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Music is anchored in the curricula of Germany's states in almost all grades 5 to 10. However, there are differences in the quantity of music lessons to be taught.

Germany's states differ in the number of weekly hours they allot to music lessons. Music can be a mandatory or compulsory elective subject under its own name, or a component of larger learning areas.

Public music schools had approximately 1.4 million pupils in the calendar year 2021. Particularly in the younger age groups, pupil numbers declined in the pandemic years.

Public music schools offer a variety of instrumental and vocal subjects. Piano, guitar, violin, recorder, percussion and flute have the highest numbers of pupils.

With almost 6,200 schools and 5,100 kindergartens, most of the cooperation partners of public music schools are educational institutions. Many music clubs are also partners.

The 2020-21 season data document the impact of the COVID-19 pandemic on orchestra operations. Concert and attendance figures declined significantly.

With only 3,205 opera, operetta, musical and dance performances and 685,000 visits to these events, the consequences of the pandemic on theatre operations in the 2020-21 season are profound.

At German theatres, non-permanent artistic staff was strongly affected by the pandemic. Figures of other staff groups only slightely decreased.

The total expenses of publicly financed theatres in Germany amounted to approximately 3.2 billion euros in 2020. 68.5 % of the expenditure was for staff.

All income sources totalled, the average monthly net income of professional musicians is 2,660 euros. 70% are not exclusively working as artists. Freelancers and women earn below-average.

Holger Noltze discusses how the availability of musical art on the internet is changing the modes of aesthetic perception and argues for a curation of digital offerings.

IAMIC, an international network of music information centres, has existed since 1986. John Davis, former IAMIC Vice President, gives an overview of the development and goals of the organisation.

19% of the population aged 6 and above make music in their free time, i.e. 14.3 million people. There are clear differences between the age and socio-demographic groups.

In Germany's 129 publicly funded orchestras, four out of ten musicians are female. In section leader and soloist positions of highly remunerated orchestras, the share of women is only 22%.

Musical taste is linked to generational affiliation. Pop is currently the most popular genre, while there are indications of a declining trend in classical music.

The infrastructure of contemporary music in Germany is remarkable in its diversity. Numerous ensembles, organisers, media and promoters have specialised in this area.

Music allows churches to function as musical bridges into many areas of human culture, making church music an important element in society.

Between a niche and a global market: Germany has developed a multi-faceted and highly visible scene for world music.