Research on Composition Pedagogy in Germany

In this section, we want to provide an overview of current research in the field of composition pedagogy in Germany. We do not claim to offer a complete list, but rather to present some significant research foci.

There is much research that focuses on the theoretical and didactic examination of the field of composition pedagogy. Researchers have developed concepts and discuss issues of philosophy of music education (e.g., Handschick, 2015; Nimczik, 1991; Sachsse, 2020; Wallbaum, 2000; Ziegenmeyer, 2016). In this area, there are numerous publications by composers who structure the composition process based on their experience, offer reflections on different approaches and provide orientation for composers and teachers (e.g., Beck, 2020; Friedrich, 2016; Roszak, 2014; Schlothfeldt, 2009; Voit, 2018c). An initiative of the Musikakademie Schloss Weikersheim has been stimulating the discourse on composition pedagogy for secondary and community schools for several years through regular symposia and discussion groups (Jeunesses Musicales Deutschland [JMD], 2016; Schlothfeldt & Vandre, 2018; Vandre & Lang, 2011). In addition, Joana Grow (2018) published an overview of composing in primary schools in Germany.

There have been more and more empirical studies examining the field of composition pedagogy in recent years. Numerous funding lines were offered by the German federal ministry of education and research, the main aim of which is to promote teacher training and continuing education. From 2014 to 2017 the federal ministry funded the development and the testing of a program for further education. The training was offered to composers who were already working in the field of composition pedagogy or planning to work pedagogically. This training was accompanied by research analyzing the challenges the composers face in these projects (Rolle et al., 2018; Weidner et al., 2019). Furthermore, based on the data which were collected during the project, Julia Weber (2021) analyzed the influence of beliefs on the composer’s actions and she describes how intervening in the compositional process of the students is a kind of taboo for the teaching composers.

ModusM is another research that is a cooperation between the Universities Bielefeld and Dortmund and the Universities of Musik in Freiburg and Luebeck. The longterm goal of ModusM is to develop concepts for music teacher education. Therefore, the researchers investigate the interactions and the decision-making in the processes of composition and improvisation (Buchborn et al., 2019; Kranefeld & Voit, 2020; Meisterernst, 2020; Theisohn & Buchborn, 2020). The choice of instruments (Langner, 2020) and the role of objects and things is researched as well within this project with a special focus on the use of digital media (Duve, 2020; Kranefeld et al., 2019). In addition, the role of portfolios in guiding and reflecting on compositional processes is explored (Ehring & Thienenkamp, 2020; Janczik & Voit, 2020).

In the project LINKO, which was funded by the German Federal Ministry of Education and Research from 2016 to 2019, the researchers analyzed teachers’ interventions in composition processes using videos as observation data (Kranefeld et al., 2018). They distinguish between different patterns of interventions. Among other results, they describe a pattern of ambiguity that is typical for teachers’ interventions (Kranefeld & Mause, 2020; Mause, 2020).

The project Future Songwriting (2018-2020) is an international project that was cofunded by the Creative Europe program of the European Union. The goal was to test a program for further education for teachers in Finland, Germany, and France, which was developed by three Finish artists (INTO School). The teachers were trained in the use of the GarageBand app for songwriting in the classroom. The project was accompanied by an evaluation and research focusing on the teachers’ perspectives on composing with digital tools (Partti et al., 2021; Weber & Rolle, 2020).

Many research projects on music technology and digital media have been funded in recent years, some of them investigating issues of music production and music composition. The cooperative research project MuBiTec (Jorissen et al., 2019) focuses on musicmaking with apps on tablets and smartphones. One of the sub-studies (AppKOM) examines the effects of using such digital media technologies for composition in non- formal music education services on the development of musical competencies and related constructs. Based on a quasi-experimental research design songwriting with band instruments is compared to songwriting with apps on tablets. Research on digital media is often connected with research on music producing and songwriting (Ahner, 2020; Godau & Haenisch, 2019).

In Austria, Wilfried Aigner (2017) examined a project in electronic music production (eCompose Austria). He chose a design-based-research approach that aimed at the development of a teaching-learning environment based on research in the classroom. The results are, on the one hand, an intervention (concept and methods for teaching electronic music production) and, on the other hand, insights into students’ compositional processes and the role of teachers. Thomas Gottschalk also chose a design-based research approach that focuses on how the students’ abilities to reflect on what they compose is linked to the composition process itself (Gottschalk & Lehmann-Wermser, 2013; Gottschalk & Rolle, 2021). Thus, on the one hand, Gottschalk investigated how students discuss their collaborative compositions (see section in this chapter, “Historical Perspective on Composing in Schools in Germany” about initiating an “aesthetic argument” in the classroom) and how they can develop the needed music-related argumentative competence. On the other hand, the research contributes to composition pedagogy by developing an intervention that promotes the students’ ability to compose. How composition provides opportunities for aesthetic experience and thereby contributing to music education was empirically examined by Elias Zill (2016).

Evaluation is part of many collaborative projects with composers visiting schools. Some results are of interest not only for the project evaluated. The project documentation and reflection on a response project in Essen is an example for this kind of research. It contributes to the development of composition projects that involve many different participants from different institutions (Schatt, 2009). Julia Wieneke (2016) interviewed experts on composition pedagogy in the field of New Music. From the analysis of the interviews, she developed quality criteria for such composition projects in New Music.

References: Ahner, P. (2020). Learning environments and learning tasks with synthesizer apps in secondary schools. In A. Houmann & E. S^ther (Eds.), EAS publications: Vol. 9. Make music matter: Music education meeting the needs of young learners (pp. 225-240). Helbling.

Aigner, W. (2017). Komponieren zwischen Schule und Social Web. (1. Auflage). In Augsburger Schriften: Vol. 144. Wifiner-Verlag.

Beck, T. T. (2020). Ein Dreiklang ist kein Wald oder: Praxisschock Kompositionspadagogik? Sachdienliche Hinweise fur Schule und Musikschule. ConBrio.

Brassel, U. (Ed.). (2012). Musikbuch (1. Aufl., 1. Dr). Cornelsen.

Buchborn, T., Theisohn, E., & Trefi, J. (2019). Kreative musikalische Handlungsprozesse erforschen. In V. Weidner & C. Rolle (Eds.), Musikpadagogische Forschung: Praxen und Diskurse aus Sicht musikpadagogischer Forschung (1st ed., pp. 69-85). Waxmann.

Dessau, P. (1968). Musikarbeit in der Schule. Verl. Neue Musik.

Duve, J. (2020). Komponieren am Raster: Fallanalytische Perspektiven auf Prozesse des Musik-Erfindens mit digitalen Medien. In U. Kranefeld & J. Voit (Eds.), Musikunterricht im Modus des Musik-Erfindens (pp. 97-110). Waxmann Verlag GmbH.