Ausgehend von einer Problemsituation, wie sie in der Schulpraxis so oder in vergleichbarer Weise regelmäßig vorkommen kann, wird ein grundsätzliches Problem ästhetischer Lehr-Lern bzw. Bildungssituationen beleuchtet. Es geht um Situationen der Gestaltung von Musik mit Schülern. Die Frage ist, welche Dimension musikalischer Erfahrung im Zweifelsfall Vorrang haben sollte, die der erfüllten ästhetischen Praxis oder die der kultur- bzw. stiltypschen Reinheit. Der Text zeigt aus der Perspektive pragmatischer Ästhetik, dass, warum und wie ästhetische Praxis sowohl die vorrangige Form als auch der vorrangige Inhalt musikalischer Lehr-Lern-Situationen sein sollte.

In this dissertation, I examine three major aspects of Germany's education system from an empirical public finance perspective. First, I analyse the effects of strong demographic shifts by considering how the East German Länder responded to the rather dramatic decline in the number of students in primary schools (1993-2002). The demographic shock is a consequence of collapsing birth rates after German Reunification. Previous results from the literature, which rely on data from rather stable demographic periods, suggest that public resources are incompletely adjusted to shrinking cohort size such that large reductions in the student population translate into important increases in spending per student and not in significant reductions of public resources allocated to education. Evidence from a panel of 5 East German Länder over the 1993-2006 period suggests, however, that resource adjustments have been considerable, especially in the years when student cohorts were actually decreasing. Adjustments have been less tight in the period when student numbers stagnated such that the 50% decrease in cohort size has translated into a 25% increase in the teacher/student-ratio. Second, I test whether partisan theory can help to explain the practise of ability-tracking in West Germany. The analysis starts from the empirical observation that in the German education system – where tracking is practised very early compared to other OECD countries – the correlation of parent’s education or income with their children’s track choices is very strong. Thus, students whose parents have a high-education background have significantly higher probabilities of attending a high-ability track. Partisan theory states that political parties when in office pursue the interests of their members and electoral constituencies. Political parties representing highly educated households should therefore support the practise of ability-tracking and advocate higher education spending on the tracks for good students. Evidence from a panel of 10 West German Länder over the 1979-2006 period suggests that German political parties support tracking if they represent high-education households and oppose tracking if they represent lower educated households. The results also suggest that political parties tend to allocate public resources towards the track in which party members’ or party electorate’s offspring is overrepresented. Third, research-oriented higher education in Germany is almost exclusively provided by the public sector, which highlights the importance of measuring university cost efficiency, because market exit and entry – which ensure efficient resource use in the private sector – virtually do not exist (see e.g., Hanushek, 2002). Based on a panel of 70 German public universities over the 1998-2003 period I provide evidence about the factors that benefit efficient resource use in the German higher education landscape. I analyse whether relatively liberal university regulation improves the cost efficiency of public universities as suggested in the literature (see Aghion et al., 2008). The results show that liberal university regulation indeed contributes to more efficient use of resources. Moreover, I find that a prosperous private economic environment seems to reduce university costs.

Der Beitrag geht (in Abschnitt I) von zwei allgemeinen Ununterrichtbarkeitsthesen zu der Frage aus, ob und wie ‚Klassik‘ in der Schule unterrichtet werden kann, und entfaltet einen Lösungsansatz aus einer Perspektive ästhetisch-kultureller Edukation, der es darum geht, verschiedene musikalische Praxen erfahrbar zu machen. Die Grundannahmen dieser Perspektive werden in Abschnitt II zusammenfassend dargstellt. Das Wort „außeraustralisch“ soll eine kulturelle Außenperspektive auf die europäische Klassik signalisieren. Im Zentrum des Beitrags (Abschnitt III) steht eine „didaktische Interpretation klassisch-romantischer Musikkultur“, der es um die Formulierung charakteristischer Qualitäten dieser Musik bzw. Musikkultur geht. Als exemplarisch für deren Nachvollziehen erscheint eine Entwicklung von informeller über konventionalisierte und halböffentliche Hausmusik hin zum Konzert. Die entsprechenden Erfahrungsqualitäten bilden den Angelpunkt für die Gestaltung der Unterrichtspraxis. Mit drei abschließenden Inszenierungsskizzen für charakteristische Qualitäten (Abschnit IV) macht der Text einen Schritt weg von der wissenschaftlich geleiteten Analyse hin zur ästhetisch interpretierenden Gestaltung. Insgesamt stellt der Beitrag am Beispiel der Klassik exemplarisch ein allgemeines musikpädagogisches Herangehen dar. / The article starts (in part I) from two theses about the impossibility of teaching classical music in the classroom and shows a solution to do so. Part II outlines the actual perspective, which is based on music and music education as and for aesthetical and cultural practice. The word “außeraustralisch” (out of australia) indicates a perspective at classical music from a foreign point of view. The crucial part III claims “characteristic qualities” as the main reference point to stage musical practice in the classroom and developes characteristical qualities of classical-romantic music in a “didactic interpretation of classical-romantic culture of music”. The development from an informal to a conventionalized and half public Hausmusik up to public concerts appears to be generic to comprehend special attitudes and concepts of this kind of music. Part IV goes one step further towards an aesthetical interpretation of classical music as it creates three drafts, which outline how to stage music in such a way, that makes characteristic qualities of classical music perceptible in the classroom. Altogether the article uses the classical music in the classroom as an exemple for a general music pedagogical approach.

Univ., Diss.--Klagenfurt, 2005.

Der Text berichtet über eine Erhebung zu Praxen des Musikunterrichts in 5 Ländern Europas. Über eine auf Englisch veröffentlichte Erhebung ‚About Different Cultures in Music Classrooms of Europe’ hinaus enthält dieser Text auch die Ergebnisse einer zweiten Erhebung. Nach der Reflexion einiger methodischer Aspekte der Arbeit mit Videos sowie des Kontexts eines europäisch geförderten ‚Intensive Programs’, gibt der Text Information über gemeinsame Inhalte und Methoden sowie unterschiedliche Praxismerkmale im Musikunterricht. Abschließend liefert der Text drei Reflexionen der Daten über (1) die Wichtigkeit von Sound und Gesten im Musikunterricht, (2) Interferenzen zwischen Kulturen der Musik und Kulturen der Pädagogik im Klassenzimmer und (3) Muster von Musikunterricht. / The article is about an exploration about practices of school music in 5 countries of Europe. Beyond an exploration ‚About Different Cultures in Music Classrooms of Europe’, which was published in English, this article includes results of a second exploration. After reflecting some methodological aspects of working with videos and the context of an Intensive Programm, the article gives information about common contents and methods and distinguishing marks of practices in music education. At last the article gives three reflections of the data about (1) the importance of sound and gestures in music education, (2) interferences between cultures of music and cultures of pedagogy in the classroom, (3) patterns of school music.

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