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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.

National productions continue to make up a large part of the German longplay charts. International productions are becoming more popular again.

In 2019 and 2020, national productions dominated the German singles charts. Most recently, the ratio of national and international productions was balanced.

Almost 239,000 pop and classical recordings were available on the German music market in 2022, 73 % of which were audio albums in the pop segment. About 14,500 titles were new releases.

Pop music achieved the largest share of music industry's turnover in 2022, though significantly less than in the noughties. The hip-hop and rock genres were also strong in terms of turnover.

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.

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.