Is Germany a bit too elitist about classical music?

Hellgurd and Emmy wrote about how music is not always appreciated in Kenyan and Iraqi society. They made me think of an ironic quip from my former music teacher: “Yeah, I know, I’m only teaching a subsidiary subject of the lowest level.” But regardless of what he said, he’s a very dedicated teacher, who prepares school concerts and makes music himself.

Though I liked my teacher, I was frustrated by his music lessons. Since I didn’t play an instrument myself, my first time reading notes outside of a church service was during my music lessons with this teacher. I got the difference between high and low sounds, but defining triads?! It was all Greek to me. I guess I probably didn’t open up to his lessons and thus failed my first tests in music. I just didn’t get it. Why couldn’t we just sing a song together? Wasn’t that what music lessons were about?!

Looking back, I guess it was difficult for me to accept not understanding anything in a subject. I was just unable to cope with that situation. And our teacher’s comment that music was only a subsidiary subject of the lowest level pretty much reflected my and my parents’ own attitudes. I wouldn’t have taken it in stride if I had failed an English or a math test – and my parents wouldn’t have either.

I’m of the opinion that music lessons should be more practical at schools here. It would be fantastic if all kids had the opportunity to learn an instrument during their time at school. Private music lessons are very expensive – and particularly families with little money or little interest in music will probably prefer to spend their money differently. But if I go to school for 13 years, it should be possible to teach me at least one instrument, shouldn’t it?

Well, I haven't forgotten everything...

I remember that we had the possibility to play the flute in the afternoon as part of extracurricular activities in primary school. And if I remember correctly, my mother was of the opinion that I already had enough hobbies. Later, when I was old enough to have been able to decide myself, we didn’t have that possibility at school anymore. Yes, of course, I could have looked for ways outside of school. But why should I have to look beyond school if I want to play the piano – but not if I want to learn rhyme schemes or chemical formulas?

By not teaching instruments in regular classes at most schools, there is a clear value judgment. A certain basis of education is offered to everybody at school, but the message is that music isn’t for all. That classical music is somewhat elitist isn’t only apparent when taking a look at those who send their children to private music lessons, but also when going to classical concerts: Everybody is dressed up stiffly, most are older than 60 years, and the audience generally has little to do with the average citizen. Yet, German state orchestras are also paid by taxes. I think more efforts should be taken to take away the awe – and sometimes rejection – involved in classical concerts, and to introduce pupils to music as a cultural good and a medium of expressing oneself.

Conductor Paul MacAlindin and a soloist

As I promised in my last entry, I did an interview over the Internet with NYOI’s musical director Paul MacAlindin, from Scotland and now living in Cologne, Germany.

– Mr. MacAlindin, how has the NYOI’s music improved academically since the orchestra’s founding?
Paul MacAlindin: Arab, Kurdish and classical music have systems that need to be internalized before you can really connect your soul with sound. The war and a generally negative perception of the arts has kept people from learning those systems. However, no one can prevent that part of the human brain which exists only to make music from finding a way to express itself. So young Iraqis have found their way intuitively to making music through difficult times. Music has become a comfort, a barrier against the chaos and violence. The Internet has replaced teachers.

NYOI brings teachers into Iraq to coach young players. We do this in a very intense course, which shows players what’s possible when they are given a chance. Those teachers who left Iraq during the invasion may never come back, but we have given those that are courageous enough to stay hope that they can get real support, now and in future.

Sustained conflict conditions people to be helpless, afraid and focused on survival, even when war is over. NYOI players and friends have set up their own projects to start challenging that mentality, and learn empowerment. I believe that some of the current good practice in Iraq is directly and indirectly inspired by NYOI courses. NYOI players are already teaching what they’ve learnt from our tutors.

– What needs to be done or to be changed in the Iraqi musical schools?

Simply, a respectful dialogue with musicians outside Iraq; perhaps allowing a young teacher to come and work there for 6 months, or a visiting ensemble to be allowed to do a short residency.  Fundamentally, music brings people together. That can only happen when people feel safe enough to do so, and when they do, they create demand for more performances and better teaching.

Only then can musicians discuss what they need, and who to work with. At the heart of every musician’s success is mobility, and whether going to the next village or the next continent, is absolutely necessary.

Paul MacAlindin and I in Arbil

– What sounds strange when you try to make room for classical music inside people’s minds in the East? And how difficult is that at this moment?

If we’re discussing orchestral music, that’s easy because it’s already everywhere: film sound tracks, advertisements, hotel foyers, pop music all over the world. Kurdish and Arab music continually mixes clarinets, violins, cellos, flutes with traditional instruments, creating mixed orchestras. Do people really want to listen to a whole concert of orchestral music in silence? A lot of people in the West can’t even do that. But again, live music of all kinds, traditional or orchestral, brings people together, and doing so again and again creates the fabric of society, creating emotions and ideas instead of conflict.

– What you would like to say in closing?

A friend of mine, Sir Peter Maxwell Davies, who wrote NYOI a piece last year, said that a place doesn’t really exist if no one is performing music about it. The choice is to continue living in fear, half alive, or to allow your home to flourish with music.

Click here to head to the NYOI YouTube Channel.