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Music education promotes creative design processes and unlocks spaces for musical and aesthetic experiences. However, for many years, Germany has lacked trained specialist teachers.

Germany has a tightly-knight network of orchestras . Despite financial challenges and structural changes, Germany’s publicly financed orchestras have continuously expanded their programmes.

Germany's 129 publicly financed professional orchestras have 9,771 registered permanent positions for musicians. The number of positions has remained relatively stable in recent years.

In 2022, music programmes accounted for 63% of the total programme of the state-level broadcasters. The airtime for classical music recently dropped.

A total of 28.7 % of the pupils in the two highest grades take music as a subject. The majority of them study in courses with a basic level.

Millions of people attend music theatre performances in Germany every year. Half of the over 11,000 events are opera performances, followed by dance, musicals and operettas.

Germany’s jazz scene has an extremely wide range of styles and institutions. With its players and artistic results, the scene can present itself with confidence.

Rock and pop music is the most popular genre in Germany, especially in the age groups up to 59 years. Older people show a strong musical taste for oldies and evergreens.

Those seeking to take up music as a profession will find many options in Germany. Tertiary-level schools of music, universities and special institutes are available for talented artists and teachers.

Making music holds a lot of potential for the individual development of people in prison. U.S. music pedagogue Mary Cohen has been conducting research on this topic for more than 15 years.

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.

Against the background of the war in Ukraine, Michael Custodis reflects on the political content and politicisation of music.

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.

What challenges does IAMIC face today? And what are the expectations for the conference in Bonn? IAMIC president Diana Marsh and Stephan Schulmeistrat in an interview with ‘neue musikzeitung’.