Higher Music Education Research Articles

Processes of academisation in higher music education: the case of Sweden

AbstractHigher music education (HME) in Europe is multifaceted due to the great variety of legal frameworks, conservatory histories and practices. However, following the Bologna declaration in 1999, traditional conservatories are gradually transforming into research-based institutions, which means combining advanced performer training with artistic research. After a background on academisation in the higher education of classical, professional musicians, this article reports on a Swedish case study of meanings assigned to academisation in HME. Findings show that it is defined and justified as a quality development project, which requires adaptation and also gives opportunities for further development. Issues of agency in HME are discussed.

Online learning in higher music education: Benefits, challenges and drawbacks of one-to-one videoconference instrumental lessons

Online music courses are becoming more common in higher education thanks to the always increasing technological advances. Due to the COVID-19 pandemic many universities around the world have been forced to turn to online learning. There are currently several options to deliver online musical tuition, but most of them offer limited results. Online learning provides many advantages related to time and money saving, as well as ecological-related matters, access from remote areas and interaction between students and teachers around the world. However, most often communication will take place using platforms tailored for speech, which will have a significant impact on the lesson quality. Although face-to-face lessons cannot be completely replaced to guarantee quality tuition, online lessons can be a helpful complement in certain situations. This article aims to identify the most common limitations of the platforms available at the moment, suggesting different approaches to lessen the weaknesses of online instrumental one-to-one teaching.

Towards a sustainable, student-centred approach for technology-supported music education: A Dutch perspective

Applying technology in music education is not always obvious for music teachers. Pre-service music teachers should be trained in technology-supported music pedagogy, but this requires more than isolated lessons, short projects and ad hoc support. This article reports on an exploration towards a structural implementation of digital pedagogy in higher music education (i.e. a bachelor of music in schools). This exploration was based on student-centred approaches that were iteratively developed over time and have been investigated through an action research strategy. The aim of this article is to inform about the design of the approaches, such as the structure of courses with its assignments, participants and external collaborations, and turning points and insights that steered the approach. Focus is put on the so-called technological pedagogical content knowledge (TPACK), technology acceptance and students’ motivation. In the end, this article presents recommendations for designing education that prepares students to enhance their practice with technology: (1) adapt to your students; (2) be concrete to your students; and (3) embrace collaboration. This article concludes with explaining the value of these recommendations beyond higher music teacher education by providing examples of how these recommendations can be translated to higher music performance education.

The conditions for learning musical interpretation in one-to-one piano tuition in higher music education

Research has indicated that one-to-one teaching in higher music education in Western classical music typically favours technical over interpretive aspects of musicianship, and imitation of the teacher’s rather than the student’s explorative interpretation. The aim of the present study is to investigate students’ and teachers’ understandings of how musical interpretation of Western classical music is learned in this context. Semi-structured qualitative interviews with six piano students and four teachers in Sweden were conducted and hermeneutically analysed using haiku poems and poetical condensations. The analysis found that the conditions for learning musical interpretation centred upon students achieving a high level of autonomy, as affected by three key aspects of teaching and learning: (1) the student’s and the teacher’s understandings of what musical interpretation is, (2) the student’s experience of freedom of interpretation as acknowledged by the teacher, and (3) (expectations of) the student’s explorative approach. As none of these aspects were reported as being explicitly addressed during lessons, there might be a need for both teachers and students to verbalise them more clearly to support piano students’ development.

2050 And beyond: A futurist perspective on musicians’ livelihoods

ABSTRACT While it could be argued that musicians have been long conditioned to the current Volatile, Uncertain, Complex and Ambiguous (VUCA) global environment, it appears the recent challenges are testing even the most resilient and adaptable, causing one to question future professional sustainability. The methodological practice of Strategic Foresight and the use of Hajkowicz’s Global Megatrends as a guiding framework is chosen to answer the question ‘what will musicians’ livelihoods look like in 2050?’. Resultant scenarios of musicians’ futures conclude that live performance will be highly valued and in demand, and largely enabled by private funding and repurposed resources. Music, and therefore musicians, will embrace diversity and innovation in physical and digital forms, broadcasting to a global public seeking a more human experience within a non-human environment. The interim decades may see an increasing inclusion of professional non-music careers within one’s portfolio of work, further expanding generic definitions of ‘musician’. However, are experts in the fields of Music Careers and Strategic Foresight eligible to cast opinion? Can Strategic Foresight practice be even remotely applicable in these current postnormal times? Regardless, higher music education is required to adapt, and continue to adapt, by including digital literacy and futures thinking training.

Реализация модели "перевёрнутого класса" в вокальном обучении как одно из направлений реформирования высшего вокального образования в Китае

The article describes the peculiarities of the implementation of the "flipped class" model in the process of training vocalists in musical universities of the People's Republic of China. The purpose of the article is to identify and characterize the possibilities and prospects of using the "flipped class" model in the context of modernizing the system of higher musical education in China. The novelty of the research results presented in the article lies in the determination of the general pedagogical and methodological features of the "flipped class" model in solving the most common problems that arise when solving the problems of training vocal art specialists and music teachers, identifying the features, possibilities and boundaries of using the inverted classroom model in the process study of vocal disciplines in music universities in China.

The development of learning strategies in individual instrumental practice: an exploratory study with Organ Students in Higher Music Education

The present research investigates the effectiveness of an instructional protocol of practice strategies for the initial learning stage of a musical piece by three organ students. Seventeen practicing strategies were developed for learning the Prelude in F major (BWV 556) by J. S. Bach. Provided over ten practice sessions, the strategies involved activities before and after contact with the score. Participants were interviewed about the perceived effectiveness of the protocol. The analyses of the verbatim transcribed interviews indicated emerging themes regarding perceived effectiveness of the strategies: acceleration of time for understanding the work, artistic image, technical and self-efficacy aspects for musical practice, and relationship with the final performance. The results suggest that strategies applied at the early stages of organ learning may foster robust strategies in beginning students.

Reflection in higher music education: what, why, wherefore?

ABSTRACT Reflective practice is seen as a method for professional growth and lasting learning outcomes, but what this means in the context of Higher Music Education (HME) has not received sufficient attention. This paper explores how reflection is ontologised and justified as part of performing musicians’ education. The data utilised derive from a comprehensive project investigating how processes of academisation affect HME across Europe. Findings from the Swedish sub-study, comprised of fourteen leaders and teachers at four academies of music, demonstrate how reflection is discursively constructed; as based on language and cognition; as embodied, and as ‘purely’ musical. These ideas concerning the qualities and characteristics of reflection interact and provide basis for three forms of justification: reflection for artistic knowledge development; reflection for individual success in the profession; and reflection over the role of musicianship in relation to society.

Higher music education, India and ethnography: a case study of KM music conservatory students

ABSTRACT This article explores the status of higher music education in India through in-depth interviews with KM Music Conservatory students. KM Music Conservatory (KM) is a private higher music education institution based in Chennai, India, accredited by Middlesex University, UK. Students enrolled on KM’s diploma programme study Western art music, Hindustani classical music and audio technology, and can also take part in a variety of extracurricular musical activities. This article argues that students situationally curate valuations of higher music education as well as their own musical and educational identities by selectively drawing on a range of narratives that synchronise local and international factors. Two further points are argued: first, whilst we must be wary of the perpetuation of neo-colonial and neo-liberal ideologies through the increasing internationalisation and privatisation of higher music education in India, we must also acknowledge the ways in which more localised motivations and factors shape music education’s significance; and second, that ethnographic research is a valuable tool for developing informed understandings of and approaches to higher music education for both local and international students, teachers and institutions.

The case of Norway: a microcosm of global issues in music teacher professional development

The aim of this article is to analyze discourse from historically pertinent policy and strategic documents of the Norwegian Schools of Music and Performing Arts, in order to explore the nature of the intractable discrepancy between curriculum, policy, and practice. Popular music has long been part of Norwegian compulsory-school and higher music education. Yet, the national system of extra-curricular schools of music and performing arts seems to lag somewhat behind in this development, despite an overall inclusive policy. The analysis seeks to find reasons for this situation by looking into what forms of musical styles and genres, teaching and learning approaches, and teacher professionalism that have been emphasized in curricular documents throughout the past 30 years. The situation is also explored from the macro-level, drawing on recent work which articulates the specific policy and political conditions of the school system in question. The concluding discussion focuses on how the challenges of the Norwegian schools of music and performing arts can be approached through music teacher education. Overall, this example is used as a microcosmic view of a teacher professional development issue which has global applicability and transferability; divergence between inclusionary policies and exclusionary practice is not unique to Norway.

From the history of higher musical education of Uzbekistan in the years of independence

This article is devoted to the study of the history of the period of independence of higher musical education in Uzbekistan. It summarizes the implementation of the first days of independence of fundamental reforms in all spheres of life in Uzbekistan, including education, in particular, in the system of music education, as well as the adoption of decrees and resolutions related to the field, the changes that have occurred in the field of music, and successes other.
 Along with this, the peoples of the world are currently carrying out serious activities to study, promote their culture and spirituality, carefully preserve and develop their rich traditions, establish creative cooperation, organize international festivals, scientific and practical conferences, conduct research, in this regard, a special place For the development of the sphere, the system of higher musical education is of great importance.
 The article highlights information about the establishment in the system of higher musical education of teaching music education, training at the State Conservatory of Uzbekistan, the State Institute of Arts and Culture, at some regional pedagogical institutes, state universities, and about their achievements.
 It was analyzed that the opening of the pop art faculty, the development of jazz art at the State Conservatory of Uzbekistan, the teaching of new academic disciplines based on the requirements of our time is important. In particular, in universities and higher educational institutions of the pedagogical direction, carrying out their activities in the regions of the republic, a number of cases are being carried out to prepare specialists in musical art, which is examined by the example of the music departments of Navoi State Pedagogical Institute, Bukhara State University and Karshi State University.
 Thus, it is analyzed that from the first years of independence, the attitude towards national identity, spiritual heritage, traditional values, the Uzbek national musical heritage, music education and training, the implementation of large-scale reforms in recent years to widely familiarize the world community with our rich spiritual heritage at the international level, special attention paid to the faculty, training talent s staff in higher music education.

The Skills and Knowledge Gap in Higher Music Education: An Exploratory Empirical Study

The Skills and Knowledge Gap in Higher Music Education: An Exploratory Empirical Study

On the integration of methodological principles of vocal schools in the practice of foreign vocal art teachers within the system of China’s higher music education

The goal of this article consists in determination of the relevant problems in preparation of students majoring academic solo singing in the Institute of Art of Jinggangshan University in groups of the educators representing vocal schools of Russia. The article examines the key aspects of the problems of Chinese vocal education in the context of European representation on the fundamentals of vocal skills. The study is dedicated to comparison of academic programs in the two leading universities of Russia and China, as well as detailed analysis of the curricula. The curriculum of Herzen State Pedagogical University of Russia focuses on the development of general cultural and professional vocal cycle, while Jinggangshan University focuses on upbringing an ideologically faithful citizen of the People’s Republic of China. The conclusion is made that despite the major impact of PRC’s leader Mao Zedong upon the music and vocal education, as well as vocal-methodological conference held in Beijing in 1957, the development of the vocal-pedagogical process has stagnated. The educators and students of music education in PRC should pursue the following objectives: openness to the new as a condition for cultural development; balance between the national spiritual values and professional competences; fulfillment of the role of cultural dialogue as a way of existence of art in the modern Communist China; preservation and continuous improvement of the system of music and arts education.

Amateur orchestras as a learning environment for music academy students

Orchestral playing is a common form of ensemble playing within higher music education. However, students sometimes participate in amateur orchestras outside of their formal education. This study focuses on what students learned by participating and what the educational institutions gained. The study is a case study of a music education institution and four amateur orchestras and consisted of eight interviews with conductors and administrators. The study shows that learning in the amateur orchestra is similar to learning in formal education contexts, such as developing knowledge of repertoire, in which both institutions contribute to the student’s overall knowledge. Nevertheless, some aspects are better learnt outside of formal education such as educational roles, the creation of a professional identity as a musician and knowledge of different social contexts.

Direction of higher music education -a method of working about studies with students in the class of Piano

Direction of higher music education -a method of working about studies with students in the class of Piano

КОУЧИНГОВЫЙ ПОДХОД В РАБОТЕ СО СТУДЕНТАМИ КОНЦЕРТМЕЙСТЕРСКОГО КЛАССА

The article is devoted to a relevant problem of the coaching approach in higher musical education, which is examined by the example of working with students-concertmasters. The author points out that the concertmaster’s professional activity fits well with the basic principles of the coaching approach. The functions of a concertmaster-coach are identified; the basic methods and forms of his work are described. Two aspects of applying the coaching approach are outlined: in the work of a concertmaster class teacher and in further professional activity of a student- concertmaster.

Miejsce kreatywności w Krakowskiej Koncepcji Wychowania Muzycznego

<p>W artykule zostanie przedstawiony dorobek krakowskich naukowców zaangażowanych w poszukiwanie skutecznych metod nauczania muzyki w szkolnictwie ogólnokształcącym. Ośrodek krakowski powstał z inicjatywy Zofii Burowskiej w połowie lat 70. XX wieku. Członkami<br />zespołu zostali pracownicy akademiccy ówczesnej Wyższej Szkoły Muzycznej i Wyższej Szkoły Pedagogicznej. Przyjęto założenia programowo-metodyczne, których podstawą jest metoda solmizacji relacyjnej, wywodząca się z angielskiej metody Tonic-solfa Johna Curwena oraz koncepcji Zoltána Kodálya. Istotną rolę w Krakowskiej Koncepcji Wychowania Muzycznego pełni kreatywność, która wraz z pozostałymi formami aktywności muzycznej wspomaga<br />rozwój ogólny i muzyczny dziecka. Przedmiotem, rozważań autorek artykułu są również kwestie weryfikacji skuteczności koncepcji, która nastąpiła w wyniku przeprowadzenia badań empirycznych w szkołach podstawowych. Zebrany materiał badawczy dostarczył wielu spostrzeżeń<br />istotnych dla zmodyfikowania procesu dydaktyczno-wychowawczego. W podsumowaniu zostaną ujęte również problemy, jakie występują w realizacji koncepcji we współczesnej szkole.</p>

From the history of music education in Uzbekistan

This article is devoted to the study of the history of music education in Uzbekistan. Generalized questions about the changes in the field of music that occurred after the establishment of Soviet power in Uzbekistan, the subordination of music education to the ideas of communist ideology, the organization of local music, choral schools, schools of folk music, which focused on the promotion of European music.
 Analyzed information about the first institutions of music education organized in the region at the beginning of the 20th century, the representatives who carried out their activities there, as well as the transformation processes that took place in this area, the formation of the music education system, ranging from elementary schools to higher musical education.
 Considered such issues as the creation of textbooks, textbooks on music education, the publication of collections of children's songs, other books for schools and kindergartens, since the 30s of the twentieth century.
 The opening of musical institutions in a number of regions of the country in the 60s of the twentieth century was important in the positive solution of the personnel question in the musical sphere, the organization of special classes on Uzbek folk musical instruments in all these institutions were positive changes in the musical sphere, these data are highlighted based on archival sources.
 At the same time, the article describes the changes that occurred during the years of Soviet power in the field of music education in Uzbekistan, in particular, the organization of primary music schools, music schools, changes in this area, problems, information about the material and technical base of music education institutions.
 The essence of such issues as widespread promotion of music schools mainly in large cities of Uzbekistan, training in these educational institutions in most cases only urban children, problems existing in this field, the proportion of representatives of local nationalities, teaching music theory in secondary schools, special music schools, colleges and conservatories was one of the most serious problems.

Music Performance and Education A Case Presentation of Mindfulness Approach in Higher Education

This paper explores the application of mindfulness in music higher education. After a brief introduction to mindfulness, the first author, a practicing Chan (Chinese Zen) Buddhist and a performing pianist, shares her experience with mindfulness both as a performer and as a professor. The second author, also a Chan practitioner, a professor of psychology and a psychotherapist, offers commentary.

Notions of Mandate, Knowledge and Research in Norwegian Classical Music Performance Studies

Policy changes and higher education reforms challenge performing musician programmes across Europe. The academisation of arts education means that classical performance programmes are now marked by strong expectations of research paths, publications, and the standardisation of courses, grades and positions. Drawing on interviews with ten teachers and leaders within the field of higher music education, this article discusses notions of mandate, knowledge and research in classical performance music education in Norway. Against the backdrop of academisation, the aim of this article is to illuminate central tensions and negotiations concerning mandate, knowledge and research within higher music education. The problem concerns issues of who should be judged as qualified and who should have the authority to speak on behalf of the performing music expertise community. The study is part of the larger study Discourses of Academisation and the Music Profession in Higher Music Education (DAPHME), conducted by a team of senior researchers in Sweden, Norway and Germany. Through an analytic-theoretical reading of the empirical data, informed by Foucault’s power/knowledge concept, two discourses on mandate are identified (the awakening discourse and the Bildung discourse) as well as three discourses on knowledge (the handicraft discourse, the entrepreneurship discourse and the discourse of critical reflection) and two discourses on research (the collaborative discourse and the ‘perforesearch’ discourse). The latter of the two research discourses pinpoints a subject position as a musician/researcher with knowledge, craft and skills in both music performing and research.