Teaching

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.

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’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?

I have been invited by my Alma mater to introduce myself in the appointment procedure for a music theory professorship. This is, after my widely noticed withdrawal of last summer, something of a surprise. But needless to say, I will accept the challenge and prepare a cunning little demonstration lesson that will blow their minds. Let’s see how it goes. NB: I’m not revealing sensitive data here, as the names of all applicants to this position were publicly announced on the department’s notice board. Good luck to every of my competitors—may they succeed according to their personal ambitions and standards, regardless of their gender, race, class, or origin.

One shouldn’t consider it possible that somebody holds two professoral positions at the same time, particularly in a business as tough and competitive as classical music—but yes, two members of the teaching staff at Berlin University of the Arts’ Faculty of Music simultaneously occupy another post in Switzerland. Violinist Nora Chastain is also professor at Zurich University of the Arts, while clarinetist François Benda also teaches at Basel Academy of Music. Apart from challenging the necessity of a second salary at this level, one might question these persons’ ability to manage the teaching load associated with taking care of two instrumental major classes. Maybe they are lucky enough to be gifted with bilocation?