Lisa Werner, Kai Koch

Musikgeragogische Perspektiven für die Musikvermittlung – Impulse für eine dialoggruppensensible Ausrichtung musikvermittelnder Formate an Konzerthäusern

Introduction

Musikgeragogische perspektiven für die musikvermittlung – impulse für eine dialoggruppensensible ausrichtung musikvermittelnder formate an konzerthäusern. Musikgeragogik & Musikvermittlung: Praxisimpulse für Konzerthäuser zur dialoggruppensensiblen Ansprache älterer Menschen. Reflektiert den demografischen Wandel.

Abstract

Der Artikel untersucht die Schnittstellen von Musikgeragogik und Musikvermittlung und legt den Schwerpunkt auf die dialoggruppenorientierte Perspektive älterer Menschen in Konzerthäusern. Ausgehend von theoretischen Grundlagen sowie musikgeragogischer Ausrichtungen und Einstellungen werden praktische Implikationen und Handlungsempfehlungen für den Beruf der Musikvermittlung entwickelt, um die Folgen des demografischen Wandels interdisziplinär zu reflektieren. The article examines the intersections of music geragogy and music mediation, focusing on the dialogue-group-sensitive perspective for older adults in concert halls. Based on theoretical foundations and music geragogical orientations and attitudes, practical implications and recommendations for action are developed for the profession of music mediation in order to reflect on the consequences of demographic change in an interdisciplinary manner. Zitiervorschlag: Koch, Kai/Werner, Lisa: Musikgeragogische Perspektiven für die Musikvermittlung – Impulse für eine dialoggruppensensible Ausrichtung musikvermittelnder Formate an Konzerthäusern. In: Klangakt, Bd. 3, Nr. 2, 2025, DOI: 10.5282/klangakt/105

Review

The paper "Musikgeragogische Perspektiven für die Musikvermittlung – Impulse für eine dialoggruppensensible Ausrichtung musikvermittelnder Formate an Konzerthäusern" by Koch and Werner presents a timely and highly relevant exploration into the nexus of music geragogy and music mediation. In an era marked by significant demographic shifts, this work thoughtfully addresses the critical need for cultural institutions, specifically concert halls, to adapt their offerings to the evolving needs and perspectives of older adults. The core objective, as outlined in the abstract, is to leverage theoretical underpinnings of music geragogy to develop practical implications and actionable recommendations, thereby fostering a more inclusive and "dialogue-group-sensitive" approach within the music mediation profession. A significant strength of this article lies in its interdisciplinary approach, bridging two distinct yet inherently related fields. By focusing on older adults, the authors highlight a demographic often underserved or overlooked in traditional music mediation strategies, making a valuable contribution to the discourse on inclusive cultural participation. The promise of practical implications and recommendations for action for music mediators is particularly commendable, suggesting a tangible impact on professional practice. This emphasis on applying theoretical foundations to real-world challenges underscores the paper's potential to drive meaningful change and innovation in how concert halls engage with diverse audiences. The explicit mention of reflecting on the consequences of demographic change in an interdisciplinary manner further strengthens the paper's relevance and foresight. While the abstract already outlines a compelling framework, a full article would ideally delve deeper into the specific methodologies employed to derive these practical implications – for instance, whether case studies, expert interviews, or pilot programs inform the recommendations. Future research building on this foundation could also explore the challenges of implementing such "dialogue-group-sensitive" formats in diverse institutional contexts, or empirically assess the impact of these strategies on audience engagement and well-being. Nevertheless, this paper sets an important agenda, offering crucial impulses for concert halls and music mediators to proactively address societal changes and ensure the continued vitality and relevance of classical music for all generations. It represents a commendable effort to enrich the academic discourse and professional practice in music mediation.

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