The ability to accompany songs is a crucial component of general music teachers' professional competence, as outlined in teacher education regulations (e.g., KMK, 2019, p. 42). The present study deals with classroom-specific instrumental accompaniment, understood as a general term for activities where teachers accompany the melody of a vocal song (or instrumental piece) with a self-played and created guitar arrangement (Uhl et al., 2021). Successful professional performance in this area of work demands a high level of professional skills (Puffer & Hofmann, 2022).

The present study aims to identify the specific professional requirements for guitar-based song accompaniment in schools and situate them within a framework of teachers’ professional competence (Blömeke et al., 2015; Puffer, 2021). To achieve this, a mixed-methods approach was applied, combining a systematic literature review with expert interviews with experienced school and university music teachers. Interview data were analyzed using qualitative content analysis (Kuckartz & Rädiker, 2023). In a third step, the results from the literature review and interview analyses were combined to create an empirically supported, domain-specific model of professional competence.

Data analysis revealed that high-quality song accompaniment in general music classrooms requires much more than just musical abilities and skills. Further competencies, such as domain-specific professional knowledge, are essential and closely intertwined with musical proficiency. Additionally, the capacity to adapt both musical performance and instructional strategies to the current situation and the students’ needs seems essential for optimally supporting their musical learning. This adaptability can be seen as a mediating factor between individual abilities and skills.

The findings of this study can inform the further development of music teacher education programs and serve as a foundation for future research. The presentation provides deeper insights into the research process as well as additional results.

As part of a composition commission from Theater St.Gallen, I am creating a 20-minute piece for the St.Gallen Symphony Orchestra, scheduled to premiere in May 2025. The theme of the composition, "The Sound of St.Gallen," aims to integrate the acoustic impressions and perceptions of St.Gallen’s population into the work. This approach fosters a dialogue between artists and the public, enhancing participation, inclusion, and involvement by actively embedding residents into the creative process.

Unlocking Voices: In classical concerts, the audience often represents a hidden and largely overlooked voice. In our project, however, the public’s voice is invited, heard, and woven into the resulting music. Through a series of workshops, residents are encouraged to share and refine their interpretations of the city’s characteristic sounds. In these workshops, running from September 2024 to February 2025, we sing, improvise, listen to music, discuss, arrange, and create together. Musicians from the orchestra also participate in the workshops, enabling an exchange of ideas between professional musicians and the community, along with collaborative experimentation in sound and music. As the composer, I will ultimately weave these ideas into the composition.

At the 32nd EAS Conference in Portugal, I like to explore the community’s role in the composition process and the challenges and successes of this participatory approach in my presentation. I will focus on how this concept, with its participatory methods and social engagement, serves as an innovative framework to fostering a forward-looking, enriching music education. The goal is to demonstrate, how active co-creation and community dialogue can contribute to developing a more inclusive and diverse music practice. Finally, I’m looking forward to engaging in a discussion on the influence and significance of participation and inclusion in contemporary music with the audience at the EAS Conference.