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Der Beitrag untersucht verschiedene Sichtweisen des Begriffs der ��sthetischen Bildung. Im Fokus steht dabei die Primarstufe als Ort der Begegnung, in der verschiedene 'Kulturen' zusammentreffen, interagieren und verschmelzen, in der Sprachbarrieren ��berwunden werden k��nnen und in der Musik als Kommunikations- und Ausdrucksmittel eingesetzt werden k��nnte. Es wird davon ausgegangen, dass ��sthetische Bildung sowohl einen wesentlichen Beitrag zur Pers��nlichkeitsbildung als auch zur Weiterentwicklung der Gesellschaft leisten kann, indem sie eine kritische Auseinandersetzung mit Kunst und Kultur, Symbolsystemen und dem Leben an sich f��rdert. (DIPF/Orig.), This article investigates different viewpoints with regard to the term aesthetic education. Primary school is focused on as a place of encounter where various cultures meet, interact and meld, where language barriers can be overcome and music could be utilized as a resource for communication and expression. It is assumed that aesthetic education can make a substantial contribution to personal development as well as to the advancement of society by facilitating the critical examination of art and culture, symbol systems and life itself. (DIPF/Orig.)

Der Jahresband 2018 des Arbeitskreises Musikpädagogische Forschung zeigt, wie musikpädagogische Praxen und Diskurse in unterschiedlichen Forschungsformaten in den Blick genommen werden. Deutlich wird das starke Interesse an der Erforschung musikpädagogisch relevanter Praxen in ihrem Vollzug. Auch in Beiträgen, die sich nicht explizit praxistheoretisch verorten, geht es darum, Prozesse besser zu verstehen, indem mit möglichst gegenstandsadäquaten methodischen Zugriffen spezifische Strukturmerkmale rekonstruiert werden. Mittelbar steht dahinter das gleiche Interesse an künftigem musikpädagogischen Handeln, das auch Forschungen kennzeichnet, die Wirkungszusammenhänge untersuchen; auch wenn die Untersuchungen nicht direkt auf Anwendung zielen wie in der fachdidaktischen Entwicklungsforschung. Das Interesse an Praxis zeigt sich in anderer Weise auch dort, wo diskursanalytische Verfahren dazu dienen, besser zu verstehen, warum musikpädagogische Praxen so sind, wie sie sind. (DIPF/Orig.)

Various things, such as instruments, everyday items or digital media, are oftentimes at the centre of students’ composition processes and therefore central for the understanding of music education in schools. In the wake of Latour’s progressive actor-network-theory (Latour, 2005), a number of innovative approaches in qualitative classroom research focusing on the role of things have emerged (e.g. Fetzer, 2017; Martens, Asbrand, Spieß, 2015). From a praxeological perspective, recent research suggests that (in-school) use of things follows ritualized rules and that the specific meaning attributed to them is subject to constant re-negotiation (Rabenstein, 2018b). This article tries to summarize classroom research integrating things in order to develop a methodological framework for a subject-specific approach. The proposed changeability of things will be elaborated in a case study of a student group’s composition process (Rabenstein, 2018a). (DIPF/Orig.)

Die Verfasserin widmet sich grundlegenden Überlegungen zur Frage nach der fachspezifischen Perspektive auf Reflexion und stellt hierzu Forschungsergebnisse sowie vorliegende Ansätze aus Sicht der Musikpädagogik vor. Hieran anschließend skizziert sie mögliche Anknüpfungspunkte für ein fachspezifisches Reflexionsformat im Fach Musik. (DIPF/Orig.)

This paper introduces a reconstructive research approach to creative musical actions that we applied in two studies on collaborative composing and improvising in school settings. Following the format of design research, we developed lesson designs that initiate and support improvisation and composition processes in order to foster creativity and initiate creative learning. This was connected to the goal of reconstructing processes of creative musical actions and the orientations of learners in these practices. Adapting the documentary video interpretation to our research context and interests offers new perspectives on learners’ orientations. This leads to a better understanding of creative practices in music educational contexts and provides us with a basis for our design research. (DIPF/Orig.)

American musicology has experienced a transformation in its acceptance of pedagogy in the past decade but there is still much work to accomplish in the next decade including: (1) strengthening of institutional support for teaching, (2) broadening the documentation on effective methods of teaching, (3) creating required courses on pedagogy in doctoral programs in musicology, and (4) building a greater variety of teaching., Musica Docta, Vol 6 (2016)

Very few studies have been conducted on the professionalisation of music teachers in elementary schools. The present follow-up study compares characteristics of teachers relevant for teaching at elementary schools (N=578) and grammar schools (N=487). A structural equation model was used to test the influence of motivation, instrumental praxis, self-reflexion, teaching experience and curriculum orientation on the competence orientation of music teachers. At elementary schools, competence orientation strongly depends on the curriculum orientation of teachers whereas at grammar schools, motivation is the key influencing factor. In comparison, music teachers at grammar schools show a higher motivation than their colleagues at elementary schools. (DIPF/Orig.)

This study introduces a translated German version of the Musical Technological Pedagogical and Content Knowledge Questionnaire (MTPACK-Q) developed by Bauer (2013) to measure musical technological, pedagogical and content knowledge (MTPACK) of music teachers at primary and secondary education schools. The general TPACK “is a conceptual framework for the teacher knowledge necessary to effectively integrate technology into teaching and learning” (Bauer, 2013, p. 1). The presented study aims to introduce TPACK into German music pedagogical discourse as well as to validate a German translation of the MTPACK-Q with a sample of 216 (71.8% female) music teachers. The results show that the MTPACK-Q factors can be measured reliably, but there is no satisfactory fit between the corresponding MTPACK framework and data. From this, we conclude that there must be more research to specify MTPACK, on the one hand, and the technical knowledge of German music teachers, on the other hand. (DIPF/Orig.)

Within recent years, research on music learning in groups has increased. But the distinction between collaboration and cooperation is mostly unclear. This article aims to distinguish both concepts by presenting a study on popular music learning in groups (Godau, 2017) based on elements of the learning approach in Musical Futures (Green, 2008). As a result, the two concepts are seen as complementary. They form the poles of a continuum of collective learning: Collaboration characterizes the collective action toward the common goal. By contrast, cooperation occurs when group members act separately toward achieving the common goal. (DIPF/Orig.)

The purpose of this study was to determine predictors which affect self-related cognitions (perceived self-efficacy of teaching music and feeling musical) of preservice primary classroom teachers in a university music methods course. A questionnaire was administered as a pre-test/post-test to teacher candidates (N = 469) enrolled in a compulsory music methods course at several Bavarian universities. Findings show enhanced perceived self-efficacy as well as a more positive perception of their own musicality. The four sources of self-efficacy according to Bandura (1997) seem to be predictors of the development of self-efficacy, but in addition, responses to open-ended questions revealed some music-specific variations of predictors that should be considered for a university music methods course. (DIPF/Orig.)

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Reflecting on the notion of culture is at the centre of the Germanic discourse on the approach to cultural diversity. While the contemporary understanding of the term is currently being vividly discussed, the corresponding epistemological premises are often neglected. Consequently, one runs the risk of having an essentialist understanding of culture. This text, therefore, first discusses the semantic concept of culture (bedeutungsorientierter Kulturbegriff) with a music pedagogical imprint and then from the perspective of cultural studies. The paper concludes with a plea to rethink the approach and the attitude towards cultural diversity in music lessons. (DIPF/Orig.)

This paper tries to contribute to the philosophical basis of inclusive music education from the perspective of the Communicative Didactics of Music (Kommunikative Musikdidaktik; KMD). It focuses on the opportunities and problems which occur in high-school music lessons attended by students with cognitive disabilities in the reflective and verbal dimensions of dealing with music. The problems have to do with the goal of higher education entrance qualification – a goal which has to be maintained. (Other forms of inclusion still await investigation.) The pedagogical basis of the KMD provided by Klaus Schaller’s Pedagogy of Communication (Pädagogik der Kommunikation; PdK) is interpreted in the light of inclusive aspects; the necessity to complement the PdK by thematizing forms of substitution is considered. A differentiation between integrative and inclusive phases of music lessons is suggested. Within the latter, a non-egological concept of school performance (quite the opposite of performance according to possessive individualism) can be brought to bear. It complies with the primordial sociality focused on by the PdK and the KMD. The decentralization of the individual underlying this concept can be an important facet of desirable societal circumstances – an anticipation that should be realized in music lessons. (DIPF/Orig.)

The purpose of this study was to determine predictors which affect self-related cognitions (perceived self-efficacy of teaching music and feeling musical) of preservice primary classroom teachers in a university music methods course. A questionnaire was administered as a pre-test/post-test to teacher candidates (N = 469) enrolled in a compulsory music methods course at several Bavarian universities. Findings show enhanced perceived self-efficacy as well as a more positive perception of their own musicality. The four sources of self-efficacy according to Bandura (1997) seem to be predictors of the development of self-efficacy, but in addition, responses to open-ended questions revealed some music-specific variations of predictors that should be considered for a university music methods course. (DIPF/Orig.)

In German music pedagogy, the idea of interdisciplinarity is expressed in different terms, such as “fachübergreifend” (transgressing the school subject, Richter, 2010), “fächerübergreifend” (transgressing the school subjects, Dethlefs-Forsbach, 2005) or “fächerverbindend” (connecting the school subjects, Gerhardt, 2012) among others. As these terms are not used in a systematic way to describe interdisciplinarity, characteristic perspectives by German music pedagogies are discussed in this article. An important reason for these diverse understandings is that these terms are mostly used as a white board onto which general ideas of music pedagogical innovations are projected. The purpose of this article is, first, to present a dynamic understanding of the term “fachübergreifend”. Second, the dynamic understanding of this term will be used in a new interpretation: namely, to also describe the relationships of traditional schooling and out of school musical experiences. (DIPF/Orig.)

During the past decade, there has been an increase of pedagogical research under conditions of posthuman theories, such as the Actor Network Theory or post-phenomenology. Yet, there has not been much research on the materiality of music pedagogical practices. This article introduces an ongoing grounded-theory study on the role of things (e.g., music instruments, black board, or digital devices) within the music classroom. Results from the analysis of group discussions and interviews with student teachers show tensions between personal preferences, school conventions, and material conventions within the process of introducing things into the classroom. (DIPF/Orig.)

The considerations in this article address the field of inclusive music education from a theoretical point of view. The central question is how to initiate inclusive processes while making music in classrooms. For possible answers, a theoretical approach of music education (Krause, 2008) is modified and extended according to the requirements of inclusive settings. Referring to the symbolic interactionism, it is shown that making music – interpreted as social interaction – enables the taking over of roles and normalizes interaction. Furthermore, it facilitates the construction of meaning and negotiation processes in two ways: on the one hand, relating to the meaning of making music; on the other hand, relating to the meaning created between individuals. (DIPF/Orig.)

Recognition is considered an integral component of the academic discourse regarding inclusive schooling. Adding to the normative perspective on recognition, this article poses the question of how recognitional processes happen and resolve in inclusive musical education settings. Following Balzer & Ricken’s (2010) approach of interpreting recognition as an act of addressing, it provides an in-depth analysis of a classroom videography of a 5th-grade secondary school. The corresponding case example of the micro-processes in a group-work situation provides insights into different modes of recognition processes in music lessons as well as exemplifies the methodological approach. Conclusively, the article presents the case-specific results – especially the suggested phenomenon of “pseudo-recognition” – and discusses its relevance for inclusive schooling from the perspective of music education. (DIPF/Orig.)

In this article, the authors present and discuss results from an extensive study on the academization of popular music in higher music education and research in Norway based on analyzes of all master’s theses and doctoral dissertations that were approved in all music disciplines from 1912 to 2012 – a total of 1,695 works. In particular, the variation of musical styles and genres as well as the emergence of new ones were focused on. The overall research question to be answered in this particular context is what can be considered legitimate research? The theory at the basis of the study builds on the sociology of culture and education in the tradition of Bourdieu and some of his successors. Specifically, the concepts of social fields and cultural capital have been reconceptualized and complemented with the notions of cultural omnivorousness and musical gentrification. The results of the study indicate that, on the one hand, popular music has been successfully academized to a large extent. On the other hand, it can be argued that this process has also led to some limitations of academic openness as well as the emergence of new power hierarchies within music academia in Norway. (DIPF/Orig.)

This paper considers three of the questions posed by the AMPF conference this year: whether (and if so, how, my insertion) music education as a discipline has adapted to social changes? what forms of resistance it has produced and might yet produce? and what innovations it might yield? They are considered in the light of Gramsci’s concept of hegemony, the ideas presented in Small’s (1977) work Music, Society, Education and Day’s refutation of Gramsci and the ‘hegemony of hegemony’. It is suggested that anarchist social theory may offer some useful routes of resistance to the hegemonic effects of neoliberal educational policy on music education and offer some slight potential for Small’s ideas still to become a reality at a future date. (DIPF/Orig.)

CEPS Journal 5 (2015) 3, S. 95-110, The present article examines a teaching experiment undertaken by the author in order to point out not only the importance of the arts and aesthetics, but also their limitations. It also argues that, despite these limitations, the spirit of the arts opens us up to freedom and flexibility. Their purpose is not to give answers or solutions, but to make us question the most troubling aspects of our existence. The last chapter of Aldous Huxley’s novel Point Counter Point invites an approach that should do justice to its musical qualities. Apart from borrowing the counterpoint technique from music, it also references music, therefore lending itself to performance, which renders its dramatic force with a strong impact upon readers. (DIPF/Orig.)

Musikvideospiele im Unterricht können grundlegende musikalische Kompetenzen und vor allem das Gefühl der aktiven Teilhabe an Prozessen des Musikmachens vermitteln. Angesichts der digitalen Heimat von Schüler*innen können sie eine sinnvolle Ergänzung im Schulunterricht sein und etablierte Ansätze der Wissensvermittlung erweitern. Unter anderem auf Grundlage ihrer Eigenschaften als digitale Systeme können Konzepte des Musikmachens thematisiert werden, die aktuellen Formen musikalischer Praxis in Teilen näher sind als traditionelle Instrumentalmusik. (Autor)

Die Musikpädagogik als Wissenschaft ist mit zahlreichen Nachbardisziplinen verknüpft. Dazu gehört auch die Kulturwissenschaft, die selbst vielfach Musik zu ihrem Forschungsgegenstand macht. Im musikpädagogischen Diskurs, in dem umgekehrt der Kulturbegriff eine bedeutende Rolle spielt, werden zunehmend häufiger kulturwissenschaftliche Impulse und Fragestellungen aufgegriffen. Diesen interdisziplinären Perspektiven widmet sich das vorliegende Buch, das zugleich einen Teil der Freisinger Tagung 2016 des Arbeitskreises für Musikpädagogische Forschung dokumentiert. In historischen, theoretischen und empirischen Untersuchungen sowie mit Bezugnahmen u.a. auf Cultural Studies, Diskursanalyse, Kulturphilosophie und Genderforschung werden Möglichkeiten und Grenzen einer kulturwissenschaftlich orientierten Musikpädagogik erkundet. (DIPF/Orig.)

O ensino de música nos anos iniciais do ensino fundamental pode ser ministrado por professores pedagogos, por profissionais formados pelo curso normal e por licenciados em música. Esta pluralidade de profissionais habilitados para o ensino de música é assegurada por documentos governamentais. Professores não especializados, no entanto, não recebem uma formação musical adequada e acabam não se sentindo seguros para ministrar o conteúdo de música na escola. Desta forma, as instituições escolares acabam optando por contratar profissionais especializados. No entanto, não há conhecimento da quantidade destes profissionais atuantes nos anos iniciais do ensino fundamental bem como o quão eficazes eles se sentem para a docência da música. Portanto, o objetivo deste trabalho, foi investigar, em âmbito nacional, as crenças de autoeficácia dos professores dos anos iniciais do ensino fundamental para ensinar música. Esta pesquisa foi fundamentada na Teoria de Autoeficácia (BANDURA, 1997), a partir do constructo principal, as crenças de autoeficácia. As crenças de autoeficácia são os julgamentos das capacidades que organizam as ações para atingir determinados objetivos. Esta pesquisa é um recorte do mapeamento realizado pelo grupo de pesquisa FAPROM e coordenado pela Profª Drª. Liane Hentschke. O método utilizado, de caráter quantitativo, foi o survey baseado na internet com técnica na modalidade bola de neve. Participaram desta pesquisa 274 professores de todas as regiões do país. Os dados foram coletados por meio de um questionário divido em duas partes: a primeira, com questões pessoais e a segunda parte, um instrumento de avaliação psicológica, ambas analisadas através de técnicas estatísticas. Estes dados fornecem indícios de maior número de homens licenciados em música atuando nesta etapa apesar da predominância de mulheres apresentada na pesquisa. Mostram também que os professores do sexo feminino atuam há mais tempo na educação básica com ensino de música e que elas apresentam crenças de autoeficácia mais fortalecidas. Os resultados indicaram que professores não especializados se sentem mais preparados e capazes em gerenciar o comportamento dos alunos em sala de aula. Por meio dos dados desta pesquisa, foi possível obter mais informações sobre os professores dos anos iniciais do ensino fundamental que ensinam música e, assim, espera-se contribuir para o debate relacionado à formação inicial e continuada destes profissionais. Music at elementary school can be taught by non-specialist and specialist teachers. This plurality of teachers qualified for music teaching is ensured by Brazilian governmental documents. Non-specialist teachers, however, do not receive adequate musical training and end up not feeling secure to teach music content at school. In this way, schools choose to hire specialized professionals. However, there is no knowledge about the amount of such professionals present in elementary school and how competent they feel for a teaching music. The aim of this study was to investigate, at a national level, elementary school teachers' self-efficacy beliefs to teach music. This research was based on the Self-Efficacy Theory (BANDURA, 1997) from the main construct, as self-efficacy beliefs. The self-efficacy beliefs are the judgments of the capacities that organize the actions to achieve goals. The method used for the quantitative characterization was the survey based on internet with the snowball technique. A sample of 274 teachers from all regions of the country participated in this study. The data were collected thought a questionnaire divided into two parts: First, with personal questions and the second part being an instrument of psychological evaluation. These data provide evidences of a greater number of men graduated in music working at elementary school than women presented in the survey. They also show that female teachers spend more time in basic education teaching music and that they have stronger self-efficacy beliefs. The results indicate that teachers do not specialize and feel more prepared to act towards the behavior of students in the classroom. Through the data of this research, it was possible to obtain more information about the teachers from the initial years of elementary school who teach music and, thus, contribute to the debate about the initial and continuous formation of these professionals.

This longitudinal study investigates different aspects of musical development of German students (n = 334) in secondary schools across one school year. Musical self-concept and musical sophistication, as well as several other music-specific and demographic variables, were assessed at three different points in time in addition to the target variable interest in music as a school subject. Sequence pattern analyses identified two, respectively four, different developmental trajectories for the constructs musical self-concept and musical sophistication. Taken together, these gave rise to two general developmental trajectories. A subsequent multilevel analysis showed that the identified two general developmental trajectories affect students’ interest in music as a school subject. (DIPF/Orig.)

This article provides an insight into a qualitative research project concerning music educational practices with mobile music technologies. Based on social systems theory, this grounded-theory study observes how groups in two extracurricular music classes construct different technologies (e. g., iPads, mixers, ear phones) within the emergence of (reflexive) expectations as social structures. The results reveal five categories of technologies: technology as an instrument-toy-alternator that supports motivation, as a medium for knowledge and learning, as an adjusting device used for socio-aesthetic decision making, as a didactical tool for task-based situations, and as an isolator for inner differentiation by focusing aural perception. (DIPF/Orig.)

Die Musikpädagogik als Wissenschaft ist mit zahlreichen Nachbardisziplinen verknüpft. Dazu gehört auch die Kulturwissenschaft, die selbst vielfach Musik zu ihrem Forschungsgegenstand macht. Im musikpädagogischen Diskurs, in dem umgekehrt der Kulturbegriff eine bedeutende Rolle spielt, werden zunehmend häufiger kulturwissenschaftliche Impulse und Fragestellungen aufgegriffen. Diesen interdisziplinären Perspektiven widmet sich das vorliegende Buch, das zugleich einen Teil der Freisinger Tagung 2016 des Arbeitskreises für Musikpädagogische Forschung dokumentiert. In historischen, theoretischen und empirischen Untersuchungen sowie mit Bezugnahmen u.a. auf Cultural Studies, Diskursanalyse, Kulturphilosophie und Genderforschung werden Möglichkeiten und Grenzen einer kulturwissenschaftlich orientierten Musikpädagogik erkundet. (DIPF/Orig.)

Dieser Tagungsbeitrag skizziert ein musikdidaktisch-curriculares Entwicklungsprojekt der Hochschule für Musik und Darstellende Kunst in Frankfurt am Main in der Lehrerbildung von Grundschullehrern im Fach Musik. (DIPF/Orig.)

What roles can making music play in general music education? In recent years, a highly densified and diverse field of examples, discussions, and publications has emerged on this topic. This article enters into the fray by consulting the principles of cultural studies to see how they can stimulate different ways of making music. What is interesting is the radical approach of viewing culture as an interpretative circulation process of music not only created as a work and reproduced by experts, but as something which can be created, transformed, and communicated in everyday life by everybody. Using the example of La Paloma, we show the many diverse ways that people read music and which ways of playing, or unique and highly contextual articulations, can be found. The article then asks if schools can support this type of self-opinionated negotiation of musical interpretation. (DIPF/Orig.)

Though the initiation of ‘aesthetic experience’ is one of the principal duties of cultural education, empirical studies, especially in music education, are barely represented. This article focuses on a survey on aesthetic experiences with music in school projects in which students (age 16) composed their own music. First, different elements of the term ‘aesthetic experience’ are described. Then the methodical approach based on ‘Grounded Theory Methodology’ is introduced. An interview transcript is used to illustrate the process of Theoretical Coding. The results reveal five categories linked to the central aspect ‘fulfilled experiences in composing’. One of these five is the increasing initiative of students in the composing process, which is explained in its supporting and inhibiting conditions. This is finally discussed as an important indicator of aesthetic experience in composing projects. (DIPF/Orig.)

Viele Grundschullehrer, die Musik nicht studiert haben, erteilen einen guten Musikunterricht. Aber ein großer Teil der "fachfremden" Lehrer hat kein oder nur ein geringes musikalisches Selbstvertrauen, so dass sie oft vermeiden, Musik zu unterrichten. Bei der eigenen Einschätzung der Lehrkompetenz im Vergleich zu anderen Fächern landet Musik bei Grundschullehrern häufig am unteren Ende. Im Rahmen der vorliegenden Arbeit geht es um ein Universitätsseminar für "Nichtmusiker". Dessen mögliche Wirkung auf die Einschätzung der Musikalität sowie die Bereitschaft und das Zutrauen der Teilnehmer, Musik zu unterrichten, soll mit Hilfe einer explorativen Fragebogenstudie untersucht werden, deren Ergebnisse hier dargestellt und diskutiert werden. (DIPF/Orig.)

The “Netzwerk Musikunterricht an der LMU” contributes to primary school music teacher training programs by focusing on the collaboration between persons and institutions in different phases of their teacher training and lifelong learning. Participants of this project are preservice and inservice teachers who chose music as an academic subject (specialists) as well as those who decided against music in their teacher training (generalists). Within the project “Netzwerk Musikunterricht”, various approaches for collaboration and for exchanging experiences concerning the planning, implementation, and reflection of music lessons are provided. The main interest of this explorative research design is to find out more about the relevance that the participants see in this project for their practice and conceptions of music teaching – whether they are specialist or generalist music teachers. (DIPF/Orig.)

Die Beiträge des Sammelbandes widmen sich aus Sicht der Grundschulmusikpädagogik sowie der Elementaren Musikpädagogik verschiedenen Fragestellungen rund um das Musiklernen in der Grundschule. Dabei werden konzeptionelle, forschungsbasierte und praxisbezogene Perspektiven vorgestellt. Der Band stellt das Ergebnis der Tagung "Musiklernen in der Grundschule - Impulse aus Elementarer und schulischer Musikpädagogik" (März 2015, Universität Bremen) dar und richtet sich an Lehrkräfte aus Schule und Musikschule sowie Lehrende und Studierende der elementaren und schulischen Musikpädagogik.

Zunächst verweist die Skizzierung der diesem Beitrag zu Grunde liegenden theaterpädagogischen Position auf ihren produktionsästhetischen Aspekt im Kontext von Inszenierungsprozessen. Der Begriff der Inszenierung wird dabei auch als anthropologische Kategorie beleuchtet, sodass sich durch das Ineinandergreifen der ästhetischen und anthropologischen Kategorie solche Zusammenhänge zwischen Gestaltungsprinzipien und Inszenierungstechniken in der performativen Praxis ergeben, aus denen sich für den pädagogischen Kontext an der Theaterkunst orientierte Methoden generieren lassen. Anhand eines Ausschnitts aus einem Unterrichtsbeispiel in einem dritten Schuljahr einer Kölner Grundschule soll verdeutlicht werden, wie ein theaterpädagogischer Zugang den sowohl fachlichen als auch anthropologischen Anforderungen an performative Prozesse im Musikunterricht der Grundschule gerecht wird und gleichzeitig einen Beitrag für die Anbahnung ästhetischer Bildungsprozesse innerhalb von Möglichkeitsspielräumen leisten kann. (DIPF/Orig.)

This talk provides an insight into a qualitative study concerning the training of professional musicians in the former German Democratic Republic, focusing on the example of the Spezialschule für Musik Dresden. On the basis of interviews about their life stories, the viewpoints of those involved at the time (students as well as teachers) were reconstructed, with the aim of arriving at a “conjunctive experiential space” that influenced these viewpoints in specific ways. This pursuit consisted chiefly in unearthing the tacit knowledge common to all those active within this experiential space. By means of the “documentary method”, the central pedagogical antinomies that informed this experiential space were obtained. Two of these antinomies, that between the exceptional and the standardized and that between autonomy and heteronomy, will be presented towards the end of the talk. (DIPF/Orig.)

How do teachers handle unexpected situations in music lessons, and what do pupils notice about their teachers’ planning? These questions were examined in qualitative interviews with teachers and pupils as part of a research project focusing on the adaptiveness of learning situations in the subject of music. This article outlines the main finding that teachers take into consideration learning goals, planning, their perception of the situation and the adaptation of planning. They constantly focus on their pupils’ learning process; their planning takes place in the situation. Based on their many observations, teachers try to create lessons as optimally as possible to achieve their learning goals. Often students hardly notice this cyclical process. In the course of the interviews, it became clear that flexible planning is part of adaptive teaching. (DIPF/Orig.)

Der Autor betrachtet zunächst die Paradigmen der beiden Fachrichtungen grundschulbezogene Musikpädagogik und Elementare Musikpädagogik und diskutiert anschließend mögliche Synthesen oder Relationen. (DIPF/Ban/Orig.)

FALKO is an interdisciplinary research and development project, involving scientists from the universities of Regensburg and Augsburg. One of our common objectivities is the construction of domain-specific tests of secondary teachers' professional knowledge, permitting the investigation of growth, difference, and correlation hypotheses. In this article, we report on the conceptualization of secondary music teachers' pedagogical content knowledge (PCK) and content knowledge (CK) based on Lee Shulman's theoretical taxonomy of teacher knowledge and the preliminary work of the COACTIV research program. (DIPF/Orig.)

Die Entwicklung der Musikpädagogik als Wissenschaft ist eng verknüpft mit verschiedenen Nachbardisziplinen. Ihr traditionell enges Verhältnis zur Erziehungswissenschaft ist das übergreifende Thema des Tagungsbandes des Arbeitskreises Musikpädagogische Forschung (AMPF). Verbindungen lassen sich nicht nur auf institutioneller, sondern auch auf theoretischer und methodologischer Ebene ausmachen. So werden in Erziehungswissenschaft und Musikpädagogik ähnliche Forschungsmethoden und -stile verwendet; erziehungswissenschaftliche Theorien und Konstrukte werden in musikpädagogischer Forschung ebenso aufgegriffen wie inhaltliche Befunde. Diese engen Verflechtungen finden sich in den Beiträgen, die im vorliegenden Band versammelt sind, in unterschiedlicher Ausprägung wieder. Darüber hinaus geben sie einen Einblick in das Spektrum der wissenschaftlichen Disziplin Musikpädagogik: Historische Studien sind ebenso vertreten wie methodologische Beiträge; ein Schwerpunkt liegt auf empirischer Unterrichtsforschung. (DIPF/Orig.)

Der Beitrag gibt die Podiumsdiskussion der Tagung "Musiklernen in der Grundschule - Impulse aus elementarer und schulischer Musikpädagogik" (März 2015, Universität Bremen) wider. (DIPF/Ban)

To adapt instruction to the different needs of learners in the music classroom, teachers have to be adaptive in terms of planning competency as well as implementation competency. There is a need to adjust methods in the classroom situation itself. This paper examines such microadaptions from a video-based perspective and asks how teachers show routines in adapting to classroom situations. A case study of a 5th grade music classroom is framed by the methodological reflection on how routines can be described by a combination of video-based observation and video-stimulated recall-interviews. (DIPF/Orig.)

Kinder mit Lernbarrieren in den Bereichen Sprache, Kommunikation bzw. Schriftsprache benötigen im Unterricht spezifische Förder- und Interventionsmaßnahmen, um langfristig teilhaben zu können. Gerade im Fach Musik bieten sich in vielen Kontexten sowohl produktiv als auch rezeptiv zahlreiche, oftmals fächerübergreifende Möglichkeiten, spezifische Sprachstrukturen in den Bereichen Aussprache, Wortschatz und Grammatik zu erwerben und anzuwenden. Manche Unterrichtskontexte sind dabei besonders geeignet und somit prototypisch: Im Bereich "Musik machen" lassen sich z.B. gut Aussprache und Stimme fördern, im Bereich "Musik hören und verstehen" u.a. Wortschatz und Grammatik. Vertieft eingegangen wird auf die Arbeit mit Fachbegriffen sowie auf musikalische Verständniszugänge beim Umgang mit Hörbeispielen.

In diesem Beitrag soll ein empirischer Ansatz vorgestellt werden, der eine studierte und eine fachfremd unterrichtende Musiklehrperson mit ihren Handlungen im Musikunterricht untersucht. Aus der videographischen Auswertung mit Blick auf das fachliche Wissen und die didaktischen Kompetenzen der Lehrpersonen sollen Rückschlüsse für zukünftige Fortbildungen und Beratungen für die Professionalisierung von Musiklehrenden im tertiären Bereich gezogen werden. (DIPF/Orig.)