What structural changes will the reform bring to teacher training programmes in music and instrumental music?
Andreas Bernhofer: Structurally, the most significant change is the reduction of the bachelor's programme from eight to six semesters for all teaching subjects. Although we did not advocate this streamlining, we used it as an opportunity to incorporate many new elements: new profile subjects were developed so that students can set their own priorities. Another important structural change concerns the entrance examination, which has been comprehensively revised. It is now more open, flexible and genre-independent, which will appeal to more young people who are enthusiastic about music. In addition, the piano and singing programmes will focus more on school-related practice – in other words, exactly what secondary school teachers (middle school, AHS and BHS, note) will actually need later on.
What new content will be taught in the courses starting in autumn 2026?
Music Production, for example, is a brand new subject designed to reflect the spirit of the times and offer young people interested in electronic music a suitable education. The subject area ‘Digital Media for Music Education’ covers topics such as AI, music apps, computer-based composition and the computer as a musical instrument. Wind orchestra conducting has also been added, while the existing choral conducting course will of course continue. The Salzburg University of Education has also developed the specialised subject ‘Vocal and Band Performance’, which focuses on big band, vocal ensemble and band practice – very school-oriented and practice-oriented. And together with the Orff Institute, we have created the new specialised subject ‘Music–Movement–Voice’. In the six-semester Bachelor's programme, many fields can only be touched upon, but in the Master's programme, it is possible to focus clearly on one's own interests.
Why were these changes necessary?
The teacher training programme needs to become more attractive. It needs to be modernised – the last modernisation took place in 2016 – and due to legal changes, students are entering the profession earlier. The programme therefore focuses more strongly on school practice so that students are well prepared to start teaching after six semesters. The Master's programme is often completed alongside work. Although it is not explicitly designed this way, it is structured in such a way that it can be combined with part-time work in a school.
So, the integration of training and professional practice begins earlier?
Exactly. Previously, it was often difficult for students to balance their studies with early teaching experience. Now, the structure of the programme is better adapted to this early career start, which significantly reduces the burden on students. Most Master's students are already working in schools, as there is a severe shortage of teachers. The Master's programme has therefore been made more flexible: there are numerous options and a wide range of topics to choose from in order to adapt the programme to different types of schools and the resulting challenges – from the best possible teaching for children with little musical experience to young musical talents in special forms of music. Students can set their own priorities depending on what they need professionally and in which areas they would like to develop further.
Shortening the programme naturally compresses some of the content considerably, which on the one hand provides the opportunity to offer more school-oriented training, but on the other hand somewhat reduces the former ‘general studies’ concept. The biggest challenge remains that students start teaching very early on, and we want to support this as much as possible with the revised curriculum.
How does the programme respond to the plurality and changes in the music market?
The music market and musical practice as a whole have become much broader today. There is an enormously diverse spectrum of musical forms of expression and offerings. In recent years, inclusive music practice and community music in particular have developed very strongly in the field of music education. Intercultural perspectives have also become more important: the musical resources that people from different cultural backgrounds bring with them are now used much more consciously and integrated into teaching and projects. This is an area that has been significantly expanded, including in university studies. Inclusive music education and working with heterogeneous groups are now an integral part of training.
Another major area is digitalisation. Artificial intelligence, new music software and digital tools play a central role in music teaching today and must therefore also be reflected in university courses. We are trying to strike a balance here: on the one hand, we want to prepare students for new digital developments, but on the other hand, making music together – singing, playing, creating music in a group – remains an indispensable core element. The aim is to combine both worlds and train students so that they can competently serve a wide variety of fields of musical practice.
What career paths are available to graduates?
The programme is fundamentally very diverse, not only for schools but also for young academics in music education. All these elements remain anchored in the bachelor's degree so that we can continue to cover the breadth of our professional field. Many graduates go on to work in schools, but some develop their careers in music education – for example, in orchestras, theatres or opera houses. In addition, the programme qualifies students for academic work; a doctorate can be easily added on.
What are the advantages of studying music education in Salzburg, at the Mozarteum University?
At our Salzburg campus, students benefit from a world-class artistic environment and a student city steeped in music. We offer research-based and science-oriented courses and bring together all artistic disciplines at one university. Music education, for example, is closely linked to the arts and design as well as technology and design, which facilitates interdisciplinary work. We also cooperate closely with the Salzburg University of Education, resulting in a comprehensive range of courses. Music education training in Austria is divided into four clusters. In ‘our’ cluster, Mitte, Salzburg and Linz have jointly developed the curriculum, and all teaching subjects can be combined at the Salzburg campus. In principle, students can also attend courses in Linz, which is done on a selective basis.
What specific opportunities do students at the Mozarteum University have to try their hand at artistic or practical activities during their studies – keyword ‘Open Stage’?
We offer a wide range of choirs, bands and ensembles, folk music, popular music and music education within the Moz-Art Zone, as well as the opportunity to participate in public concert formats. The basic idea is to move away from traditional final examinations towards artistic degrees, i.e. the final examination would then be a public performance or concert. This is already increasingly common in the field of popular music, with students organising concerts at Jazzit or Rockhouse. We are also developing new master's programmes such as ‘Children's and Youth Choir Conducting’, which will create additional career opportunities. What's more, music teachers have a de facto job guarantee for the next ten years. The demand is enormous.
(First published in Uni-Nachrichten / Salzburger Nachrichten on 13 December 2025)
