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Between a niche and a global market: Germany has developed a multi-faceted and highly visible scene for world music.

Germany has a tightly-knight network of orchestras . Despite financial challenges and structural changes, Germany’s publicly financed orchestras have continuously expanded their programmes.

Immer mehr Kreative nutzen Künstliche Intelligenz für die Schaffung neuer musikalischer Werke. Gleichzeitig tobt ein Streit um die Nutzung urheberrechtlich geschützter Musik.

Germany has more than 150 museums devoted to musicians, musical instruments, regional music history or ethnomusicology. Among their aims are to collect, conserve and communicate.

Music clubs and other smaller venues for live music offer artists a stage apart from concert halls and large stadiums. They contribute significantly to cultural diversity but often face major economic

Archives and libraries have preserved a wide range of knowledge about music since time immemorial. Today, owing to digitisation, they are undergoing massive changes.

Music communication is a broad field of activity. It includes concerts and introductions, interactive formats and media communication forms such as radio features and apps.

In addition to school, many children and teenagers would like to learn an instrument or make music in an ensemble. There is a wide range of opportunities for this.

Music on the radio plays a central role in everyday life for most Germans. They can benefit from the versatile service of the public broadcasters as well as from private offerings.

Music education promotes creative design processes and unlocks spaces for musical and aesthetic experiences. However, for many years, Germany has lacked trained specialist teachers.

Millions of people attend music theatre performances in Germany every year. Half of the over 11,000 events are opera performances, followed by dance, musicals and operettas.

Germany’s jazz scene has an extremely wide range of styles and institutions. With its players and artistic results, the scene can present itself with confidence.

Holger Noltze discusses how the availability of musical art on the internet is changing the modes of aesthetic perception and argues for a curation of digital offerings.

IAMIC, an international network of music information centres, has existed since 1986. John Davis, former IAMIC Vice President, gives an overview of the development and goals of the organisation.