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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.

Freelance music professionals in the KSK social insurance expect an annual income of 14,191 euros in 2022. Prognoses are higher than in the previous year, but do not yet reach pre-pandemic level.

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.

The music economy is a major part of Germany’s cultural and creative economy as a whole. It subsectors include music teaching, musical instrument making and live concerts.