensembles, patient organizations, and physicians in developing music programs for the sick.

The article discusses efforts to promote classical music appreciation taken by the various state broadcasting corporations that form the Arbeitsgemeinschaft der öffentlich-rechtlichen Rundfunkanstalten der Bundesrepublik Deutschland (Working Group of Public Radio Stations in the Federal Republic of Germany, ARD). Issues raised include the orchestras of these radio stations, the use of classical music radio programs in music education, and music programs specifically designed for children.

An interview with Mirjam von Jarzebowski, an editor with the Westdeutscher Rundfunk (WDR) broadcasting corporation, is presented. Topics of discussion include collaboration in the area of classical music programming among public radio stations in Germany, multichannel communication in music marketing and music appreciation, and the use of radio in education.

The article discusses music appreciation programs and music education advocacy efforts by orchestras in Germany, focusing primarily on orchestras of public radio stations. The author begins by outlining an outreach program entitled "Experiment Klassik" developed by the Gürzenich-Orchester in Cologne, Germany, and science journalist Ranga Yogeshwar and then relates similar efforts by, among others, the Westdeutscher Rundfunk (WDR), Südwestrundfunk (SWR), and Bayerischer Rundfunk (BR) broadcasting corporations.

The article discusses music appreciation and music education for adults in Germany. The author addresses various issues, including the diverse socioeconomic and educational backgrounds of classical music audiences, methods and best practices in music appreciation education, and the role of radio and television in these endeavors.

The article discusses efforts to promote music appreciation and music education among public radio stations in Germany. The author relays the results of a survey conducted among, inter alia, the Saarländischer Rundfunk (SR), Mitteldeutscher Rundfunk (MDR), and Bayerischer Rundfunk (BR) broadcasting corporations, which focused on financial resources for music education advocacy, juvenile music offerings, and the use of radio in education more broadly.

The article discusses the music appreciation projects of the musical ensemble Deutsche Staatsphilharmonie Rheinland-Pfalz. Quotations are included by music pedagogue Jochen Keller regarding the proper etiquette for observing an orchestral rehearsal, the strong demand for music education projects Keller runs, and the comparative wages of music mediators in various orchestras. Further comments are made on the role of conductor Michael Kaufmann in educational programing.

An interview is presented with conductor Marcus Bosch. When asked about his work schedule for the ensembles Sinfonieorchester Aachen and Staatsphilharmonie Nürnberg, Bosch described his reliance on coworkers and the railway to maintain his work schedule. Further topics discussed included his interpretation of works by composer Anton Bruckner, his contributions to audience education in music appreciation, and the differences between music festivals and concerts.

The article presents a discussion on professional orchestral musicians' contributions to a field of music appreciation and instruction known in Germany as music mediation. The author examines the experiences of musicians including double bassist Rudolf Watzel, violist Matthijs Bunschoten, and violoncellist Steven Walter in music mediation. Particular attention is paid to their interactions with children and youth at music festivals, concerts, and educational events.

A group interview and discussion is presented with music theorists Ingrid Allwardt, Constanze Wimmer, Christoph Becher, and Holger Noltze. Discussion focuses on the ways in which arts appreciation programs avoid exposing arts audiences to challenging creations in favor of less challenging works. Further discussion addresses related arguments made in the book "Die Leichtigkeitslüge. Über Musik, Medien und Komplexität" by Noltze.