In the course of comprehensive reform efforts (Clausen & Sammer, 2023), some German (music) universities have recently introduced the option of choosing DAW-based music production as an artistic major in music education degree programmes such as teacher training or instrumental pedagogy.

While initial research has focused primarily on structural and curricular challenges in implementing music production (e.g. Baxter, 2019; Berg, Heß & Honnens, forthcoming; Buchborn, 2019; Kattenbeck, Kautny & Schaub, forthcoming), an in-depth understanding of the students’ perspectives is still lacking. However, their views and experiences are crucial when it comes to questions of participation, recognition of diverse forms of musical expression, and negotiations taking place between individual artistic practice and institutional structures. This presumably concerns both coherence with existing curricula and possible conflicts between practices of music production and the aesthetic and institutional logics of Western art music, which tend to prevail at universities (Buchborn, Schmauder, Tralle & Völker, 2021; Buchborn & Clausen, 2023; Honnens, 2025).

The planned presentation is based on a qualitative empirical study that uses semi-structured interviews to examine how students experience the integration of music production into their studies. The research design follows the Constructivist Grounded Theory Methodology (Charmaz, 2014) and Situational Analysis (Clarke, 2012). The expected results promise insights into the potential and areas of tension surrounding this artistic major with regard to democratic education and social cohesion: What forms of participation can be unlocked by music production as part of a degree programme? In what ways can it contribute to incorporating different musical backgrounds and aesthetic orientations, thereby diminishing institutionally effective social barriers? And what challenges arise in the tension between non-university production practices and university traditions – including the continuing dominance of Western art music? Our aim is to provide impetus for diversity-sensitive, participatory and democracy-promoting development of music education degree programmes.

Across German universities of music, the field of instrumental and vocal pedagogy is marked by persistent hierarchies in the music program between performance majors and music education majors. This paper investigated how music performance teachers at music universities perceive music education programs and their students, and how such perceptions shape professional recognition and participation within higher music education.

A group discussion with five teachers from different stylistic areas (classical, jazz/pop) was conducted and analysed following the documentary method (Bohnsack, 2021). All participants had experience teaching both performance major and music education major students.

The analysis shows that pedagogy is frequently devalued and perceived as a “plan B” for those considered less artistically capable. The idea of the “dream profession” of being an artist dominates, positioning pedagogical studies as a fallback option rather than an equally valuable career path. Expectations toward applicants are often framed in terms of perceived artistic deficits, while pedagogical strengths remain largely unacknowledged. At the same time, teachers and institutions are attributed a particular responsibility in how pathways into pedagogical careers are presented and supported, as their advising practices can significantly shape whether pedagogy is viewed as a valid and valued professional direction.

The findings indicate that implicit valuations and hierarchies influence not only students’ professional identities but also their opportunities for participation and recognition within institutional structures. Reflecting on how artistic and pedagogical excellence are valued in music higher education can open pathways toward more inclusive cultures of learning, teaching, and collaboration.