In the summer of 1906, Marion Bauer (1882-1955) boarded a ship to Paris to meet with Raoul Pugno, a French pianist and composer. Juliette Nadia Boulanger (1887-1979) was also close with Pugno around the same time. Living with the Pugno family in Gargenville during the summer, Bauer was able to travel to Paris, where she met several important musicians of the time and also nineteen-year-old Boulanger. Pugno, who worked closely with Boulanger, asked her to teach counterpoint and harmony to Bauer. Boulanger agreed and reportedly asked Bauer for English lessons in payment. Both women went on to become important music pedagogues, teaching hundreds of students. Their meeting allowed Bauer and Boulanger to share their ideas on teaching and music with each other. As time passed, the relationship between the two women fade from collective memory, but Boulanger's teaching principles of harmony, hearing, la grande ligne, and music history and literature live on through her students and fellow teachers and composers. Bauer's writings demonstrate similarities to these four key principles. Using Kimberly Francis and Emily Green's understanding of Pierre Bourdieu's theory of cultural production and an analysis of Boulanger's pedagogical principles, I believe that Boulanger's early accumulation of cultural capital and experience was shared with Bauer, assisting Bauer in her future role as American music pedagogue.

Arnold Schoenberg's teaching career spanned over fifty years and included experiences in Austria, Germany, and the United States. Schoenberg's teaching assistant, Leonard Stein, transcribed Schoenberg's class lectures at UCLA from 1936 to 1944. Most of these notes resulted in publications that provide pedagogical examples of combined elements from Schoenberg's European years of teaching with his years of teaching in America. There are also class notes from Schoenberg's later lectures that have gone unexamined. These notes contain substantial examples of Schoenberg's later theories with analyses of masterworks that have never been published. Both the class notes and the subsequent publications reveal Schoenberg's comprehensive approach to understanding the presentation of the Gedanke or musical idea. In his later classes especially, Schoenberg demonstrated a method of analyzing musical compositions using illustrations of elements of the Grundgestalt or "basic shape," which contains the technical aspects of the musical parts. Through an examination of his published and unpublished manuscripts, this study will demonstrate Schoenberg's commitment to a comprehensive approach to teaching. Schoenberg's heritage of eighteenth- and nineteenth-century music theory is evident in his Harmonielehre and in his other European writings. The latter include Zusammenhang, Kontrapunkt, Instrumentation, Formenlehre (ZKIF), and Der musikalische Gedanke und die Logik, Technik, und Kunst seiner Darstellung (the Gedanke manuscripts), written over the course of several years from the 1920s to the early 1930s. After emigrating to the United States in 1933, Schoenberg immediately began teaching and writing in an attempt to arrive at a comprehensive approach to his pedagogy. The remainder of Schoenberg's textbook publications, with the exception of Models for Beginners in Composition, were left unfinished, were edited primarily by Leonard Stein and published after Schoenberg's death in 1951. Preliminary Exercises in Counterpoint, Fundamentals of Musical Composition, and Structural Functions of Harmony complete his ouevre of theory publications. An examination of the Stein notes offers contributing evidence to Schoenberg's lifelong pursuit to find a comprehensive approach for teaching an understanding of the musikalische Gedanke. With the addition of an analysis of the first movement of Mozart's G minor Symphony, K. 550, which Schoenberg used often to illustrate examples of basic concepts as liquidation, transition, neutralization in the minor key, the role of the subordinate theme, retransitions, codettas, melodic and harmonic overlapping, and motivic analysis, this study focuses on Schoenberg's comprehensive approach to both analyzing the musical work and teaching methods of composing.

The modern bass trombone has undergone many changes in design since the 1960s and a student beginning on or switching to bass trombone today needs pedagogical material that methodically addresses the many valve combinations available on an independent double valve bass trombone. The existing books for bass trombone contain useful exercises, but none of the currently available books address all the valve combinations and patterns that are helpful for developing proficient valve technique on bass trombone. Therefore, I created a new bass trombone double valve technique method book that includes a thorough exploration of the bass trombone's two valves within the context of scales, scale exercises, and original material specifically designed to be applicable to common literature for the bass trombone.

Die Einleitung beschreibt das Konzept des Symposions und des Buchs zusammen mit Grundlinien der Situation der Musikdidaktik bzw. Musikpädagogik in Deutschland. Ein zweiter Abschnitt gibt Zusammenfassungen der Beiträge und zeigt Querverbindungen, ein dritter Abschnitt skizziert die Themen und Struktur der drei Diskussionsrunden („Fishbowls“) zwischen jeweils 3-4 Autoren des Buchs und der letzte Abschnitt gibt Anregungen für die Arbeit mit dem Material, insbesondere den DVDs (die jede Stunde aus drei Kamerawinkeln zeigen). / The introduction describes the concept of the symposion and the book together with some baselines of the situation of music didactics in germany. A second part gives summaries of the articles and connections between them, a third part is about the three discussions (“fishbowls”) between the authors of the book and the last part offers suggestions how to work with the material, specially the DVDs (which show each lesson with three camera-angles).

Im Zentrum des Textes steht ein systemisches Modell, das verschiedene Schichten und Komponenten des Musikunterrichts in Beziehung zueinander stellt und als Beobachtungs- und Analyserahmen anbietet. Es zeigt die möglichen Perspektiven auf Praxis und die Ansatzpunkte für Theorie. Die Bestandteile des Modells werden erläutert und mit Beispielen aus den drei vorgegebenen Unterrichtsstunden veranschaulicht. Es soll verdeutlicht werden, dass didaktische Theorie das Bewusstsein für die Einflussfelder und ihre Wechselbeziehung schärfen und als Werkzeug zur Reflexion und Entwicklung von Unterricht zur Verfügung stellen kann. / The author suggests observing and analysing music lessons with regard to certain crucial fields and aspects. They are presented as part of a systemic model offering different perspectives on practice and initial points for a theoretical discourse. The components of the model are exemplified and applied to the three music lessons. Didactic theory is regarded to support the awareness of these aspects and their reciprocal influence on teaching and learning music and to offer tools for the reflection and development of practice.

Die komprimierte Darstellung der Fishbowl bietet Einblicke in die aktuelle Diskussion fachspezifischer Fragen. Vier Experten (Ursula Brandstätter, Anne Niessen, Christine Stöger und Christopher Wallbaum) diskutieren nach ihren vier Einzelvorträgen miteinander über Grundfragen der Musikdidaktik. An der Diskussion können sich auch Einzelne aus dem Publikum beteiligen. Moderiert wird die Diskussion von Christian Rolle. Im Zentrum stehen das Verhältnis von Unterrichtspraxis und wissenschaftlicher Musikdidaktik bzw. –pädagogik („Theorie und Praxis“) zueinander sowie die Rolle des Fachs Musik in der fachdidaktischen Diskussion. / The abridged fishbowl-discussion gives an idea of currently discussed problems in the german discourse on music education at general schools (=music didactic). In Fishbowl A four experts (Ursula Brandstätter, Anne Niessen, Christine Stoeger and Christopher Wallbaum with Christian Rolle as moderator) after their lectures discuss the relation between teaching in the classroom and research about it, in other words the relation between theory and practice/praxis Furthermore they discuss the role of the subject ‘music’ in exploring and investigating in educational practice/praxis and concepts.

Die komprimierte Darstellung der Fishbowl bietet Einblicke in die aktuelle Diskussion fachspezifischer Fragen. Vier Experten (Werner Jank, Hans-Ulrich Schäfer-Lembeck, Constanze Rora und Dorothee Barth) diskutieren nach ihren vier Einzelvorträgen miteinander über Grundfragen der Musikdidaktik. An der Diskussion können sich auch Einzelne aus dem Publikum beteiligen. Moderiert wird die Diskussion von Ursula Brandstätter. Im Zentrum stehen der Lernbegriff in Bezug auf offenere und geschlossenere Konzepte zur Gestaltung von Musikunterricht. Bezugsgrößen stellen dabei das Konzept des „Aufbauenden Musikunterrichts“ und der (konstruktivistischen) Erfahrungsorientierung dar. In diesem Zusammenhang werden auch der kulturbezogene Musikbegriff und die Einbeziehung der Schüler als Individuen thematisiert. / The abridged fishbowl-discussion gives an idea of currently discussed problems in the german discourse on music education at general schools (=music didactic). In Fishbowl B four experts (Werner Jank, Hans-Ulrich Schäfer-Lembeck, Constanze Rora und Dorothee Barth with Ursula Brandstätter as moderator) after their lectures discuss the term of learning in relation to more formal and more informel concepts of learning. These subjects are discussed in relation to following focuses: concrete german concepts, which focus on learning or experience, the term of culture-related music and including the pupils as individuals.

Der Autor entfaltet zunächst seine Zweifel daran, ob man Musikstunden überhaupt dadurch gerecht wird, dass man sie ins 'Licht' von Theorien stellt. Ebenso schwierig, wenn nicht unmöglich, dürfte es sein, didaktische Theorien ins Licht von Praxis zu stellen, etwa im Sinne einer Bewährungsprobe. Solchen Zweifeln setzt der Autor dann aber die Überlegung entgegen, 'dass der schönste Skeptizismus keiner ist, wenn er sich nicht auch gegen sich selbst wendet'. Er stellt also die (Thüringer) Stunde ins Licht einer ethnographischen Methode, der 'dichten Beschreibung' nach Clifford Geertz, und erzählt die Interaktion zwischen Mädchen, Jungen und Musiklehrer als (hypothetische) Geschichte nach, in der sich Mechanismen der Benachteiligung von Jungen zeigen, wie sie möglicherweise - wenn man nicht aufpasst - im Klassenmusizieren verstärkt werden. / In the beginning the author develops doubts in the possibility to live up music lessons by throwing on them the 'light' of theories. Comparably difficult, if not impossible, may it be to throw on theo-ries the light of classroom situations, e.g. as a practical test on theoretical validity. But the author subtends this insight, reflecting 'that the most beautiful scepticism is worthless if not applied even to itself'. So he exposes the 'Thuringia' lesson to the light of an ethnographic method, Clifford Geertz'' 'Thick Description'. He tells the interaction between girls, boys and the teacher as a (hypo-thetic) story, in which mechanisms of boys'' disadvantages emerge that possibly - if we don''t care - may be aggravated when we practice to play music in class.

Der Beitrag beschreibt die deutsche Musikdidaktik von einer Meta-Ebene. Die an den Autor, einen Deutschdidaktiker, herangetragene Aufgabe wurde in drei Fragen gefasst: 1. Wie stellt sich die Landschaft der Deutschdidaktik aus der Adler- (bzw. Google earth-) Perspektive dar? 2. Wo würde der Adler die Brennpunkte der musikdidaktischen Tagungsdiskussion auf seiner Deutschdidaktik-Karte verorten? 3. Welche Gemeinsamkeiten und welche Unterschiede sieht der Adler zwischen der deutsch- und der musikdidaktischen Diskussion? Die Antwort ist ein Text mit einprägsamen Bildern aus dem Unterricht, mit Übersichten zur Deutschdidaktik und detaillierten Reflexionen aus einer kognitionstheoretischen Perspektive. Brennpunkte werden anhand von Begriffspaaren wie „Didaktik vs. Methodik“ und der Orientierung an „systematischem Aufbau vs. Erfahrung“, „Produktion vs. Rezeption“ sowie an „Produktionsprozessen oder -produkten“ lokalisiert. Die drei Beispielstunden von der DVD lassen sich auf drei Aufgabenfelder der Deutschdidaktik beziehen. / The article looks at music education / music didactic for general schools from a meta-level. The task for the author, a lecturer for didactic of German, was formulated in three questions: 1. How would you draw a map of the didactic of German from the perspective of an eagle (or Google earth)? 2. Where on this map would you locate the focal points of the music didactic discussion after the symposion? 3. Which common and which different points do you see between the didactic of music and the didactic of German? The article gives an answer with clear pictures from situations in the classroom, with overall views and detailed reflexions from a cognition-theoretical point of view. It locates focal points by pairs of terms like “didactic vs. methodology”, “teaching step by step vs. staging situations of experience”, “production vs. reception of music”, “focusing processes vs. objects of music education”. The three lessons on DVD can be related to three scopes of tasks of the didactic of German each.

Prior research studies point to a correlational relationship between music instruction and academic achievement studies, but varying results and confounding factors prevent causality. The purpose of this quasi-experimental study is to test Vygotsky's sociocultural cognitive theory that playing a musical instrument is significantly associated with academic achievement in reading for 1st graders who attend 1 of 2 schools in Alaska. Using Analysis of Covariance, this study investigates the relationship between instrumental music and academic achievement on measures of academic progress (MAP) reading scores of 1st graders (n = 76) who received at least 90 minutes per week of string instruction for 2 consecutive years at a Title I school in comparison with those who attended another Title I school without the string program. Although the results of this study did not show a relationship between instrumental music and academic achievement on MAP reading scores of 1st graders, this study has implications for positive social change. This study contributes to this new field of music for social change and underscores the need from public school administrators and music educators for more research at the local and national level on the benefits of music education as a contributor to academic achievement and student success.