+++ Study information days in January at the Departments for Music Education Salzburg, at the Orff Institute and for Choral Conducting - all information here! +++
For 15 years, the Mozarteum University has been cooperating with the Tyrolean State Conservatory in the field of music school teacher training. In 2021/22, the offer in Innsbruck will be expanded to include the study profile "Jazz/Pop" in the Bachelor's program IGP and the Master's program "Making Music in Diversity Contexts".
Grenzklang is a project based in Tyrol and unique in the entire German-speaking region, which on the one hand offers children of Persian origin an opportunity to promote singing and music-making, while at the same time enabling a connection to their culture and being open to children of all nationalities as well as music of pluralistic cultures. On the other hand, Grenzklang is a practical training programme for future music teachers. This joint intercultural learning envisaged in the project ideally leads to an attitude of all participants, which is the basis for social progress and enables teaching and learning in diversity, equality and democracy. It thus functions as a model for further (music) pedagogical and intercultural offers. Synergy is an essential feature and Grenzklang contributes to strengthening the cultural identity of all participants.
Judith Rubatscher, graduate of music education at the Mozarteum Innsbruck, was awarded a research prize by the Kanda Center of the University of Innsbruck for her ethnomusicological thesis "'Singen is a part vo unsam leben.' Die aktuelle Gesangspraxis der Schmiedeleut-I-Hutterer in Manitoba" (Supervisor: Ao. Univ.-Prof. Dr. Thomas Nußbaumer). Rubatscher dealt with the musical tradition of the Hutterites, a Tyrolean Anabaptist community from the 16th century, which today is only represented in North America.
The study aims to better understand the collaboration of music teachers and instrumental / vocal teachers in class musicianship concepts in Austria.
Approximately 800 of the 1800 Mozarteum students receive pedagogical training. Accordingly, synergies between the departments involved are important, as they were created in 2012 by the School of Music and Arts Education (SOMA).
For his artistic-music pedagogical project "voice & piano" Reinhard Blum, lecturer at the Department of Music Education Innsbruck, was nominated together with Christian Kraler (University of Innsbruck) for the shortlist of the Ars Docendi State Award for Excellent Teaching 2019 in the category "Research-related or art-guided teaching".
The European research project "Schools@Concerts - Tuning up for the music experience", which is anchored at the University Mozarteum Salzburg, focuses on cooperations between schools and concert organizers and researches them from different perspectives through a multiple case study.
A variety of projects will explore opportunities for instructional development to provide students with diverse and appropriate learning opportunities, developing and documenting various formats and presenting them at professional and interdisciplinary conferences.
An autograph from the hand of Joseph Mohr, written around 1820, is the oldest surviving autograph of a carol which, starting in Oberndorf, quickly spread throughout the 'old' and 'new' world. Silent Night" is a song that - translated into many languages - has become an integral part of the Christmas message of peace. To what extent can a 100-year-old song appeal to young people today and become an impulse for creative work? Pupils of the BORG Oberndorf and the BORG-Gastein are invited to deal imaginatively with the topics opened up by the song and to reflect on and evaluate the products of their work together.
Students of the 7A class of the BORG-Nonntal will create a music-theatrical performance of the improvisational-experimental score Individuum↔Collectivum (1979) by the composer Vinko Globokar. How can experimental-improvisational artistic interactions be described as aesthetic and social phenomena? Which methods prove to be particularly suitable for this purpose and what conclusions can be drawn in order to specifically promote aesthetic competences in music lessons?
