The ongoing discussion in VAN Magazine on the future of music education in Germany reaches another level. In her follow-up article to the recent contributions by Clemens Thomas, Heinz Geuen, Esther Bishop, and myself, Judith Gerhardt finally adds the perspective of music pedagogy students at Berlin University of the Arts, focusing on the misbalance between soloist training (which is way more encouraged and promoted at institutions) and music education (a subject generally regarded as inferior and less representative, despite its significantly higher social and political relevance). Once more it becomes apparent that a paradigm change is overdue—and now, after students and musicians have variously expressed their discontent with the present system, it is about time for administrations and educational policy on federal and state level to join the discussion and determine how professional music education can be re-organised and modernised.
Dear peers and colleagues, I have devised lecture notes for my music theory classes during the past semester, addressed to undergraduate students in the musicology minor at Robert Schumann Hochschule Düsseldorf. If you are interested, you can download the scripts here as PDF files (in German language)—both were supplemented by a Moodle course with audio examples and sheet music. I’d be delighted to have your comments and suggestions on these teaching materials so as to improve them for future use. Thanks in advance!
Closing a chapter today: Just taught my last two classes as an adjunct lecturer at Humboldt-Universität zu Berlin. Despite the ridiculously low income associated with teaching undergraduate music theory modules as a minor subject, it’s been a pleasure helping those students (most of which were focused, dedicated, and really smart in conversation) develop their abilities in reading and listening to music. Yet I am more than happy that I’ll never require to work as a freelance lecturer again. The concept of Lehrauftrag (teaching assignment) is one of the most corrupted and exploitative constructions in German academia, and even though the hourly rates at Berlin’s universities will rise to a €35 minimum in the near future, there is very little hope that conditions for adjunct staff will significantly improve.
It continues to amaze me how German functional analysis is still used and taught in an idiosyncratic way, seemingly in disregard of critical approaches and enhancements of the past decades, and sometimes leading to apparent inconsistensies. Have a look at the following passage, taken from a harmony script which is currently used at a German music university. The self-referentiality and dogmatism of functional theory becomes already apparent in the title of the chapter (»The subdominant fifth-sixth chord in root position«). Your thoughts are appreciated.
»Just like the dominant, the subdominant harmony employs a characteristic dissonance: the sixth above the bass, which is also used in the S6 [= ii6] chord where it functions as a consonance. […] The added sixth [marked ›sixte ajoutée‹ in misattribution of Rameau’s concept of the same name] causes the fifth, despite being consonant to the bass, to become a dissonant note which must be correctly resolved.« (Manfred Dings, Harmonielehre I. Skript zur Übung im Wintersemester 2017/18, Hochschule für Musik Saar 2017, p. 40; see also: Wilhelm Maler, Beitrag zur Harmonielehre, Leipzig 1931, p. 15).