Zur (musik-)pädagogischen Ambivalenz eines interkulturell angelegten Musikunterrichts in der allgemeinbildenden Schule

Abstract

This article questions the assumptions behind theoretical conceptions, which postulate substantial homogeneity among foreign students. Based on the results of a study by SINUS-Sociovision (2007), the author first of all identifies four distinct student types. These types show clear differences in terms of their self-image, their attitudes, values, mindsets as well in the ways they relate to their own, and to foreign-, macro-, and microcultures; they therefore require a sensitive and individualized approach within teaching and learning processes, and within societal backgrounds. The basic training of teachers, and increasingly also their in-service training, should provide adequate ways of identifying, and dealing with, different types of pupils and practices of intercultural music teaching. It should also develop methods for dealing with this additional diversity through a constant dialogue between educational science and teaching practice. The author considers the establishment of an ‘intercultural competence’ just as indispensable as the possible involvement of parents, as well as of external musicians as experts, in addition to the optimization of existing teaching materials.