Vorzeichenwechsel

Currently, music education seems to be more than ever caught in the pull of societal and political tensions: Inclusion and diversity challenge the self-understanding of an artistic education that sees itself as exclusive; with their engagement in initiatives for refugees, music educators find themselves at the center of global upheavals; large musical and music educational projects emerge with the claim of societal transformation; music becomes a projection surface for the search for collective identity and is subject to political appropriation. If one adopts such a perspective, there is reason to believe that this is more than just a change in signs in the traditional sense. When it is no longer sufficient to merely supplement established practices and thought patterns of music educational work with new target groups and didactic paradigms, it seems that music education is currently at a point where retreating to the supposed core business is no longer possible, a fundamental reorientation is necessary, and even a normative-political positioning appears inevitable.