General
General

General

Perpetrators in Tailcoats: Srsly?

I have recently been engaged with VG Musikedition, the German collecting society for music publishing, in a discussion on their recent publication on copying musical scores (which is largely based on an older brochure by the same author Thomas Tietze, titled »Perpetrators in Tailcoats«). The subliminally threatening tone of this publication tends to criminalise musicians as »sheet music pirates«, and behaviour due to lack of juridical knowledge is marked as »illegal action«. Using the hashtag #keinenotenkopieohnelizenz, VG Musikedition stereotypically claims that all music copying needs to be licensed regardless of the age of the composer and edition—which is a purely propagandistic view, considering that large portions of the repertoire are in the public domain. My correspondence with director Christian Krauß (at least I believe it’s him) is available through the screenshots below.

The First Commandment

This is the first general rule of classical music journalism: Do not, by all means, comment on a blogpost on Slipped Disc. Don’t even think of it. Do read the blog and comments if necessary, but #neverever take the bait to add your own two cents. Rather follow Norman‘s example: He will never comment one of his contributions himself (and I am pretty sure he won’t react to this post either). Mark my words, and keep clear of a whole load of embarrassment. Thanks for your attention!

New Insights from Munich

I don’t consider this article a particularly convincing piece of journalistic work, but at least it demonstrates the incredible extent of sexually offensive and abusive behaviour that, in all probability, has been carried out for decades by some professors of Hochschule für Musik und Theater München. To me this looks like a collective failure on all levels of academic administration, and in case I had the dubious honour of being employed by this institution, I would quit immediately. If only half of these accusations prove right, the state authority in charge should appropriately install an official committee of inquiry and, if the university fails to prevent further victimisation of their staff and students, take action to close it down as a last consequence.

Job in Düsseldorf

This week I will start working as a lecturer in music theory at the Institute of Musicology of Robert Schumann Hochschule Düsseldorf. I will be in charge of the artistic subjects included in Heinrich Heine University Düsseldorf‘s musicology minor programme, such as basic elements of composition, musical form, keyboard practice, and a preparatory course in music theory. I will continue to live in Berlin for the time being, while commuting to Düsseldorf for two days a week. Thrilled about this new challenge in teaching!

Berlin Music Schools: Quo vaditis?

Berlin’s municipal music schools do something they didn’t do in quite a while: They are hiring permanent employees. Until recently, their quota of freelance teachers was at 93%, which is now being reduced to 80%. However, this will not change the fact that freelancers are in charge of most of Berlin’s music education. Apart from an awkward controversy between the Berlin Senate and musicians’ unions on how many FTEs this means, some more questions remain. Should the new positions be publicly advertised or only serve to the benefit of a school’s freelance staff? Is it acceptable if schools do not require applicants to hold a demonstration lesson? And finally: Why are permanent positions considered more important than a general discourse on quality management and sustainability of music education?