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’Polifonia’ ERASMUS Network for Music Martin Prchal (AEC)

’Polifonia’ ERASMUS Network for Music Martin Prchal (AEC). Music Education in Middle European Countries, Brussels 25 April 2008. The AEC. More than 250 member institutions worldwide Promotes European cooperation in higher music education Represents the interests of the sector

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’Polifonia’ ERASMUS Network for Music Martin Prchal (AEC)

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  1. ’Polifonia’ ERASMUS Network for MusicMartin Prchal (AEC) Music Education in Middle European Countries, Brussels 25 April 2008

  2. The AEC • More than 250 member institutions worldwide • Promotes European cooperation in higher music education • Represents the interests of the sector • Organises conferences, meetings, seminars, etc • Implements projects funded by the EU • Main office in Utrecht (NL)

  3. ‘Polifonia’ I (2004 – 2007) • ‘Polifonia’ first ERASMUS Network for Music • Project aims: • Further study of issues connected to the Bologna Declaration Process • Collect information on levels in music education before and after the 1st (Bachelor) and 2nd (Master) study cycles • Explore European trends and changes in the music profession • 5 Working Groups (Tuning, Pre-college, 3rd cycle, Profession, International relations coordinators) • ‘ERASMUS Success Story’

  4. ‘Pre-college’ Working Group: Aims • To collect information about: - levels of music education before the higher education level - the preparation and admission of music students to higher education • Information was collected to assist institutions in their debates with policy makers in (higher) education and in local, regional and national governments on the necessity of a well organised pre-college system in music.

  5. Research questions • “Does research exist on how young musicians learn that proves that it is really necessary to start early in music and why? Do differences in subjects/instruments exist?” • “Where and how have students in higher music education been prepared for admission?” • “What kind of admission procedures and standards exist and are these connected to or relevant / compatible with the use of learning outcomes in the 1st and 2nd cycle?”

  6. ‘Pre-college’ Working Group: Outcomes • Final Report • Literature study ‘Preparing young musicians for professional training’ • Examples of best practices of successful pre-college music education systems • Descriptions of national pre-college music education systems • Study ‘Music Schools in Europe’

  7. Final Report • A pre-college definition • A European survey on admission procedures • Information on national pre-college music education systems • A set of end competences for pre-college music education • A position statement about the importance of pre-college music education

  8. Final report - definitions Pre-college Music Education is a term used to describe the specific phase within music education focused on the preparation of students for the entrance examination of higher music education institutions in order to become a professional musician.

  9. Final report - definitions Pre-college Music Education: • is in content the professional base on which students further develop their musical and instrumental skills; • takes place either in music schools and schools on primary and secondary level, or other training institutions within an organized and structured (curricula-oriented) context; • or in “non-formal” or “informal” settings; • is funded in various ways, but most commonly supported by public money in Europe; • is additionally of great value to young people without the ambition to become professional musicians (EU Key Competences for Lifelong Learning!).

  10. Final report – admission • Where are your students coming from? • What do you ask at admission? Conclusions: • Some kind of (formal) pre-college education used • However, there seem to be many routings • Great variety (and commonalities!) in admission procedures • No relation between admission procedure and competence-based approach in 1st cycle

  11. Final report – mapping exercise • Descriptions of national pre-college music education systems in 26 European countries (www.bologna-and-music.org/countryoverviews) • Variety of pre-college music education systems: • General music schools • Specialised music schools and schemes • Specialised secondary education institutions: • Primarily general education + music • Primarily music + general education • Junior Departments/Foundations years • “Non-formal” (e.g. private tuition)/”Informal” (e.g. bands/self study) education

  12. Final report – competences • Bologna Declaration process: implementation Bachelor/Master/Doctorate structure in higher education in all European countries • Levels, programmes and courses described through learning outcomes and competences • Pre-college music education competences – what is the student expected to know in terms of knowledge and skills when entering HME: • Practical (skill-based) outcomes • Theoretical (knowledge-based) outcomes • Generic outcomes

  13. Literature Study • There is scientific evidence that musical training should be started at an early age, especially for those wanting to become professional musicians • Many important variables (talent, motivation, parents, teachers, amount of practice) play a role • Differences between classical and popular music • Relation between music making and intelligence and/or other general developmental skills?

  14. Study ‘Music Schools in Europe’ • Survey on the current situation of music schools in Europe in partnership with EMU to collect information about levels of music education before higher education. • Questionnaire sent to all EMU members Objectives: • Capture the basic structure of music school education in all investigated countries • Investigate if, and if so, how music schools prepare for higher music education Topics: • Legislation, structure, quality control, finances, curriculum, lesson time, aim of education, links to professional music training, student progress, starting age, entrance examinations, teachers

  15. Study ‘Music Schools in Europe’ General conclusions: • Vast range of different systems all over Europe • Challenging situation for music schools due to broad range of tasks and target groups • Role of music schools for preparing for HME differs in relation to country and musical genres • More exchange music schools <-> HME institutions needed: music schools as future employers • Necessity of an early start confirmed

  16. Study ‘Music Schools in Europe’ Recommendations for further research: • Comparison between specific contents of national curricula and entrance requirements of HME institutions • Investigation of continuing professional development opportunities for music school teachers and the involvement of HME institutions • Involvement of non EMU members to get complete overview of pre-college music education in Europe • Awareness of music schools for changes in HME and v.v. • Do HME institutions stay in contact with music schools and if yes, how?

  17. Study ‘Music Schools in Europe’ Recommendations for further research: • Is there much contact between different types of music schools? • How do music schools deal with the preparation of students for HME? • How do schools with entrance examinations and the possibility of dismissing students relate to the conflict with article 27 of the Universal declaration of Human rights stating free access in the cultural life for everyone? • The above mentioned issue shows great variety between countries. Why?

  18. Some overall conclusions • Common experiences in music education and research indicate an early start is necessary • Music education to be perceived as a continuum • Well-structured pre-college music education leads to higher standards in HME and music profession • Interaction between various levels needed • Pre-college music education also of benefit to ‘non-professionals’

  19. Position statement ‘Investing in the Quality of Tomorrow’s Music in Europe’ • Ask for more understanding, attention and support of local, regional and national education and culture policy makers for pre-college music education • Suggests support by EU to projects in this field connected to EU Year for Creativity & Innovation 2009

  20. What’s next? • ‘Polifonia’ II (2007-2010): • ‘Bologna’ Strand: qualifications frameworks, quality assurance, accreditation, etc • ‘Lisbon’ strand: • Governance: CPD activities for directors • Employability: panel from the profession • Creativity: Instrumental/vocal music teaching • Pre-college conference: Oslo 30-31 May 2008 • ‘Research’ strand: role of research in conservatoires and CPD seminars for conservatoire teachers • A new pre-college music education project?

  21. www.polifonia-tn.orgpolifonia@aecinfo.orgwww.bologna-and-music.orgwww.aecinfo.orgwww.polifonia-tn.orgpolifonia@aecinfo.orgwww.bologna-and-music.orgwww.aecinfo.org

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