Compass is a practical guide to planning, positioning or evaluating any kind of music mediation project.

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WHAT

How does a project relate to its musical core?
What does the project mediate?

Musical core

Musical core

Please choose one or more points

A specific kind of music can be mediated according to a range of parameters that relate to the music more or less directly. Some projects are concerned with musical structures, some mediate the context of certain music, and some describe a specific musical practice or the functioning of a musical company.

WHY

For which reasons is music mediated?
What are the project's desired or achieved effects?

Motivations

Motivations

Please choose the keywords that fit best

Each project has just as many motivations as it has participants. The main motivation may shift depending on the perspective from which a project is described. You can move four parameters (perception, values, content, structures) in four different ways (changing, enhancing, questioning, popularising).

Motivations

Desired Effects

Desired Effects

Please choose the keywords that fit best

Each project has just as many desired effects as it has participants. The desired effects may shift depending on the perspective from which a project is described. You can move four parameters (perception, values, content, structures) in four different ways (changing, enhancing, questioning, popularising). The desired effect is not necessarily the same as the achieved effect.

desired effects

Achieved Effects

Achieved Effects

Please choose the keywords that fit best

Each project has just as many achieved effects as it has participants. The achieved effects may shift depending on the perspective from which a project is described. You can move four parameters (perception, values, content, structures) in four different ways (changing, enhancing, questioning, popularising). An achieved effect can be evaluated internally or externally.

achieved effects

FOR WHOM

What is the project's target group?
Who else is reached by the project?

Age

Age

Please enter the age of your target group(s)

Mediation projects often address several target groups simultaneously or consecutively. As one of the proposed five main criteria, this section refers to the age of your target group(s).

Voluntariness

Voluntariness

Please place a point on the appropriate circle

Mediation projects often address several target groups simultaneously or consecutively. As one of the proposed five main criteria, this section refers to the degree to which your target group participates voluntarily in the project.

Voluntariness
Scope

Scope

Please enter the number of people addressed

Mediation projects often address several target groups simultaneously or consecutively. As one of the proposed five main criteria, this section refers to the scope of target group(s) addressed.

Number of participants

Number of participants

Please enter the number of people addressed

Mediation projects often address several target groups simultaneously or consecutively. As one of the proposed five main criteria, this section refers to the number of people addressed.

Distance

Distance

Please place a point on the appropriate circle

Mediation projects often address several target groups simultaneously or consecutively. As one of the proposed five main criteria, this section refers to the distance between the target group(s) and the music that is mediated to them.

distance
further criteria

further criteria

Please place a point on the appropriate circles and specify your statements

Mediation projects often address several target groups simultaneously or consecutively. This section refers to further criteria relating to your target group(s).

HOW

How is the music approached?
Which format is applied?
In how far is the target group involved?

Approach

Approach

Please place a point for each keyword. The higher the number is, the more important the keyword is for your project.

Music can be dealt with in many different ways: composing, playing, listening, discussing, transforming etc.

inventing, composing, improvising: (production)
writing, talking: (reflection)
converting it to a different medium: (transformation)
(active) listening: (reception)
arranging, reproducing: (interpretation)
Format

Format

Please place a point for each keyword. The higher the number is, the more important the keyword is for your project.

You can engage with music in many different ways, and through many different formats: performance, installations, media, information, workshops, etc.

performance: (e.g. concerts, performance, happenings)
media: (e.g. multimedia, new media)
information: (e.g. introduction, text, background)
installation: (e.g. installations, exhibition)
workshop: (e.g. workshops, lessons)
Involvement of target group(s)

Involvement of target group(s)

Please place a point for each keyword. The higher the number is, the more important the keyword is for your project.

Music can be dealt with in a number of ways and can involve its target groups via reception, interaction, participation or collaboration.

interaction: (partially active)
reception: (listening)
participation: (actively taking part)
reclamation: (demanding)
collaboration: (everyone is equally involved)
WHO

Who is mediating?

Who is mediating?

Who is mediating?

Please place a point on the appropriate circles and answer the questions.

Whether people see themselves as music mediators depends on their own approach to their profession as well as on other people's attribution. A music mediator can be an individual, a group, or even an entire institution. Music mediators can come from various musical professions (music teachers, performers, orchestra players, composers, etc.). A music mediator can also be someone who writes about music, organises events, teaches music, produces music or is a hobby musician.

Details
Please state your personal data.
Please state if its an existing or fictitious project.
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