General Music Education in Germany Today: A Look at How Popular Music Is Engaging Students
Identifieur interne : 001947 ( Istex/Corpus ); précédent : 001946; suivant : 001948General Music Education in Germany Today: A Look at How Popular Music Is Engaging Students
Auteurs : Alexandra Kertz-WelzelSource :
- General Music Today [ 1048-3713 ] ; 2005-01.
English descriptors
- Teeft :
- Comprehensive music education, Compulsory subject, General music, General music education, German music education, German music teachers, German schools, Germany today, High school, Music classes, Music education, Music teachers, Musical worlds, Next class, Orff, Orff approach, Original works, Popular music, Second subject, Various kinds.
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DOI: 10.1177/10483713050180020104
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Angeles, CA</publisher-loc></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.1177/10483713050180020104</article-id><article-id pub-id-type="publisher-id">10.1177_10483713050180020104</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>General Music Education in Germany Today: A Look at How Popular Music Is Engaging Students</article-title></title-group><contrib-group><contrib contrib-type="author" xlink:type="simple"><name name-style="western"><surname>Kertz-Welzel</surname><given-names>Alexandra</given-names></name><aff>University of Washington, Seattle, <email xlink:type="simple">akertz@u.washington.edu</email></aff></contrib></contrib-group><pub-date pub-type="ppub"><month>1</month><year>2005</year></pub-date><volume>18</volume><issue>2</issue><fpage>14</fpage><lpage>16</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>cover-date</meta-name><meta-value>Winter 2005</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value>14 General Music Education in Germany Today: A Look at How Popular Music Is Engaging Students SAGE Publications, Inc.2005DOI: 10.1177/10483713050180020104 AlexandraKertz-Welzel University of Washington, Seattle, akertz@u.washington.edu hat is going on in the country of Carl Orff ? Are German music teachers not Wusing the Orff approach? Are students not V using the Orff approach? Are students not learning instruments? What about German choirs? Music education in Germany today is general music education, which is meant to be comprehen- sive. It is an amazing array of musical styles, experi- ences, and possibilities. There are some characteris- tics of general music education in Germany today that might be interesting for music teachers who want to know about music education in other parts of the world. Music Education in Germany Music education is a compulsory subject in all German schools. German students are required to attend school for nine or ten years. Students gener- ally have one to two music classes each week. In elementary school (children ages six to nine), it is sometimes not possible to offer music instruction taught by a trained music teacher. Instead, a class- room teacher may be expected to teach this class, and one can only hope that he or she studied music along with other subjects. In secondary education, there are usually music specialists who studied at schools of music or conservatories and universities. Usually, students age 10 to 18 or 19 at a Gymnasium (grammar school) or Gesamtschule (comprehensive school) have two or three music classes each week. Because music education in Germany is general music, students usually do not learn to play an instrument in school. Band, orchestra, and choir are extracurricular activities that depend on the engage- ment of individual teachers in the after-school hours. If a student wants to learn an instrument, he or she has to take a class at a community music 15 school or private lessons. The sixteen BundeslÄnder (states) of the German republic operate their own educational systems and develop their own curricula in each subject area. There are no national standards in Germany, only recommendations and guidelines from the Kultusministerkonferenz (conference of the ministers of education), which provides the missions and outcomes of schooling and music education in gen- eral terms. Assessment and evaluation of goals and of the results of instruction are not as important in Germany as in other countries. The individual teacher usually develops tests and evaluations. Pachelbel Meets Coolio in the Ninth Grade General music education in Germany encom- passes various ways of experiencing music. It is common to make music, to listen, to analyze music, and to discuss ideas within the same lesson. This is also necessary because only a few students play an instrument, and not all learn to read notation. German music teachers usually teach twenty-six classes a week at just one school. Each lesson lasts forty-five minutes. Music teachers teach not only music, but also a second subject such as German or philosophy. To obtain a master's degree in music education and a second subject usually takes six years. These degrees as well as two years of teacher training are required to teach in German schools. After graduating from a German university, I was teaching at a high school in southwestern Germany, in a state named Saarland. Teaching music to ado- lescents is always challenging and particularly in Germany, because music education is compulsory in German high schools. Therefore, adolescents are sometimes reluctant students in music classes. The curriculum for the ninth grade addresses this issue and tries to link students musical worlds and com- prehensive music education. The curriculum in this particular state recommends several topics: study of the relationships between music and language (by way of examining at least one opera and one work of musical theatre), jazz history, popular music, singing, a comparison of original works and arrangements, and music theory. We will take a clos- er look at the learning sequence that compares orig- inal works and arrangements. Ninth-grade students at the high school where I was teaching had been working for two weeks on the topic “original work and arrangement.” The class meets twice a week, on Wednesday and Friday mornings. In the four classes preceding this one, students learned about the relationships between an original piece and an arrangement of it. Students' activities over the course of earlier lessons included exploring cell phone melodies (in terms of recog- nizing original works and composers), listening to J. S. Bach's “Badinerie” in its original form and in dif- ferent arrangements (e.g., the arrangements of Jacques Loussier and Eugen Cicero). In other exer- cises, they listened to Bob Dylan's “Mister Tambourine Man” and the cover version by The Byrds. Students learned basic ways of dealing with originals, ways of changing musical parameters, how to alter the musical character in order to transform the meaning of a piece. They also played parts of the pieces or sang the melodies. With this foundation, the class on this particular Wednesday was about Johann Pachelbel's famous Canon and Coolio's rap version “C U When U Get There.” 1. Pachelbel's Canon (Time: 10 minutes) Students listen to Pachelbel's Canon and try to dis- cover its structure, its instrumentation, and its char- acter. While listening, students write down their thoughts. Then, the teacher summarizes the results on the blackboard: “Canon” (What does this title mean? Is this the correct title for Pachelbel's piece?), “Instruments” (What instruments start? How does the piece continue?), and “Character” (What kind of character does the piece imply? What causes this impression?). The teacher gives them some addition- al information about the composer, the style period, and the entire piece. Students sing the bass line while one student plays it on the piano. 2. Coolio (Time: 10 minutes) If students do not know Coolio's rap version “C U When U Get There,” the teacher might ask what 16 a rap version of Pachelbel's Canon would sound like. Students listen together to “C U When U Get There,” and are challenged to look at its structure, the underlying presence of Pachelbel's Canon, the text, the instruments, and the emotional impact. Multiple listenings may be necessary. The teacher asks about the characterization of rap and encour- ages a brief discussion of those parts of the lyrics the students were able to understand. 3. Comparison (Time: 5 minutes) Students now compare the original and rap ver- sions in terms of structure, instrumentation, and character: What is Coolio's intention? Why does he use Pachelbel's Canon? What does he change? Students might mention that it is usual in rap to use works of other composers as a background or frame for their own songs. They might notice that Pachelbel's piece is so famous that it draws attention to Coolio's version. Students might consider whether Coolio's version is a protest against classical culture. 4. Playing “C U When U Get There” (Time: 15 minutes) Students learn to perform “C U When U Get There.” First, they practice the refrain. One student plays the piano part with the chords (given by the teacher) that Pachelbel used. Some students practice parts of the text, learning a few verses. After some minutes practicing in groups, the students come together and play along with the recording. Then, the students perform without the recording. One student may be assigned to play drum set, while another one plays bass. It might not work the way students expect it, and it might not sound like Coolio (depending on equipment and students' skills). However, students get an impression of how to play this rap version. Students are advised to practice it at home so that it might work better in the next lesson. 5. Homework and Next Class (Time: 5 minutes) Not surprisingly, the homework assignment is for students to practice their parts. Furthermore, stu- dents are asked to write their own rap text that either supports Coolio's ideas or corrects them. In the next class, they perform their versions of this piece. Finally, students discuss the intent and impact of text and music in rap. I hope students will now listen more carefully to some of the music they experience every day. The learning sequence of original and arrangement will continue with several arrangements of The Beatles' “Yesterday” and a version the students will create by themselves. German Music Education Today and Tomorrow German music education has its traditions, visions, and challenges. It encompasses much more than the Orff approach and the traditions of German choral ensembles. It is an attempt to engage students in vari- ous musical activities in general music. One of the major accomplishments of German music education is that music is a compulsory sub- ject in all German schools. But this is not enough. Even though music lessons in elementary and sec- ondary schools do have some impact on students, German music education is not nearly as effective as it could be: • There are only a few students who decide to learn an instrument or to engage in various kinds of musical activities outside of school. • Teachers often do not know very much about stu- dents' musical worlds. • Students sometimes do not appreciate having the opportunity to participate in music classes because they are required to take them. Teachers and students in Germany need to dis- cover anew what is at the core of music: the fasci- nation of sound and expression. There are many different musical worlds, but music as a way of experiencing life more intensely links these different worlds of sound. Particularly in our shrinking world, music education is not just about the musical world of one single person or nation, but about various kinds of music and the ways people make music meaningful in their lives. General music edu- cation as comprehensive music education is an effective way of sharing different musical worlds.</meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>General Music Education in Germany Today: A Look at How Popular Music Is Engaging Students</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>General Music Education in Germany Today: A Look at How Popular Music Is Engaging Students</title></titleInfo><name type="personal"><namePart type="given">Alexandra</namePart><namePart type="family">Kertz-Welzel</namePart><affiliation>University of Washington, Seattle,</affiliation><affiliation>E-mail: akertz@u.washington.edu</affiliation></name><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article"></genre><originInfo><publisher>Sage Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">2005-01</dateIssued><copyrightDate encoding="w3cdtf">2005</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><physicalDescription><internetMediaType>text/html</internetMediaType></physicalDescription><relatedItem type="host"><titleInfo><title>General Music Today</title></titleInfo><genre type="journal">journal</genre><identifier type="ISSN">1048-3713</identifier><identifier type="eISSN">1931-3756</identifier><identifier type="PublisherID">GMT</identifier><identifier type="PublisherID-hwp">spgmt</identifier><part><date>2005</date><detail type="volume"><caption>vol.</caption><number>18</number></detail><detail type="issue"><caption>no.</caption><number>2</number></detail><extent unit="pages"><start>14</start><end>16</end></extent></part></relatedItem><identifier type="istex">F2DA681733D3D71ED69AA5078513F685DC98EDA1</identifier><identifier type="DOI">10.1177/10483713050180020104</identifier><identifier type="ArticleID">10.1177_10483713050180020104</identifier><recordInfo><recordContentSource>SAGE</recordContentSource></recordInfo></mods></metadata><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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