Photo: David Ausserhofer


Within a short period of time, "music education" has become an integral part of the cultural engagement of the Körber Foundation. Having said that, the foundation does not see itself as an educational entity, but provides – especially in the KörberForum – a venue at which new methods of music education are tried out and discussed. Content, concept, format, personality – these are the four key components in the "art of education". With our own events, discussions and programmes we examine the question of what modern music education must accomplish.

For music institutions of the future it is already foreseeable that highly gifted presenters, articulate and imaginative educators and innovation-minded programme designers will become more important than ever. Music education has long taken areas such as dramaturgy and programme scheduling including format development and use of media into consideration, as well as circles of friends and fundraising, always at the interface between the cultural educational mandate and marketing. The manner in which cultural content is prepared and presented will become increasingly important. Charismatic and credible individuals who know how to reduce people's fear of the new, engender enthusiasm for complex content and promote open, curious perception will play a growing role.

This is why the Körber Foundation, as a complement to its educational formats in the KörberForum, would like to search specifically for outstanding talents in the field of music education, to foster them individually and to support them in the development of their personal profiles. This completely new training concept transfers the idea of music master classes to music education: while talented young musicians can stimulate each other artistically at international master classes, selected educators have the opportunity to broaden their skills and their horizons. Music educators of the future will help to shape concert halls and festivals, and they are also conceivable as future candidates for senior positions in the music world.

As wide-ranging as the music educator's sphere of work is, it will revolve constantly around the development of ideas for music encounters and the transportation of what is special about these encounters with music – also with the persuasiveness of the educator's own personality. After all, many conversations – with friends, with a patron, in the political environment, with another cultural facility – take place before, after or quite apart from the concert or music experience itself.

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