the Musikpädagogik is concerned with the connection of music and humans during acquiring and switching processes. Perspectives of the upbringing , the education , the instruction, learning and instruction play a role. The Musikpädagogik is to be differentiated as science from music-educational practice to. In former times the subject in researcher circles and at educational institutions musician drawing , the term existed was called however the designation Musikpädagogik is still, usually preferred. Also under the scientists the distinction is not undisputed. From the history of the Musikpädagogik out, in the course of the musische education, which was also abused in the third realm, the term seems more appropriate - pädagogik many.

Only one part of the music-educational science covers again the didactics of the subject music, as it is informed at the general-forming schools. Other ranges are for instance the elementary Musikpädagogik, the Pädagogik of the lifelong music learning or the comparative Musikpädagogik, which concern themselves with music and their switching in other countries.

In the didactics of the music it is in principle asked to which music is to be obtained, which contents and topics are most important thereby and as and with which means and media this has to happen optimally. The latter is named again also as the methodology of music instruction and describes a further subsection of the Musikpädagogik.

The Musikpädagogik is on the other hand first also a part of the Pädagogik in the entire. Scientifically won realizations of the general Pädagogik are often for the Musikpädagogik just as valuable and valid, to it belong to z. B. Realizations over the fact that humans acquire themselves somewhat particularly then well - thus learns - to be able, if they are motivated and in positive basic attitude is and if she provokes it a little, it are however not made excessive demands of. (Unfortunately such fundamental realizations are not always considered in practice the Musikpädagogik.)

neighbour disciplines like the psychology, the sociology, the anthropology and the medicine as well as the music science, the science of history and the Kunstpädagogik supply likewise important realizations and methods for music-educational questions.

Table of contents

music-educational research

the music-educational research can be arranged methodically into three directions:

  1. In the historical research e.g. becomes. examined, like itself the musician drawing in the Weimar Republic, in the 3. Richly in the postwar FRG as well as the former GDR developed. Idea history, institution history, science history and term history would be some subsections here.
  2. The systematic research asks with help of theological, philosophical and educational thought connections in principle for the goals of the Musikpädagogik, for their values and standards, their social conditions and their sense.
  3. The empirical-analytic beginning tries to describe music-referred learning processes to explain and improve. For this numerous research exists, like e.g. recently popular the research to so-called, become. “Transfer effects” the Musikpädagogik. During such except-musical reasons for the appropriation of music it goes around effects on the personality of humans, on its identity.

To prove it tried by long-term studies that music, making music and musician drawing cognitive, creative, aesthetic, social, emotional and psychomotor abilities to promote. In particular the improvement of intelligence by the so-called. “Mozart effect” was discussed several times in the public. In experts this is meanwhile very disputed.

In view of newer interdisciplinary research from the ranges brain research, psychology and Pädagogik may however e.g. it is assumed that handling music as early as possible in the life-span and on all levels of the appropriation most meaningfully, nachhaltigsten and most effective is.

Hermeneutisch is tried to understand and interpret before the background of its historical development the present reality of music-educational practice.

Basis for this research is always also the artistic-practical, the music-theoretical-analytic and the historical occupation with music. Without musical abilities and knowledge naturally the technical basis is missing to such a research.

Starting point for a research is already the question, „which is music? “. „As music works? “, „which means music? “and „which function has music? “ (in the advertisement, in political contexts, in the football stadium, in the Disco…) is further central asking, without whose answer one can meet hardly statements about it, as which music can be best obtained and learned and is.

Apart from the training of music-practical abilities in singing and in the instrument valley play the term „of the aesthetic education became important “for the Musikpädagogik. Hereby music is considered as an understanding of the world, as culture, as language and as sense of life. Musical education is possible again - so the dominant Lehrmeinung of the music paedagogues - only if musical experiences are made. Music too experienced closes music practice, feeling (respectable. Hear) of music and a thinking about music also in. Music is to be also understood thereby .

music-educational practice

status quo

these music-referred experiences and this understanding about music take place unfortunately at the general-forming schools in Germany and Austria less and less. The practice of the Musikpädagogik is in this range in a clear crisis. Partially this is indebted, approximately due to a still strong adjustment on „classical “education contents or by the siding attempts to the pupils with a pure Pop hit instruction.

Partially the social surrounding field is for this responsible, because the subject music has an increasingly small value with parents, pupils and politicians. Hours are painted, teachers to be missing, the subject music are voted out or are not no more offered. The Ökonomisierung of the school regarding a functional citizen, who is to function particularly during the restaurant economics, which does not have to be formed however no more, contributes likewise for this. Musical Sozialisation is limited increasingly on the consumption of a small cutout of popular music.

This documents itself also within the range of the schools of music (private and public), those frequently threatened by locking is momentary. Here is also the economic total situation with responsible.

improvement attempts

of positives of beginnings for the improvement of the situation of the Musikpädagogik e.g. are. to expect through:

  • the back meditation on the switching of fundamental contents and authority
  • the early promotion of children, in particular by frequent, freudvolles singing
  • of models to common making music in the group/the class on different instruments, for example in Bläserklassen
  • the installation course of new media (e.g. Compose at the computer)
  • fan-connecting beginnings (music in the context of pictures, stories, historical or social topics…)
  • intercultural subjects

of subsections of the Musikpädagogik

Instrumentalpädagogik: concerns itself with instrument valley instruction at generally forming schools, schools of music and privately, with group and private lessons, adults pupils and children. Further topics of the psychological-educational direction are among other things : Lamp fever, motivation, teacher pupil relationship or practicing in the flow. In addition the research concerns itself with the specific conditions of the individual groups of instruments, it gives as a piano didactics, Violindidaktik etc. Vokalpädagogik against it generally covers singing instruction, choir singing and each singing with children and adults. Subranges place among other things the being correct physiology, which is occupied with the structure of the human voice, the methodology of the choir line and the being correct formation (individual and in groups).

further there are

special fields of the Musikpädagogik also therapeutic beginnings in the Musikpädagogik, which collect themselves in the music therapy - an own field -. Music is used here both rezeptiv and practically, in order to obtain therapeutic effects. This happens, because emotional activate music, tensions adjusts as well as contacts and experience ability to promote can.

further one of goals of the Musikpädagogik

music is to be promoted a good medium around positive personality characteristics: It potentially e.g. promotes. Extra version in the expression-strong play, team ability in the ensemble making music, conscientiousness in relation to the musical work and the music partnership, emotional stability in the podium stress of the art presentation and intelligence in the kongenialen interpretation of a musical work.

Handling music can contribute also to the fact that children and young people in their understanding and acting are enabled to see their perspective in the mirror of the perspective of the other one. In music practice one can learn to relate and bring into the context of the music its position.

study of the Musikpädagogik

in Germany one can learn Musikpädagogik in form of a teaching profession study (for primary school, six-form high school, High School) mainly at universities and educational universities, in addition, at colleges of music as diploma music teachers or with the conclusion elementary Musikpädagogik (early education). In becoming extinct the Magisterabschluss, understood with the Musikpädagogik as main or Nebenfach with other disciplines such as music science, is Pädagogik, Medienpädagogik o.a. to be combined can. This is only (still) possible at few universities. (In the course of the restructuring of the courses of studies on Bachelor/masters the future of the subject is very uncertain.) in all cases a musical entrance examination is necessary, before can be studied. The requirement in instrument, singing, hearing formation, clay/tone set and if necessary. Ensemble line are however quite differently high.


  • emperor, Hermann J. and Nolte, hitting a corner hard, music didactics, Mainz 1989, bulkhead, ISBN 3-7957-0202-X.
  • Shopkeeper, Rudolf Dieter, Musikpädagogik - an introduction to the study, Augsburg 2004, Wissner, ISBN 3-89639-380-4.
  • Schmidt, Hans Christian (Hg.), history of the Musikpädagogik, in: Manual of the Musikpädagogik, Kassel 1986, bear rider, ISBN 3-7618-0781-3.
  • Wind, Hans Hermann, Musikpädagogik in the social work - an introduction, Münster, New York, Munich, Berlin 1998, Waxmann, ISBN 3-89325-694-6
  • Gruhn, Wilfried: History of the musician drawing, yard home 2003, cloud, ISBN 3-93600-011-5
  • of helmet, victory mouth; Cutter, pure hard; Weber, Rudolf (Hrsg.): Encyclopedia of the Musikpädagogik, special part, Mainz 2005, Bosse, ISBN 3-7649-2540-X

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see also:

Music, musician, musical early education, music aesthetics, music sociology, music psychology, list of the colleges of music and conservatoires in Germany, Technical High School for music, school of music, school (Musikpädagogik)


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