Mentoring – Earnings from a university development program for music.

The Alfred Toepfer Foundation is a non-profit foundation that works across Europe in the fields of culture, science, education and nature conservation. The Alliance for Teaching, which includes numerous other organizations, including the BMBF (Federal Ministry of Education and Research), is in charge of it. In the “Teaching-high-n” (Teaching) program, universities with the same subject areas are networked, and their exponents are invited as teams to a cross-functional exchange of expertise. These specialist programs aim to promote the development of teaching at the respective universities.

Artistic Teaching – Music Program

“One would have to … think in peace”, it had said in the tender. In collegial work with people and teams from other locations, opportunities should be given to develop and sharpen visions. The leading question was: How can the artistic teaching resp. The doctrine of the artistic be designed so that teachers and colleges meet their responsibility for the graduates, and also in the face of increasingly changing career prospects?

Addressed by this request, interesting interdisciplinary and interdisciplinary discussions had been developed at the College of Music and Theater in a small collegiate team. They resulted in a project outline and an application for the advertised program. The submitted project “Coaching / Mentoring of the Artistic” was added to six other universities. We were invited to participate in the Music Teaching program.

Reflecting on the culture of teaching was the starting point for us. Mentoring seemed to us a promising term for a pedagogical attitude that deserves to be explored and deepened. He describes accompaniment as an aspect of teaching in which the peculiarity of the learner/student, as in a platonic dialogue, is mainly promoted and supported.

In this context, questions such as What are the differences between concepts of study courses that aim to make musical performance the basis of the following professional activity of those who aim at a pedagogical activity? How is the artistic professionalism that is constitutive in both fields initiated, and what conceptual differences can be observed? To what extent do blanket attributions contribute to the predominance of musical skill and perfection in the study of the artistic subject, while in the other case, science-based reflection is assumed? Is the one case more about the availability and handling of implicit knowledge, and in the other case of explicit knowledge?

In this regard, we have considered that the professionalization of the musical-artistic, whether for purely artistic or artistic-pedagogical professions (which also includes the teaching profession), should not be just an education, but a diverse education concept. In this, students should be offered the opportunity for autonomous development. To foster the success of this development, we are convinced that an observer-sensitive and respectful culture of communication is conducive. It provides opportunities for emotional, physical, and mental growth, provides insights into one’s resources, talents, and desires as well as knowledge of situations and requirements of the profession. Terms such as counseling culture, mentoring, team teaching, or collegiate supervision can play an important role here. Exceptional musical work might then be carried by more than one teacher and would be complemented by other people’s offerings (non-competitive).

Mentoring as a paradigm for the teaching of the artistic

At the end of the one-year work, this headline provides a more in-depth approach to different forms of mentoring. Mentoring components could enrich existing teaching structures at HMTM. They could complement, support, and accompany the proven and familiar in the current teaching.

Christiane Iven, Hans-Ulrich Schaefer-Lembeck