Rethinking Concert Spaces: Musethica in Special Education Schools
On February 24th, 2026 the fourth New Audience Symposium took place. The event brought together 24 participants for a lively digital exchange, among them educators from Poland, Sweden and Germany, institutional partners, Musethica representatives, and researchers from across Europe. Held via Zoom and moderated by Marcin Poprawski (Humanistic University of Applied Sciences – HUMAK, Helsinki), the meeting created space for an open and practice-oriented conversation on Musethica concerts in special education schools.
Teachers reported highly positive experiences with Musethica concerts in schools for learners with diverse needs, including students with autism spectrum conditions and other complex challenges. Participants especially highlighted the students’ curiosity, attentiveness, and the quality of questions raised after the performances.
The Dimension of Space
The core theme of the symposium was the dimension of space and its impact on the concert experience. Participants explored what defines a concert setting and how spatial arrangements influence perception, focus, and interaction.
Drawing on the historical practice of chamber music, the discussion emphasized the importance of close proximity between musicians and audience. In several schools, musicians perform in the center of the room rather than on a stage, with students seated around them. The absence of physical barriers was described as particularly powerful, fostering concentration and a sense of shared presence.
Practical considerations such as the seating format were also addressed. Participants noted that chairs can help maintain structure and focus, especially in multipurpose spaces such as gym halls. A further key aspect concerns familiarity. Holding concerts within the students’ everyday school environment, rather than in external venues, was seen as highly beneficial. Being in a known and trusted space allows students, particularly neurodivergent learners, to feel secure and relaxed, thereby enhancing openness to the musical experience.
Lastly, participants briefly reflected on preparation practices: How can musicians and/or audiences better prepare for the concert in order to even enhance the impact of the encounter? While some teachers noted that some orientation about musicians and repertoire can be helpful, other stated that extensive preparation may not be needed as most of their students approach the concerts with natural openness and curiosity.
Open Questions and Closing Reflections
Two central questions concluded the symposium and will guide future discussions: What are the long-term effects of Musethica concerts in special education contexts, and how can these be meaningfully assessed? What can musicians learn from performing for audiences in diverse learning environments?
The exchange reaffirmed the strong impact and potential of Musethica’s approach. In particular, the dimension of space, its structure, atmosphere, and relational dynamics, proved to be a key factor in shaping inclusive and meaningful concert experiences.
