Vision impossible? – A university of music and a facility for short-term juvenile detention following the same path

This practice paper presents and examines the transformative potential of a cooperative music education practice and research project that addresses a target group that remains unheard in discourses of music education: Young people who get in conflict with the law and remain “invisible” (see Hickey 2015). Building on a unique cooperation between the University of Music Luebeck and the Facility for Short-term Juvenile Detention Moltsfelde, the project AUFTAKT deals with discovering the extent to which the specific measure of short-term juvenile detention can represent a space for cultural education and be integrated into the cultural infrastructure of the state of Schleswig-Holstein. The project’s aim is to provide access to cultural education for juvenile and adolescent offenders and cement the importance of music as an aspect of the resocialization process.

Whereas the project follows three pillars in its design (1. research, 2. science communication, 3. transfer), we want to show in this paper how transfer becomes visible throughout the development of the project. Therefore, key moments, experiences and irritations are identified that have significantly shaped the process and in which traces of transformation can be experienced. In order to shed light on these moments, we draw on short stories in the form of vignettes as a “condensed narrative of lived experience” (Schratz, Schwarz & Westfall-Greiter 2012, p. 11). The vignettes are then illuminated using theories and methods of social systems (Luhmann 2023; Niesen & Willke 2007).

The project development shows how transformative processes can be initiated at different levels through interdisciplinary or inter-institutional cooperation and opens up new perspectives on the role of music education as a bridge between social institutions and society in order to sustainably promote participation and include underrepresented people.

In this presentation we share our approach, drawing on Patricia Shehan Campbell's phases of listening pedagogy and Christopher Small's concept of 'musicking'. Campbell's pivotal question in World Music Pedagogy (2019, p. 20) -“Can music professionals work together to provide students with genuine experiences in music that is alive and present in our communities?”- has also shaped our practices. Our commitment to “Musicking” (Small, 1998) underscores the importance of active engagement in music through listening, singing, playing, and moving. As "Viva La Musica", a group of six music educators, our mission is to create inclusive spaces where community members can access and enjoy music, fostering cultural appreciation, empathy, and meaningful connections through participatory experiences.

Our workshop, held at the city’s musical instrument museum, welcomed all adults, with no prior musical knowledge or specialization required, bringing together individuals who share an interest in music from diverse traditions. This workshop aimed to deepen participants' engagement with music by exploring elements such as rhythm, melody, harmony, form, and style through attentive and engaged listening activities using both Western art music and Turkish art music traditions. Through these activities, participants enhanced their appreciation for diverse musical traditions while also developing a deeper understanding of their own musical heritage.

Participants' written feedback emphasized an increased awareness of their musical abilities, a newfound joy in making music, and greater confidence. The experience with Western art music contributed significantly to this new awareness, which, in turn, positively influenced their understanding and appreciation of Turkish art music. By fostering a sense of community and connection through attentive and engaged listening experiences, the results of our workshop showed that we had achieved our goal of inspiring and unlocking musical voices while promoting equal access to music for all.

The Erasmus+ program serves as a platform for fostering international collaboration and innovation in music education. This presentation examines the transformative impact of three Erasmus projects—SPACE, AMiE, and FASE. These initiatives highlight how international partnerships enhance music pedagogy, promote cultural exchange, and empower diverse voices.

The SPACE project equipped educators with STEAM tools, integrating music to inspire innovation. AMiE explored the role of music in emotional well-being through arts and mindfulness. The ongoing FASE project addresses environmental awareness and gender equality in STEAM education, culminating in a Science Opera that blends music, science, and storytelling to engage students and educators in sustainability.

The projects faced challenges such as coordinating between higher education and secondary institutions, aligning curricula, and addressing cultural and linguistic diversity. Embedding music within STEAM frameworks sometimes created tensions between artistic and scientific priorities, while ensuring inclusivity demanded significant effort to provide equitable access. Despite these hurdles, SPACE integrated music into STEAM tools, AMiE showcased its emotional impact, and FASE is employing music to tackle global issues. These successes underscore music’s potential to foster creativity, inclusivity, and collaboration.

Participants in earlier projects were primarily higher education students in arts and teacher training, while FASE engages high school students, ensuring gender balance to encourage women in STEAM. Collaboration involved a consortium of three higher education institutions, a secondary-level music school, and a private company. FASE evolved to include two music/art schools, one secondary-level science school, and a company specializing in opera and theater, demonstrating a commitment to interdisciplinary approaches.

These projects emphasize music’s role in shaping sustainable practices, empowering diverse voices, and fostering community engagement, inspiring innovative and inclusive educational frameworks.