aec handbook - guide to third cycle studies in higher music education - en

8/3/2019 AEC Handbook - Guide to Third Cycle Studies in Higher Music Education - En

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AEC PUBLICATIONs 2007

handbookGuide to third cycle studies in

hiGher music education

polifonia third cycle workinG Group


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The Polionia project has been unded with support rom the European Commission. This publication refects the views o its

authors and the Commission cannot be held responsible or any use which might be made o the inormation contained therein.

A free electronic version of this handbook is available through www.polifonia-tn.org.


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handbookGuide to third cycle studies in

hiGher music education

polifonia third cycle workinG

Group


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Contents

f

1. i

2. t cy: i cx

3. t r f, s t cy

4. r t cy m

4.1 TheBroadFieldofResearch

4.2TheEssentialNatureofResearch

4.3WhatisArtisticResearch?

4.4ArtisticResearchandtheInstitutionalCoreMission

5. t i d t cy s 5.1 Potentialbenefits

5.2 SomeChallenges

6. h t cy pg

6.1 IsaCurriculumNecessaryforaResearchDegree?

6.2Tools:PolifoniaDublinDescriptors,LearningOutcomesandotherMaterials

6.3SpecifictopicsconcerningThirdCycleStudies

7. r ev

7.1 HardandSoftElements

7.2 Finalremarks

8. ca

ax a

InformationSources

ContinuousEnhancementandOngoingProgrammeReview

ax b

ThirdCycleProgrammeDevelopmentIssues

ax c

ExamplesofOfficialQualityAssuranceDocumentationforThirdCycle

StudiesValidations:Rationale,Resources,Review,StudentHandbook

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7

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5

Foreword

TheERASMUSThematic Networkfor MusicPolifonia1

, thelargestEuropean project on profes-sionalmusictrainingtodate,involved67organisationsinprofessionalmusictrainingandthemusic

professionfrom32Europeancountriesand30expertsin5connectedworkinggroupsinanintensive

3-yearworkprogrammefromSeptember2004October2007.Theproject,whichwascoordinated

jointlybytheMalmAcademyofMusicLundUniversityandtheAssociationEuropennedesCon-

servatoires,AcadmiesdeMusiqueetMusikhochschulen(AEC),receivedsupportfromtheEuropean

UnionwithintheframeworkoftheERASMUSProgramme.Theaimsoftheprojectwere:

1. TostudyissuesconnectedtotheBolognaDeclarationProcess,suchasthedevelopmentoflearn-

ingoutcomesfor1st(Bachelor),2nd(Master)and3rdcyclestudiesthroughtheTuningmethod-

ology2,theuseofcreditpointsystems,curriculumdevelopment,mobilityofstudentsandteach-

ers,andqualityassuranceinthefieldofmusicinhighereducation.2. Tocollectinformationon levels inmusiceducationotherthanthe 1st(Bachelor)and the2nd

(Master)studycycles,inparticularpre-collegetrainingand3rdcycle(Doctorate/PhD)studiesin

thefieldofmusic.

3. Toexploreinternationaltrendsandchangesin themusicprofessionandtheirimplicationsfor

professionalmusictraining.

Withtheaimtoparticipateinthediscussionstakingplaceinthehighermusiceducationsectorand

intheframeworkoftheBolognaprocesson3rdcyclestudies,theAECformedwithinPolifoniaa

groupwiththefollowingexpertstostudythissubject:

PeterDejans(Co-chairOrpheusInstituutGent) DarlaCrispin(Co-chairRoyalCollegeofMusic,London)

ValentinaDediu-Sandu(UniversitateaNationaladeMuzicaBucuresti)

HubertEiholzer(ConservatoriodellaSvizzeraItaliana,Lugano)

HaraldJrgensen(NorwegianAcademyofMusic,Oslo)

LolaSchirgi(UniversittfrMusikunddarstellendeKunstGraz)

MichaelUhde(StaatlicheHochschulefrMusik,Karlsruhe)

ThemainobjectivesofthePolifoniaThirdCycleWorkingGroupwere:

Toprovideanoverviewoftrends,typesofcoursesanddevelopmentsatthe3rdstudycyclein

musicinEurope.

Todeveloplearningoutcomesforthe3rdcycleandtostudytheconnectionoftheseoutcomesto

thelearningoutcomesofthe1stand2ndstudycycle.

Tostudytherelevanceofa3rdcycleinmusicfortheprofessionandthejobmarket.

Todevelophelpfultoolsformusicinstitutionswishingtoestablisha3rdcycle.

Theseaimswere reachedthrough anintensive3-year work plan that included8 working group

meetings,3sitevisits,1conferenceandliteratureresearch3.

1 SeeformoreinformationaboutPolifoniawww.polifonia-tn.org.

2 FormoreinformationabouttheTuningmethodologypleaseseehttp://www.tuning.unideusto.org/tuningeu/index.php?option

=content&task=view&id=172&Itemid=205.

3 InformationabouttheworkofthePolifoniaThirdCycleWorkingGroupcanbefoundatwww.polifonia-tn.org/3rdcycle.


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I IntroduCtIon

1.1 ThisGuidehasbeendevisedwithtwoprinciplesinmind:

ThirdCycleprogrammesareresearch-based.

AnyThirdCycleisaDoctorateandviceversa.

1.2 The Third Cycle WorkingGrouphasadoptedthe followingdefinitionof researchfrom the Shared

DublinDescriptors,ratifiedinOctober2005:

The word research is used to cover a wide variety of activities, with the context often related to a

field of study; the term is used here to represent a careful study or investigation based on a systematic

understanding and critical awareness of knowledge. The word is used in an inclusive way to accom-modate the range of activities that support original and innovative work in the whole range of academic,

professional and technological fields, including the humanities, and traditional, performing, and other

creative arts. It is not used in any limited or restricted sense, or relating solely to a traditional scientific

method.

1.3 TheThirdCycleGuidehasbeencomposedprimarilyforthosewhoworkinconservatoires.Forthis

purpose,wedefineconservatoiresverybroadly,includingmusicuniversities,musicacademiesand

Musikhochschulen,withstudyprogrammesrangingfrommusicperformanceandmusiceducation

tomusictherapyand,insomecases,musicology.Itisnotmeanttobereadasasingleprescription;

suchanapproachwouldbeinappropriate,giventhediversityofinstitutionsforwhichithasbeendeveloped.Instead,itishopedthattheGuidewillenablecoursedesignerstocreatetheirownvision

ofaThirdCycleresearchqualificationthatisideallysuitedtotheirowninstitutions.

1.4 TheGuideshouldbeofusetothoseinvolvedwiththecreation,operationandqualityassuranceof

studiesattheThirdCyclelevel,aswellastheevolutionofsustainableresearchenvironmentswithin

theseinstitutions.Suchistheimportanceofthedebateonresearchin-and-throughmusicalpractice

intheEuropeanspaceandbeyond,however,thatthisGuidemaywellbeofinteresttothoseworking

withinuniversitieswhichalreadyhavelong-establishedresearchdegreeprogrammesinmusicdis-

ciplines.Indeed,oneoftheaimsofthisGuideistoshowhowartisticandothertypesofresearch,and

theirresultantdegreeprogrammes,maybeseenasworkingwithinamutuallybeneficialcontinuum

ofenquirywhenviewedwithinmulti-institutionalandmultinationalcontexts.

1.5 ThePolifoniaThirdCycleWorkingGrouphasconductedextensiveresearchonThirdCyclemusicpro-

grammesintheEuropeanHigherEducationArea(EHEA).Throughanalysisofinterviews,sitevisits,

questionnaires,seminarsandothermeansofdatacollection,ithasbecomeclearthatthenatureof

theseprogrammescanvaryconsiderablybetweencountries.Forthisreason,andasnotedabove,

thisGuidewillnotputforwardasingle,unifiedformulaforthecreationofsuchprogrammes.Instead,


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theGuidewillexploreaseriesofbroaderquestionsthatishopedtobeofrelevancetoallinstitutions,

whetherdevelopingThirdCyclestudiesforthefirsttime,orreviewingandauditingexistingcourses.

Itishopedthatbydoingthis,acommonvocabularycanbedevelopedandshared,sothatclearerandmoreproductiveinternal,externalandinternationaldialoguesaboutthiscrucialareamaybe

facilitated.Inatimeofemphasisuponmultinationalinstitutionalcollaborationandglobalisation,the

Guideisofferedasatooltoassistcurriculumdevelopersandtogenerateproductivedialoguesabout

educationpolicy.

1.6 InorderfortheGuidetobeuseful,itisnecessarytodefinecertaintermsthatareintegraltothecore

topic.Forthatreason,thisGuidehaschaptersonmoreabstractconceptssuchasthecharacteristics

ofmusicThirdCycleprogrammesinrelationtoFirstandSecondCycles,thenatureofresearch,with

anemphasisuponartisticresearch,andthecreationofresearchenvironmentsinwhichstudents

maydeveloptheirfullpotential.Moreconcretediscussionsincludethequestionsthatinstitutionsmustexplorein makingthestrategicdecisiontoofferThirdCycles,thetoolscurriculumdevelop-

ersmayuseincreatingsuchprogrammessuchasDescriptorsandLearningOutcomesandthe

provisionofataughtcurriculumwithinmusicThirdCycles.

1.7 TheThirdCycleGuideshouldbeapplicableforbothinternaluse,i.e.curriculumdevelopment, in-

ternal qualityassurance, professional development training,andfor externaluse, i.e.facilitation

ofdialogueswithprofessionalbodies,explanationsofgoalsandcompetenciestothoseinvolvedin

highereducationpolitics,andexplainingthirdcyclestothepublic.Ideally,theGuidewillbeperiodi-

callyreviewed,toreflectnewdevelopmentsinEuropeanHigherEducation.

1.8 Oneofthemainchallengesforthoseinconservatoire-basedhighermusiceducationistodesign

coursesandproducedocumentationinlinewiththeBolognaProcesswhilesafeguardingtheessen-

tialnatureofprofessionalmusictraining,withitsdemandforpracticalachievementatthehighest

level.Mostimportantly,ThirdCyclestudymustbefocusseduponthestudents,empoweringthem

tobeco-creatorsintheirowneducation,andhighlightingtheirindependentintellectualandartistic

attainments.Thisstudent-centredapproachiscrucialtothesuccessofThirdCycleprogrammesin

music.

1.9 Aseducationaldebatestakeplace inanever-moreglobalisedcontent, itishopedthatthisGuide

willprovideonewayintothecreationof educationalapproachesthatmeettheneedsofresearch

studentsandstafffromavarietyofnational,educationalandexperientialbackgrounds,mappingout

acontinuingevolutionofsharedmusicalideaswithoutborders.


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thIrdCyCles: InstItutIonalContexts

2.1 ThirdCyclestudiesinmusicarearathernewphenomenonwithintheconservatoireenvironmental-thoughsomeinstitutionshavealreadyalongtraditioninofferingthem.Thereisonemainreasonfor

this.Asinstitutionsthattrainmusiciansatthehighereducationlevel,conservatoirestraditionallyof-

fervocationaltrainingthatleadstoacareerasaprofessionalmusician,composer,orinsomecases

alsoasamusicteacher,beitasaschoolmusicteacheroraninstrumental/vocalteacherforspecial

musicschoolsorhighereducation.OfferingThirdCycleordoctoralstudieshashistoricallybeenthe

preserveofuniversities.Indeed,institutionsthatofferprofessionalmusictraininghavenotalways

uniformlybeenregardedbytheauthoritiesashighereducationinstitutionswiththefulleligibilityto

developaThirdCyclestructureasdefinedbytheBolognaProcess.

2.2 Notonlyintermsofprogrammesbutalsointermsoftheinstitutionalenvironment,universitieshavebeenseenasthelocusofresearchactivity,whileconservatoireshavebeendedicatedtoprovidingan

appropriatelyrichandprofessionallywell-connectedartistictrainingontheinstrument/voice.But

practical training in music is notdevoidof inquiry, theory andreflection.The highly-trainedmu-

sicianalsoseekstoachievedeepunderstandingandprogressattheforefrontoftheartnotonly

throughperformingorcomposingbutalsobyinvestigationintothepiecesofmusic,thecompos-

ersintentionswiththemusicandtheartofplayingasexemplifiedbydifferentinterpretersorin

differentmusicaltraditions.Insomeindividuals,thismethodologicalsearchformorein-depthand

structuredinformationaboutmusicandamoreanalyticalanddescriptiveapproachtowardsartistic

realityisan innervocationasstrongas performingandcompositionitself.Forthosepurposes,it

wouldseemlogicaltobeabletoresearchandcommunicateaboutmusicinallcircumstancesandfromallaspectswithintheinstitutionthatdealsmostspecificallywithitandbythosepeoplewhoare

executants,ratherthanconfiningthisactivitytothoseinstitutionsthathappentooffermusicologyas

ascientificstudyfield.Forthisreasonamongstothers,professionalmusictraininginstitutionshave

startedtoofferdoctoralstudiesofdifferentkindsaswell.

2.3 ConservatoireshavefacilitatedtheirentryintoThirdCycleprovisionin anumberofways. Some

are abletooffersuchqualificationsindependently, throughstatusas autonomousvalidatingbod-

ies,whileothershavebrokeredco-operativepartnershipsbetweenconservatoiresanduniversities.

Thesepartnershipscanbefruitfulforbothpartiesintermsofknowledgeexchangeandthepotential

forinternationaldevelopment,andarenotlimitedtoconservatoire-universityarrangements,butcan

alsoinvolveconservatoirenetworks,andevenextensiontodisciplinesoutsidemusicitself(e.g.other

fineartsorscientificdisciplines).


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therelatIonshIpoFtheFIrst,seCondandthIrd

CyCles

3.1 Itispossibletosuggestamodelforlearningthatinvolvesthreemainaspects:theacquisition,ap-

plicationandproductionofknowledgeandskills.Thebalanceofthesevariesfromstudenttostudent,

buttheemphasisuponeachchangesasoneprogressesthroughthecycles.

3.1.1 Inthef cy,studentsconcentrateupontheqofknowledgeandskills.Forexample,in

theareaofrepertoireskills,studentsshouldstudyandperformrepresentativeworks,experiencing

avarietyofappropriatestyles.

Inthes cy,studentsconcentrateuponthe ofknowledgeandskills.Therep-

ertoirewillbe nowbroadenedtoacomprehensivelevel,anddeepenedwithinaparticularareaofspecialisation.Studentsshoulddevelopanindividualvoiceinoneparticularstyle.

Inthet cy,studentsconcentrateupontheofknowledgeandskills.Takingrep-

ertoireagainasanexample,thestudentsshouldbeabletoframeresearchproposalsbasedona

particularchoiceofrepertoireandthentoproducenewtopicsrelatedtoit.

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3.1.2 Thediagramdescribedabovecanveryeasilybemappedontoaneducationalprocessemphasising

developmentalstages ofcompetenceacquisition.Thisdiagramdemonstratesthe transformative

possibilitiesthatThirdCyclesmayhavewithinconservatoireenvironments.

3.1.3 BecausetheThirdCycleinvolvestheabilitytogeneratenewknowledgeandskills,itsoutcomescan

feedbackintotheprogrammesfortheFirstandSecondCyclesaswellasintotheteachingstaff:


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byhavingstudentspresenttheirartisticandreflectiveworktostudentsandstaff

byexaminingtogetherwithmembersofstaffthereceivedwisdomandconventionalmethodsin

musicalpractice byhavingstaffteachfirstandsecondcyclecoursesinwhichnewresearchresultsarecommuni-

catedanddiscussed

byhavingfirstandsecondcyclestudentsparticipateinresearchprojects

Thiscreatesasenseofvitalityandamodelforgoodpractice,andencouragescoursedesignersto

keeptheircurriculaup-to-dateandfosterinnovationasapartofgoodpractice.


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researChandthIrdCyClesInMusIC

4.1 BFifrc

4.1.1 Withinconservatoirestoday,researchcoveringabroadrangeoftopicsiscarriedoutbothwithinThird

Cycle programmes andwithinconservatoire research departments (even where Third Cycle pro-

grammesdonotyetexistorwheretheyexistwithininstitutionsthroughcollaborativeagreements).

Someofthesearewithinwell-establishedfieldslikemusicology,musiceducation,musictherapy

andsociologyofmusic,andbenefitfromawell-establishedresearchframework.Theirpractitioners

maybeactivemembersofanorganized,internationalresearchcommunityandasubstantialbodyof

previousresearchinthefieldwillalreadyexist.

4.1.2 Otherareasofresearchintodaysconservatoireshavedevelopedonlyrecently.Muchofthisnewerresearchwithinconservatoriessharesthecharacteristicofbeingaimedatartisticallychallenging

issuesandiscarriedoutbyartist-researcherswhobringtheirartisticexperiencesandknowledgeto

theirresearch-basedinquiries.WecallthistypeofresearchArtisticResearch.

4.1.3 Thesenewerresearchareasdonotyetenjoythesupportofawell-establishedframeworkandtheir

practitionersmayworkinisolation,intheabsenceofanetworkofotherresearchers,conferences,

publications,etc.andnosubstantialbodyofpreviousresearchmayyetexist.

4.1.4 Onepossibleapproachtothetaskofprovidingguidanceandpracticalsuggestionsforthecreationof

aresearchThirdCycleinconservatoriescouldbetodiscusseachofthefieldsofresearchwithincon-servatoriesandmakespecific,Bologna-oriented,proposalsforeachone(competences,curriculum,

evaluation,creditpoints,andsoon).However,giventheverywiderangeof researchareaswithin

conservatories,itwouldbebothimpossibleandundesirabletotrytoprovideanexhaustivelist.

4.1.5 Whatisneededisadiscussionofresearchthatissufficientlygeneraltopermiteachschooltorecog-

nizeitsownparticularresearchprogrammesandresearchpriorities.Atthesametimeitshouldbe

specificinrelationtotheparticularnatureandpurposeofhighereducationinmusic.Andtoachieve

thiswemustremainascloseaspossibletothecoreactivityoftheconservatoire.Itisonlyinthisway

thattheguidelinesandsuggestionsthatemergefromthisworkwillbeofusetoallAECmember

schools.

4.1.6 WhileArtisticResearch issometimespresented asa sub-categoryof researchin conservatoires,

forreasonsthatwillbesetoutbelow,webelievethatthisconceptoffersausefultoolforthinking

andtalkingaboutresearchwithintheConservatoire,andthattheinsightsthatwegainthroughthis

discussion canapplyequally well toboththe older, moretraditional researchfields represented

withinConservatoriesandtothenewerfieldswhichhavebeengrowingupwithintheartisticallyrich

environmentofourschools.


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4.1.7 ItisaspecificaimofthisGuidetoassistconservatoiresin creatingresearchenvironmentswhere

artisticresearchcanthrivealongsideandinteractwiththemoretraditionalandbetter-established

researchareas.Inthiswaywecancreatea uniqueand productiveprofileforresearchwithintheconservatoire.

4.2 einfrc

4.2.1 TheThirdCycleWorkingGrouphasidentifiedthreekeyelementsofa frameworkwithinwhichre-

searchcanbefruitfullyconductedwithintheconservatoire:

1. Researchmustbecomeanintegralpartoftheconservatoireenvironment;

2. Researchmustoccupyaspecificandappropriatespacewithinthethree-cyclesystem;

3. Theremustbea commonunderstandingofwhatcompetencesresearchstudentsshouldhave

acquireduponcompletionoftheirstudies.

4.2.2 Foragenuine integrationofresearchintothefabricofconservatoirestotakeplace,theremustbe

specificstudyprogrammescreatedtosupportit,wherethesedonotalreadyexist.Thereareunique

opportunitiesforresearchinmusicwithinaconservatoirewherethesubjectsofresearch,i.e.the

artist-researcher, andtheobjectsofresearch i.e.performing/composing/teaching findthem-

selvesincloseinteractionandcommunionunderthesameroof.

4.2.3Beingaresearcherandbeingamusicalartistaretwodifferentroles.However,intheenvisaged

project,oneandthesamepersonshouldbeabletooccupythem,justascomposingandperforming

aretworolesthatasinglepersonmayfulfil.

4.2.4Creatingastructuredspacesuchasadegreeprogrammeforresearchisameansofenhancingthe

criticalexchangebetweenpracticeandtheory,betweenmusiciansandmusician-researchers.Itis

ameansofbringingresearchersandmusicianswithincomplementarydisciplinestogetherandof

creatingaforumwhereresearchfindingscanbecloselywatchedbypotentialbeneficiaries.

4.2.5Conductingresearchmeanstryingtoextendourknowledgeandunderstandingoftheworldand

ourselves.Researchprojectstypicallyinvolvethreecomponents.Thefirstoneinvolvesformulating

theresearchhypothesisorresearchquestion;thesecondaddressestheinvestigationoranalysis;

inthethird,theresultsareevaluated,writtenuporotherwisedocumentedandmadeavailableto

interestedparties.

4.2.6 Specifically,theresearchprocesstypicallyinvolvesasubstantialperiodofpreliminaryresearchand

subsequentreviewofinformationtogainanoverviewofwhathasalreadybeendoneintherelevant


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field.Thisisfollowedbythedevelopmentofahypothesis,orresearchquestion,whoseinvestiga-

tionpromisesnewknowledgeanddesigningtheappropriateresearchmethod.Thesecondcompo-

nentinvolvestheintensiveinvestigationoftheresearchquestionandtheprocessisconcludedwiththeproductionofdocumentationthatreportstheresultsinanaccessiblemannerandwhichisavail-

abletointerestedparties,therebyallowingotherresearchersworkinginthesamefieldtoassessthe

resultsandtobuildonthem.

4.2.7 Allresearchfollowsthissequentialpattern ofQuestion-Investigation-Documentation.What distin-

guishesArtisticResearchisthewayin whichartisticexperience,artisticknowledgeandskillsas

wellasartisticgoalsareinvolvedinresearch.

4.2.8Musicianshavehighlyspecializedknowledgeandhighlyspecializedskills,butasarulethesecom-

petencesremainwithintheindividualartistwhopossessesthem.Atbestweheartheproductsofthesecompetenceswhenweheartheartistsperformancesorcompositions.Researchshouldbe

committedtomakingthisenormoustreasureofimplicitknowledgeandskillsofartistsexplicit,to

bringingthosethingsintotheopenforallofustosee,tounderstandand,hopefully,touse.Byhelp-

ingimplicitartisticknowledgetobecomeanobjecttobesharedanddiscussedbyothers,research

willbeabletomakealargecontributiontotheunderstandingoftheartamongalargerpopulation

and,consequently,tothepromotionanddevelopmentoftheartsingeneral.

4.2.9Modesofdocumentation,presentationanddisseminationofartisticresearcharevaried,ranging

frompublicperformances,recordings,andmultimediapresentationstowrittentextsand spoken

presentations,forexample.Inordertobevalidasaresearchoutcome,however,theoutcomesmustbemadeexplicit,discursiveandcommunicablewithinpeercommunitiesand,ideally,thewider,pub -

licsphere.

4.3. iaiicrc?

4.3.1 Typically,ArtisticResearchisresearchconductedbyorwithArtistsfortheArts.Nonarrowerdefini-

tionwillsatisfyeveryone,andsomewillholdoutforanevenbroaderone.Therearegoodreasons,

however,fordrawingthelinehere,aswillbecomeclearwhenwehaveexaminedthedefinitionmore

closely.

4.3.2Anartistisapersonwithatalentandapassionforsearchingquestionsandthissearching-ness

andexplorativespiritisessentialtoartisticactivity.Acreativeartistisinvolvedinapermanentsearch

foradeeperunderstandingandiscontinuallyexperimentingwithhisorherownideasandtheideas

ofothers.Thecreativeartistwilloftenturnthingsupsidedowninordertoseewhatinsightsthenew

andunconventionalperspectivewillbring,andwilllayopentoscrutinyandcriticismwhatpasses

forconventionalwisdom.Theimplementationofsuchnewlyacquiredknowledgeandideasintoan

artistsownmusicalpracticecanhavetheeffectofmovingtheartofmusicintonewterritory.


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4.3.3ArtisticResearchdonebyMusicalArtistsmeansthatthenatureofthequestionorhypothesisis

likelytobedeterminedbytheconcernsandideasthatresearchershaveasMusicalArtists.Generally

speaking,therearefourprincipalareasofinquiry,principalinthesenseofbeingdirectlyrelevantbothtotheworkofindividualmusiciansandtotheworkofmusicconservatoires.Theseareasare:

1. MusicalProduction,i.e.composingandimprovisingmusic;

2. MusicalPerformance,i.e.preparingandgivingconcertperformances;

3. Music Teaching, i.e.guiding others in preparationofmusicperformances andin understand-

ingmusicalideasandconcepts;

4. Music in Society, i.e. communicating artistic understanding and appreciation, transferring musicalcompetencesanddevelopingconcertaudiences.

4.3.4ArtisticResearchislikelytodistinguishitselfinregardtothekindsofquestionsandhypothesesin-

vestigatedaswellasinregardtothemethodsofinvestigationemployed.Itisconceivablethattradi-

tionalresearchquestionswillreceivenewanddifferenttreatmentsatthehandsofArtisticResearch-

ers.Moreover,ArtisticResearchersarelikelytobringthemselvesintotheinvestigationastheobject

ofresearch.Insteadoftakingthestanceofthedistantobjectiveobserver,theArtisticResearcher

willprobablysethisorherownkindandlevelofperceptionastheultimateobjectofinvestigationas

wellasthestandardfordescribingandassessingmusicalphenomena.

4.3.5 AstheresearchquestionsofinteresttoArtisticResearcherswilltendtoemergefromanddependon

thecurrentstateofknowledge,skillsandexperiencetheybringtotheirprofession,ArtisticResearch

islikelytoreflectthedebates,interestsandconcernsoftheartworldinwhichtheparticularartistis

workingandtowhichsheorhewantstomakeanoriginalcontribution.Themusicalartistwilloften

approachresearchinamannerthatisrelatedtohisorherownartisticambitionswithinhisorher

artworld,andwilltendtoproduceresearchthatis drivenbyasenseofapplication,thatisbythe

motivationtoturnresearchresultsintoartisticproducts.

4.4 aiicrcIiiCMii

4.4.1 The concept ofArtistic Researchis intendedas an . Thus, Artistic Research is

notproposedasanotherresearchdisciplineamongtheexistingonessuchasmusichistory,music

theory,musicpsychology,musicphilosophy,musicmedicine,neuromusicologyormusicsociology.

Whateverthenatureofanyoftheseestablishedresearchdisciplinesortheroletheyplaywithintheir

ownmusicinstitution,theyarepartofawhole,butnotthewhole.ArtisticResearchis-notunlike

environmentalscienceormedicalresearch-aresearchfieldwithanoverallpurposeinneedofcol-

laborationandsupportfromdifferentestablishedresearchdisciplines.Therefore,ArtisticResearch

cannotbedissolvedintooridentifiedcompletelywithanycombinationofitscomponentdisciplines.


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ArtisticResearchshouldbeabletomakeuseofanyresearchtool,method,orknowledgebaseacross

theentirerangeoftraditionalresearchdisciplinesandmethods.

4.4.2 ArtisticResearchisanumbrellaconceptby(i)coveringresearchactivitieswithanartisticknowledge

baseandartisticoutlookand(ii)bybeingembeddedintheconservatoire,whichmeans:

1. Researchoffershighly trained musiciansthe opportunityto achieve deep understandingand

progressattheforefrontoftheartbymoreanalyticalanddescriptiveapproachestowardsartistic

reality;

2. Researchisessentiallyrelatedtothecoreactivitiesofaconservatoire:producing(i.e.composing,

improvising),performingandteachingmusic;

3. Researchoffersspaceforconceptual,empiricalaswellasexperimentalinquiries;

4. TheThirdCycleisaresearchbasedcycleaspartofacoherentthree-cycle-system;itbuildsupon

thefirsttwocyclesandfeedsbackintothem;

5. TheThirdCycleallowsconservatoirestotrain,developandstafftheirownresearchersaccording

totheinstitutionsresearchpriorities.

4.4.3 ToconstrueArtisticResearchasanumbrellaconceptdoesnotmeanlooseningresearchstandards.

ArtisticResearchmustadheretothesameinternationalstandardsofintellectualrigour,conceptualclarityandmethodologicaladequacyasanyothertypeofresearch.

4.4.4 Integratingresearchintothefabricof conservatorylifewillconstituteanaturalandfruitfuldevel-

opmentandcontinuationofmusiciansperpetualsearchforthebestwayofresolvingthemanyin-

triguingquestionsandissuesthatarisethroughoutthecourseoftheirartisticlives.Ifweopenup

institutionalspaceforreflectionandanalysisatveryhighlevelsandinrelationtotheconservatoires

coreactivities,thenwehelpnotonlythosedirectlyinvolvedinresearch,butwehelpcreateaculture

ofresearch,aclimateofquestioning,analysingandexperimentingwhichwillintheendbenefitall

membersoftheconservatoireandserveasacatalysttotheinstitutionsdevelopmentasacultural

engine.


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theInstItutIonaldeCIsIontooFFerthIrdCyCle

studIes

5.1 ibfi

5.1.1 Conservatoireintegratedresearchhasthepotentialtovitalisecreativethinkingwithintheinstitution.

Theramificationsof ThirdCycleworkcanchangethenatureofFirstandSecondCyclestudiesas

well.Thecreationofaresearchenvironmentwithinaninstitutioncanhavepositiveconsequencesfor

all,creatingaspecialspiritofenquiryforallstudents.Researchstudentscanalsobepowerfulrole

modelsforthoseinFirstandSecondCyclestudies.Furthermore,thecutting-edgequestionsgener-

atedbygoodresearcherscanfeedbackintoinstitutionalpolicy-making,allowingsuchorganisations

toevolveinuniqueways.

5.1.2 ThirdCyclestudiesalsohavethepotentialtoenhancetheexternalreputationofinstitutions.Alively

ThirdCyclestudyprogramme,linkedwitha livelyresearchenvironment,has thepotentialtogen-

eratetop teachers andresearchers.This becomesa virtuouscircle;the presenceofsuchstaff

memberscanattractgoodstudentsandexternalfunding,enablingthegrowthoftheinstitutionasa

whole.

5.1.3 Anotherimportantelementin developingresearchinconservatoiresis tomakeyoungmusicians

awarethattheconcepts,thetechnicaltermsandtheirrelateddistinctions,assumptions,andtheo-

riesthatarehandeddowntousbythetraditionaldisciplinessuchasmusictheory,musicpsy-

chology,ormusichistory-donotnecessarilyreflectthewaymusiciansexperienceandthinkabouttheirart.ThirdCycleprogrammesmayprovideasuitableplatformforyoungmusicianresearchers

todevelop their ownconcepts thatare truer, ora better reflectionoftheirown perceptionsand

thoughts.Youngresearchersmaybeencouragedtoactivelyinfluencetheworldofmusicresearch

andtodeterminetheresearchdiscoursesastheyseefitandnotastheyaretoldtoseefit.Itallows

musicalartiststoformulatetheirownquestionsintheirownlanguageandinreferencetotheirown

experience.

5.2 mc

5.2.1 Teamssupportingresearchstudentsneedtoenablethemtodevelopcriticalrigourearlyonintheir

studies,whilstpreservingthecreativeaspectsoftheirmusicalstudiesand/orscholarlyquestions.

Thiswillpreventstudentsadoptingincorrectresearchparadigmsearlyonintheirstudies,whichcan

createdelaysinthecompletionofstudies,orcanjeopardisecompletionaltogether.

5.2.2It needs tobeunderstood thatresearchis notmerely thepreserve of those on Third Cycle pro-

grammes. Ina healthy institution, research processes and modesofthought will already be in

evidenceinstudentstakingFirstandSecondCyclestudies.Suchstudentsneedtobefacilitated


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18

in their researchquestionsand in their aspirationto adopt researchparadigms.Ideally, thestu-

dentsonThirdCycleprogrammescanbecomerolemodelsforstudentsonlessadvancedstudy

programmes.

5.2.3WhereThirdCyclestudiesarebeingintroducedtoaninstitutionforthefirsttime,ashiftintheal-

locationofphysicalandfinancialresourceswillbenecessary.Thisprocessneedstobehandledwith

greatcare,sincereallocationofresourcescanpotentiallyalienatestaffandstudentsalikefromthe

newprogramme.


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howtoBuIldathIrdCyCleprograMMe

6.1 ICicmncfrcd?

6.1.1 TheimplementationofspecifiedcurriculawithinThirdCyclestudiesisfarfrombeinganorm.Indeed,

thelong-standingmodeloflearningandteachingatthislevelhasbeenthesupervisor-researcher

relationship,inwhichintellectualgrowthandattainmentisfosteredbythediscoursegenerated.This

approachbypassestheideaofa sharedcurriculum,focussinginsteaduponthespecificresearch

areabeingexploredbythestudent.Themodelcanbeverystrongifthesupervisoryrelationshipisa

fruitfulone,anditremainsacorecomponentofresearchdegreeprogrammes.However,itcanhave

someproblems,includingthepossibilityofasenseofisolationfeltbytheresearchstudent,orprob-

lemswithdegreecompletion,ifthesupervisoryrelationshipisdysfunctional.

6.1.2 Inprogrammesfocussinguponmusicstudies,astructuredcurriculumhasthepotentialtomeetstu-

dentsneedsmorespecificallythansupervisionalone.Suchstudentsoftenbenefitformarangeof

studiesthathelpthemtobecomemoreconversantwiththescholarlyapparatus,moreknowledge-

ableaboutaspectsofculturebeyondtheirspecificareasofexpertiseandmorefluentinwrittenand

verbalcommunication.

6.1.3 Groupworkwithinmusiccurriculacanallowstudentstobecomeco-creatorsintheirownlearning.

AtThirdCyclelevel,studentswhoaregivenopportunitiestolearntogetheroftenformpowerfulpeer

learninggroups.ThetoolsthatcurriculumdevelopersuseincreatingThirdCyclestudiesshouldnur-

turethisgenerationofstudentautonomy.Thestudentslearntogivefeedbacktoeachother,provideintellectualandmusicalchallengestoeachother,andgeneratenovelresearchimpulsesamongst

eachother.

6.2 t:pifidbidci,liocmo

Mi

6.2.1ThePolifoniaDublinDescriptorsandtheLearningOutcomesfortheThirdCyclehavebeendeveloped

throughthecourseofthePolifoniaproject.Thekeyconsultationexerciseforthesewasaseminar

heldinKarlsruheinSpring2007atwhichalargenumberofinterestedpartiesprovidersofThird-

Cycleprogrammesandothers-wereinvitedtoprovideinputonthelearningoutcomes.Because

ThirdCycleworkinHigherMusicEducationisarelativelyyounganddynamicallydevelopingarea,it

isexpectedthatthelearningoutcomesthemselvesmaydevelopcorrespondinglyoverthecoming

years.

6.2.2ThespecifictoolsdescribedwithinthisGuide,suchasthePolifoniaDublinDescriptorsandtheLearn-

ingOutcomes,arenotmeanttobereadascarvedinstone.Buttheycanservetoassistinstitutions

intherelatingoftheireducationaldevelopmentacrossthethreecycles,aswellasbeingvehicles

throughwhichcross-institutionalcooperationmaybefacilitated.


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6.2.3t p d d4areanadaptationbyAECofthenowwell-knownandwidelyused

DublinDescriptorsthatproposeageneraldescriptionof thethreestudycyclesBachelor-Master-

DoctorateinHigherEducationacrossalltypesofstudyanddisciplines.ThePolifoniaDublinDe-scriptorsemphasizethenotionofartisticknowledge,skillsandunderstanding,andareintendedto

explain,amongotherthings,howthethreestudycyclesinmusicrelatetoeachother,andhowone

cyclecanbeseentobuildupontheothertwocycles.Asnotedin3.21,whiletheBachelororFirst

CyclefocusesonthestudentsacquisitionofpracticalandtheoreticalcompetencesandtheSecond

Cycleonthestudentsabilitytointegrateandapplythesecompetencesinvariousprofessionalsitu-

ations,theThirdCycleismainlyconcernedwiththestudentsabilitytogeneratenewknowledgeand

newskills.BydefiningThirdCyclestudiesinmusicasresearchdriven,wecanplausiblyexplaintheir

functionwithinthethreecycle-systemandwecanalsoseehowintroducingdoctoralprogrammesin

conservatoiresmaybehaveapositiveeffectontheothertwocycles.

thepolIFonIaduBlIndesCrIptors

og s d

d

p/d d 3 y

g

Q gy 3 y

:

Q gy 3 y g

:

1. havedemonstratedasystematicunderstandingofa

fieldofstudyandmasteryoftheskillsandmethodsof

researchassociatedwiththatfield;

1. havedemonstratedaprofoundandsystematicunderstanding

ofafieldofmusicalstudy,togetherwithmasteryofartisticand

otherskillsassociatedwiththatfieldandofrelevantmethodsof

researchandinquiry;

2.havedemonstratedtheabilitytoconceive,design,imple-

mentandadaptasubstantialprocessofresearchwith

scholarlyintegrity;

2.havedemonstratedtheabilitytoconceive,design,implementand

adaptasubstantialprocessofresearchwithartisticandscholarly

integrity;

3.havemadeacontributionthroughoriginalresearch

thatextendsthefrontierofknowledgebydevelopinga

substantialbodyofwork,someofwhichmeritsnational

orinternationalrefereedpublication;

3.havemadeanoriginalcontributionthroughresearchandinquiry

thatextendsthefrontierofknowledgeandartisticunderstanding

bydevelopingasubstantialbodyofwork,someofwhichmerits

nationalorinternationalrecognitionanddisseminationthrough

appropriatechannels;

4.arecapableofcriticalanalysis,evaluationandsynthesis

ofnewandcomplexideas;

4.arecapableofcriticalanalysis,evaluationandsynthesisofnew

andcomplexideas,artisticconceptsandprocesses;

5.cancommunicatewiththeirpeers,thelargerscholarly

communityandwithsocietyingeneralabouttheirareas

ofexpertise;

5.cancommunicatewiththeirpeers,thelargerartisticandschol-

arlycommunityandwithsocietyingeneralabouttheirareasof

expertise;

6.canbeexpectedtobeabletopromote,withinacademic

andprofessionalcontexts,technological,socialorcul-

turaladvancementinaknowledgebasedsociety;

6.canbeexpectedtoplayacreative,proactiveroleintheadvance-

mentofartisticunderstandingwithinaknowledgebasedsociety;

4 ThePolifoniaDublinDescriptorscanbefoundatwww.bologna-and-music.org/learningoutcomes.


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Gy ( og s d d)

1. The word isusedin the descriptorsin its broadest sense, relatingto thoseat-tributesrelevanttoundertakingworkoravocationandthatinvolvestheapplicationofsomeas-

pectsofadvancedlearning.Itisnotusedwithregardtothosespecificrequirementsrelatingto

regulatedprofessions.Thelattermaybeidentifiedwiththeprofile/specification.

2. Thewordisusedinthedescriptorsinitsbroadestsense,allowingforgradationof

abilitiesorskills.Itisnotusedinthenarrowersenseidentifiedsolelyonthebasisofayes/no

assessment.

3. Thewordisusedtocoverawidevarietyofactivities,withthecontextoftenrelated

toafieldofstudy;thetermisusedheretorepresentacarefulstudyorinvestigationbasedona

systematicunderstandingandcriticalawarenessofknowledge.Thewordisusedinaninclusive

waytoaccommodatetherangeofactivitiesthatsupportoriginalandinnovativeworkinthewholerangeofacademic,professionalandtechnologicalfields,includingthehumanities,andtradition-

al,performing,andothercreativearts.Itisnotusedinanylimitedorrestrictedsense,orrelating

solelytoatraditionalscientificmethod.

6.2.4ThePolifoniaDublinDescriptorscanbeusedalongsidelg o t cy5that

describethosecompetenceswhichstudentsshouldhaveacquiredwhentheycompletetheirdoctoral

studies.TheseLearningOutcomesareintendedtoprovideacommonbasis,validforallmusicaldis-

ciplinesandtypesofresearchthatconservatoirescanidentifywith.Theyshouldactasaframeworkwithinwhichthedifferentinstitutionscanfindsufficientspacetorealizetheirownresearchgoals

andsettheirownpriorities.Finally,theLearningOutcomesshouldhelpeveryonewithinconserva-

toirestounderstandthenatureofThird-Cyclestudiesinprofessionalmusiceducationandtohelp

musicinstitutionstocommunicatethisunderstandingtotheoutsideworld,totheirpeersinother

universitydisciplines,torepresentativesofhighereducationadministrationandpoliticsandtothe

generalpublic.

5 TheAECLearningOutcomesforall3cyclescanbefoundatwww.bologna-and-music.org/learningoutcomes.


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CoMpetenCeproFIleForthIrdCyClestudIesInhIgher

MusICeduCatIon

p (-)

3rdcycle(whereappropriate,andaccordingtotheindividualnatureof3rdcyclecurricula)

Artistic development and skills

Theskillstointegrateanddemonstrateoriginalartisticinsightsinperforming,composing,theorizingandteaching

Thecapacitytoextendinasignificantwayourartisticunderstandingandtocommunicatethoseinsightsinafullyrealizedmanner

Thedevelopmentandrealisationofartisticautonomy

Research skills

Thecapacitytoframeresearchproposalswhetherpertainingtotheoretical,practicalorcreativeissuesoracombinationofthese

rigorously,lucidlyandintermsofquestionstobeanswered,insightstobegained,andindicatorsofsuccesstobeapplied

Thecapacitytoidentifyandcontextualizecurrentlydynamicissuesinonesfield,inthesenseofopenquestions,newtopicsand

trends

Thecapacitytorealisethegoalssetforonesproject,throughintermediarystepsandappropriatemethods,equipmentandteam

members,whererelevant

Thecapacitytoidentifyandutilizetherelevantliteratureand/orotherresourcesinconnectionwithonesfield

Thecapacityforcriticalanalysisandevaluationofonesownandothersoutcomes

Thecapacitytodocument,analyseandsummarisetheinterimandfinaloutcomesofonesprojects

Thecapacitytouseprojectfundingandevaluationsystemsinthedevelopmentofonesownwork

t (g-)


Awarenessof,andrespectfor,standardsofexcellenceinonesownfield;thecapacitytodistinguishbetweenvaluableandirrelevant

inquiry,whetherinthetheoretical,practicaland/orcreativespheres

Thoroughknowledgeandunderstandingofthenationalandinternationalcontextofactivityandoutputintowhichonesworkwillbe

disseminated

Awarenessofownershiprightsofthosewhomightbeaffectedbyonesproject(e.g.copyright,intellectualpropertyrights,confiden-

tialinformation,ethicalquestions,etc.)

Awarenessoftheworkandhealthimplicationsforthoseinvolvedinonesactivities;thecapacitytoconductresearchwithastrong

senseofresponsibilityandvigilance

Awarenessoftheeconomicpotentialandutilisationofonesoutputs.

Awarenessofrelevantmethodsandtechniquesofinquiryrelatedtoonesfieldofstudy.


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G


Independence

Thecapacitytopursueonesownquestionsandideas

Thecapacitytocomprehendthetransferabilityofonesresearchcapabilitiestootherfieldsandtorecognizeanyassociated

careeropportunities

Thecapacitytosustainanddeepenonesinquiring,research-orientedapproachthroughoutonescareerand,whereap-

propriate,acrossallaspectsofonesworkandendeavour

Critical awareness

Thecapacitytoquestionthelegitimacyofself-servingorcommonplaceideas,conventions,fashions,etc.

Thecapacitytoseeonesownshortcomingsanduntappedpotential,andtodevisestrategiesformaximizingonesperform-

ance

Thecapacitytorecognizeandchallengethestandardswithinonescommunityofresearchers,practitionersandcreators

Thecapacitytorespondwithunderstandingandresponsibilitytocriticalconsiderationsfromwithinonescommunityof

researchers,practitionersandcreators

Communication skills

Thecapacitytoestablishandmaintaincooperativerelationshipswithcolleaguesandstudentswithinonesowninstitution

andamongthewiderscholarlyandartisticcommunity

Thecapacitytowrite/present/performclearlyandappropriatelyforthetargetaudiences(e.g.researchreports,journal

articles,presentations,performancesorotherartisticeventsintendedtohavearesearchoutput)

Thecapacitytoimprovethepublicsunderstandingand/orartisticinsightinonesfieldofstudy

Thecapacitytoassesstheeffectofonesownbehaviouronotherteammembers,artisticcollaborators,etc.

6.2.5 Ifthethreekeyelementsaremet:theintegrationofresearchintothemusicinstitutionsfabric,mak-

ingresearchthedefiningfeatureofThirdCycleprogrammesandgivingthoseprogrammesanap-

propriatecompetenceprofile,thenmusicresearchinconservatoireswillhavethebestconditionsto

thrive.

6.2.6 ThereaderisalsodirectedtothefollowingHandbookswrittenundertheauspicesoftheAEC,which

givespecificinformationaboutdifferentaspectsofcurriculumdevelopmentandqualityassurance.

FurthermodelsforqualityassuranceprocessesanddocumentationaregiveninAppendixC.


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h i u c p hg m e i

Thehandbook6

dealswiththechallengeofimplementingacreditpointsystemoradaptinganexistingcreditpointsystemandtheuseofmodulesinaninstitutionforhighermusiceducation.Itprovides

practicaltoolsanddifferentworkingmethods,whiletakingintoaccountseveralspecialcharacteris-

ticsofprofessionalmusictraining,suchasartisticaspectsandthehighlyindividualmodesofteach-

inginmusictraining.AlsodiscussedinthishandbookistheuseoftheEuropeanCreditTransfer

System(ECTS)bothasacreditaccumulationsystemandasatoolfortherecognitionofstudiesin

internationalmobility.

h c g c dv hg m e

Thehandbook7addressesissuessuchas: Curriculumdesignanddevelopmentwhatisitandwhatisitfor?

Curriculumdesignasaholisticapproach.

Theuseoflearningoutcomesincurriculumdesign.

Theuseofcreditpointsincurriculumdesign.

Reviewingandupdatingadesignedcurriculum:curriculumdevelopment.

h i Qy a hg m e

Thehandbook8ismeanttobeashortguideforconservatoireswantingtodevelopasystemforinter-

nalqualityassurance.Itdoesnothavetheambitiontobeacompleteintroductionintotheworldofqualityassurance,withitsmanydifferentsortsofsystemsanditselaborateandsometimesconfus-

ingjargon,butexplainsinthefirstfourchaptersinasimplewaythemainelementsofapossible

internalqualityassurancesystem.Inthechaptersfiveandsixitgivessomepracticalassistanceby

presentingasimpleprocedurewhichmightbeusedindevelopingafirstsystemforinternalquality

assurance,andbypresentingconcretematerialsusedbyvariousconservatoiresalloverEurope.

aec d Qy a a hg m e: c,

c p

Thisdocument9,whichhasbeendevelopedintheframeworkoftheAECprojectAccreditationin

EuropeanProfessionalMusicTraining,containsafullydevelopedframeworkwithgeneralinforma-

tionabouthighermusiceducation,programmeoutcomes,criteriaandproceduresthatcanbeused

inexternalqualityassurance andaccreditation procedures ofboth institutions andprogrammes,

including3rdcycleprogrammes.

6 TheHandbookfortheImplementationandUseofCreditPointscanbefoundatwww.bologna-and-music.org/creditpoints.

7 TheHandbookforCurriculumDesignandDevelopmentcanbefoundatwww.bologna-and-music.org/curriculumdesign.

8 TheHandbookforInternalQualityAssurancecanbefoundatwww.bologna-and-music.org/internalqa.

9 TheAECframeworkdocumentonqualityassuranceandaccreditationcanbefoundatwww.bologna-and-music.org/accreditation.


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6.3 scificticccitiCcsi:

6.3.1 Practical questionsthatmay berelevanttothosedevelopingThirdCycleStudies inMusicHigherEducation:

WhilemostinstitutionswillfinduniquequestionsconcerningtheirdevelopmentofThirdCycleStud-

ies,thereareanumberoffrequentlyaskedquestionsanddiscussiontopicsthatmostwillshare .10

Thesewouldincludethefollowing,whichmaybeusedasdevelopmentalstartingpoints:

t y g:

Definethereasonsfororganizingthirdcyclestudiesintheinstitution.

Ifnecessary,specifytherelationshipoftheinstitutionsthirdcyclestudyprogrammeinthecon-textofhigherarteducationanduniversityeducation.

t g :

Researchcomponentsinthethirdcycleprogramme.

Trainingcomponentsinthethirdcycleprogramme.

Therelationbetweenthereflectivepart(e.g.thewrittenoutcome)andtheartisticpractice.

Themethodologiesused.

Theintegrationoftheindividualartisticpracticeaspartoftheresearchprocess.

t y g :

Structureandcontentsoftheprogramme.

Ifrelevant,abalancebetweenrequiredandoptionalcourses,workshops,seminarsetc.

Thekeycompetencestobedevelopedintheprogramme.

Flexibilityofthecurriculumtailoredtoindividualneeds.

Thelengthoftheformalcurriculum(ifany)andthetimespanbetweentheadmissionandthe

officialacquisitionofthequalification.

p g y :

Thequalificationsoftheprofessorsandlecturers(degree,artisticprofile,etc.).

svy/g y :

Theprofileandqualificationofthesupervisors/tutors,etc.

10 Note:thecurrentstateoftheEuropeansituationinreferencetothesequestionsmaybeunderstoodbystudyingthePolifonia

2006SurveyonThirdCycleStudies,givenasAppendixB,page32.


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Differentkindsofindividualsupportathirdcyclestudentmightreceive,i.e.:

-thestudentisguided,accompaniedoradvised;

-thestudenthasdifferenttutorsdependingonthedisciplinesinvolved; -whereseveraltutorsareinvolved,oneofthemhastheprincipalresponsibility.

Jobdescriptionofsupervisors/tutors.

Choiceand/orappointmentofsupervisor/tutor.

Controlandassessmentofsupervisory/tutorialactivity.

a y :

Theadmissionleveltheprogrammerequiresofthecandidate.

Thespecificadmissionrequirements,e.g,

-aportfoliointroducingtheaspiredresearchplan. -anentranceexamination(andifso,entranceexaminationorganizationandcontent,e.g.artistic

examinationorvivavoce).

Selectioncriteria.

Whetherornotthestudentisassistedbytheinstitutionduringtheadmissionprocessbyprovid-

ingfeedbackonapplications,etc.

t gz x y vv:

Specificrequired presentations(such as concerts/recitals, masterclasses, lectures or lecture

performances,multimediaprojects,publicdefence/vivavoceexaminationofthethesis). Compositionofexaminationcommittee.

cv y :

Theofficialtitlesomeonereceivesafterhavingconcludedthethirdcycleprogramme(Dr.,Doctor,

PhD,orsomethingelse).

Theofficialstatusofthegraduateintheprofessionalworld.

Whattypeofprofessionalcareerthegraduatemaypursue.

iz y :

Theinterchangeabilityof(somepartsof)thecurriculum.

Theinternationalizationofexamcommittees.

lg y :

Specifyingtheinstitution(legal-body)grantingthequalification(e.g.university,conservatory).


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o y :

Enrolmentfee. Scholarships.

Part-timeandfull-timestudies.

Artisticandpersonaldevelopment.

Qualitycontrolandqualityassurance.


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studyIngInaresearChenvIronMent

7.1 hfm

7.1.1 Theevolutionofresearchenvironmentswithininstitutionsinvolvedwithpracticalmusic-makingisa

topicthatisbecomingincreasinglyimportantinbroadereducationalterms.IndesigningThirdCycle

studies,curriculumdevelopersneedtodevisestrategiesinwhichresearchenvironmentscanevolve

tomeettheneedsofbothstudentsandstaff.

7.1.2 Athrivingresearchenvironment includeswhatwemightcallh s e. h e-

aretheonesthattendto cometomindfirst whenthinkingabout aneffectiveresearch

environment;they are at thetopof quality control agendas andare more amenable toverifica-

tion.Amongthesewefind:researchstaffappropriatelytrainedandinsufficientnumber,adequatelyequippedresearchlaboratories,cooperationagreementswithotherinstitutions,appropriatetrain-

ingprogrammesanddiscoursevenuesforyoungresearchersandqualitycontrolprocedures.

7.1.2.1 The s e havemore todowithwhatmaybe referredtoas the learningandresearch

cultureofaspecificgroupofpeopleororganisation.Herewearelookingonlyattheconservatoire

context.

7.1.2.2 Ingeneral,studentsandteachersshouldbe informedabouttheresearchissuesunder investiga-

tionintheirhomeinstitution.Thisrequires andmutualexchange

betweenresearch,musicmakingandteaching.Inmanycases,thiswillbefacilitatedbysomemem-bersoftheconservatoirewearingdifferenthatsatthesametime,byworkingintheinstitutionnot

onlyinresearch,butalsoasteachersandasperformersandcomposers.Itwillalsobehelpfulifthe

differentactivitiesareplacedunderthesameroof.Thereshouldbeasfewspatialandpsychological

hurdlesaspossiblebetweentheareasofteaching,performingandcomposingandresearching.Just

asinathrivingconservatoireinstrumentalteachersandstudentsshouldfindit easytoapproach

theircolleaguesintheory,forinstance,sotheyshouldfinditeasytoapproachthoseinresearchand

viceversa.Measurestocreateandextendthegeneralresearchawarenessmightincluderegular

presentationsofresearchwork(notunliketheregularstudyconcertsofstudentsandfacultycon-

certsbyteachers)aswellasopportunitiesforstudentstoparticipateinresearchprojects.

7.1.2.3 Opencommunicationandmutualexchangeofresearchideasaremadepossiblebythefactthatthe

membersofaresearchenvironmentareembeddedinandshapetheirown .

Aconceptuallandscapeisaclusterofideas,questions,debates,theories,methods,andresearch

designs.Take,forinstance,theconceptofperformance.Thisconceptislikelytofigureprominently

intheconceptuallandscapeofmusicresearch.Therewillbetheoriesofperformance,aboutitsna-

ture,itsfunctionanditshistory.Typically,aresearchercanpointtoideasasbelongingtoacurrent

debate,asbeingacceptedbythemajorityofresearchersinthefield,ascomingincreasinglyunder


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attack,orasbeingnolongeraccepted.Theoriescanbeconsiderednew,influential,innovative,or

old,traditional,obsolete.Suchnotions,too,belongtotheconceptuallandscapeofaresearchen-

vironment.Anditisessentialforthemembersofaparticularresearchenvironmenttobefluentintheuseofthem.Conceptuallandscapesaredynamic:theyarecreated,changedanddevelopedby

themembersoftheresearchenvironment.Researchjournalsandconferenceswhereresearchers

publiclyexchangeinformationanddiscusseachothersviewsplayalargeroleinshapingthem.

Generally,conceptuallandscapesfunctionasastimulustoresearchbyfosteringunderstandingand

communication,bydelineatingdebatesanddefiningresearchfronts.Buttheycanbecomeanobsta-

clewhentheirconcepts,distinctions,classificationsetc.fossilizeintosedimentedopinionsinstead

ofencouragingthecriticalexaminationoflongcherishedassumptionsandtheoriesaswellasnew

impulsesandideas.

7.1.2.4 Perhapsthemostimportanttraitofmembersofa thrivingresearchenvironmentisthestorejectclaimsandtheoriesthatarebasedmerelyonauthority.Inthearts,theconcept

ofauthorityplays,at leastimplicitly,a largerole.Justconsidertherelationshipbetweenteacher

andstudentinconservatoires.Itisoftenthatofmaster-and-disciple:themastertells(usually)the

studentwhattodoandhowtodoit,andthestudentfollowsobedientlywiththelikelyconsequenceof

presentingahigh-levelproductbythecurrentconservatoirestandards.Butthepossiblesideeffects

arenottobeneglected:unquestionedandunexaminedideasanddoctrines;thetendencytoclone

mastersinsteadofexploringnewavenues.Aproperattitudeinaresearchenvironmentistotakean

investigative,scepticalstancetowardsleadingopinions.Thisshouldnotbemisunderstoodasaplea

againstauthoritiesorleaders.Butwhatwehavetodoisrecogniseauthorityforwhatitisanddetect

itsmisuse,beitinteachingortheorizing.

7.2 Fim

7.2.1 Athrivingresearchenvironmenthashardandsoftelements.Butsuchanenvironmentisnotsome-

thingthatcomesintoexistencebyitself.Merelyhiringafewresearchers,givingthemtheproper

infrastructureandbudgetandthenwaitingforgreatthingstohappen,isnotthemostpromising

method.Athrivingresearchenvironmentissomethingthatneedstobebuiltandconstantlyworked

upon.Anditisespeciallythesoftelementsthatrequirepatience,intelligentcareandwisdom.

7.2.2 Scepticism,empiricism,risk-taking,intellectualhonestyandself-confidencearevirtuesofafertile

researchenvironment.Ahealthyresearchenvironmenthasenemies:frettingaboutmoneyandbu-

reaucraticproceduresimposedbythegovernment,justtomentiontwoofthemorestressingones.

Butwehaveachancetodealsuccessfullywithsuchthreatsifwetaketheintellectualvirtuesseri-

ously.Theprizeofthisisthepotentialforinstitutionalgrowthatalllevelsofstudy,sinceavibrant

researchenvironmentwillbenefitthewiderartisticandacademiccommunity.


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8 ConClusI on

8.1 CurriculumdevelopmentinThirdCycleStudiesinMusicHigherEducationisinaverydynamicstatewithintheEuropeanHigherEducationArea.Thoseinvolvedinthisworkhaveagenuineopportunity

toinfluencethefutureofmusiceducation,scholarshipandperformance.This,inturn,maycreate

opportunitiesforstudentstoreachtheirpotentialinfresh,newways,aswellasexcellinginthose

areasthataremoretraditionallypartofMusicThirdCycletraining.

8.2 Sincemuchofthisworkisstillat anearlystage,readersaredirectedtotheAECWebsite,where

muchoftheinformationoncurriculumdevelopmentishoused.Inparticular,the sy t-

g fg m hg eisofusetothosewhoneedtotakecaretorelatetheThird

CycletoFirstandSecondCycle.AGlossaryofTerms,whichmaybehelpfulforterminologywithinthis

guidethatisunfamiliaircanbefoundatwww.bologna-and-music.org/glossary.

8.3 ItishopedthatThirdCycleStudiesdesignedwiththeprinciplesofthisGuideinmindwillhavethe

effectofencouragingsophisticatedand student-centredreflection,planningand implementation.

Thevitalityoftheresearchenvironmentthatcanresulthasthepotentialtobenefittheinstitutionas

awhole,and,inturn,thewholefaceofHigherMusicEducation.


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appendICes


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appendIxa

InForMatIonsourCes

ForthosedevelopingnewThirdCycleprogrammeswithininstitutions,itcanbehelpfultostudycon-

sultationdocumentsthatbuildupapictureofhowEuropeanpolicyhasdevelopedinthisareaover

thepastseveralyears.Thelinksbelowcalluponlinesourcesofinformation.Cautionshouldbe

usedinconsultingthismaterial;thesituationrelatingtoEuropeandtheBolognaProcessatthetime

ofwritingisinaconstantstateofchange,soitisimportantduringtheprogrammedevelopmentto

searchoutthemostup-to-datematerialavailable.

t p t cy wg G

www.polifonia-tn.org/3rdcycle

t bg d p

TheAEConlineBolognahandbook:www.bologna-and-music.org

OfficialBolognawebsite:http://www.ond.vlaanderen.be/hogeronderwijs/bologna/

TheEUAandBologna:http://www.eua.be/index.php?id=36

t eua szg c d pg

http://www.eua.be/index.php?id=187

t eua n c d pg

http://www.eua.be/index.php?id=121&type=98

t l sgy eu http://ec.europa.eu/regional_policy/themes/lisbon/lisbon_en.htm

http://www.europarl.europa.eu/summits/lis1_en.htm


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u kg

AHRC.(2003).ReviewofResearch Assessment. Research intheCreative andPerforming Arts.

http://www.ahrc.ac.uk/images/4_92883.pdf

Andrews,Stuart& RobinNelson. (2003).Practiceas research:regulations,protocols and

guidelines.http://www.palatine.ac.uk/files/903.pdf

RAE.(2005).RAE2008GuidanceonSubmissions.

http://www.rae.ac.uk/Pubs/2005/03/rae0305.pdf

UKCGE.(1997).Practice-BasedDoctoratesintheCreativeandPerformingArtsandDesign. http://www.ukcge.ac.uk/publications/reports.htm

UKCGE.(2001).ResearchTrainingintheCreative&PerformingArts&Design.

http://www.ukcge.ac.uk/NR/rdonlyres/07850CCD-371A-46CD-976A-27817FD007EB/0/

CreativePerformingArts2001.pdf

usa

NASM.Handbook2005-2006.http://nasm.arts-accredit.org

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appendIxB

thIrdCyCleprograMMedevelopMent Issues

(survey00)

ThepresentationofthefollowinginformationisbasedontheresultsofanAutumn2006questionnaire

circulatedintheframeworkofthePolifoniaprojectto40Europeanprofessionalmusictrainingin-

stitutionsthatofferThirdCyclestudies:AUSTRIA(3),BELARUS(1),BELGIUM(1),CZECHREPUBLIC

(2),ESTONIA(1),FINLAND(1),GERMANY(6),IRELAND(1),LATVIA(1),LITHUANIA(1),MACEDONIA

(1),NETHERLANDS(3),NORWAY(1),ROMANIA(3)SLOVAKIA(1),SPAIN(1),SWEDEN(4),TURKEY(2),

UNITEDKINGDOM(6).

Thoseinstitutionswereaskedsomeadditionalquestionsaboutthenatureandthepracticalitiesof

theThirdCyclestudiestheyoffer.Theresultsareimportantinrelationtotheissuesexploredhereandwillgivecontextsforthecreationofnewprogrammes.

Inthe2006Surveymaterial,themajorityofthematerialdescribesthecurrentstatusquo,rather

thanspecifyingwhatmightbeanidealwayforward.Itformsakindofsnapshotofthesituationat

thetimeofwriting.ItisimportantthatthisbackgroundoftheevolutionofThirdCyclesisunderstood,

butitisnotproposedthatthestatusquoshouldnecessarilybemaintained;indeed,evolutionof

thoughtwithineducationisvitaltokeepitaliveandthriving.

ThoseinvolvedwithdevelopingThirdCyclestudiesareconfrontedwitha seriesofpracticalques-

tions,suchastheg gandtheg g.Infact,thereisnouniformdenomination of Third Cycle studies in music in Europe. Some are called PhD Studies,

othersresearchstudies,doctoralstudiesorPromotionsstudiengang,tomentionbutafewofthe

morecommontitles.Whatis notableis thatmostThirdCyclestudiesdonotrefertomusicinthe

name.Theactualdegreetitlesawardeddifferaswell,althoughthereismoreuniformitythaninthe

nameofthestudies.Typically,thetitleofagraduateofaThirdCyclestudyinmusicisDr.,thequali-

ficationcanbeaPhD.OthertitlesareDMusorArtD.

HowlongshouldaThirdCycleprogrammetaketocomplete?Researchhasshownthaty -

variesamonginstitutions.Itreachesfrom2yearsupto8yearsinfull-orpart-timestudies.The

averagedurationoffull-timestudiesis3-6years.MostoftheofferedThirdCyclestudiescanbe

studiedpart-time,whichextendsthelengthofthestudyfromonemoreyeartoevendoublethetime

insomecases.Theaveragedurationofpart-timestudiesis5-6years.

f needstobeveryclearlycommunicatedtoprospectivestudents.Again,thefee-levy-

ingpracticesinEuropearenotuniform.Approximately,60%ofinstitutionsaskforafee.Theamounts

arehighlydivergent.Designatedfeescoveradmissionexamfees,enrolmentfeesandtuitionfees,

part-timeandfull-timestudyfees,feesfornationalstudents,forstudentsfromEUcountriesand

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nonEUcountries.Therearefeesthatclearlydonotcovertheamountofmoneythatthestudentcosts

theinstitution1and,ontheotherhand,therearefeesthatrangeuptoover14.000ayear2.

Provisionofcanmakeanenormousdifferencetostudentrecruitmentandretention.In

twothirdsoftheinstitutionsthatofferThirdCyclestudies,scholarshipsareavailable.Curriculum

developersshouldalsoconsiderstudentfundingthroughgraduateteachingassistantships,research

fellowships,projectworkorsimilarmeans.Existingscholarshipprovisionismoreorlessfundedby

governmentalbodies.Ingeneral,thefundingreliesheavilyonthestateinmostofthecountries.

Someinstitutions,however,haveasystemofintegratingtheirThirdCyclestudentsintheinstitutions

researchandteachingwork3.

aforThirdCyclestudiesareverycarefullyselected.Theyundergoextensive

andhavetodemonstrateaveryhighlevelofproficiencyintheirfieldofstudy.GeneraladmissionrequirementsformostThirdCyclestudiesinmusicare:

1. Anextensiveapplicationform.

2. AMastersdegree,thoughinsomecasesanequivalentissufficient(professionalexperience).

3. Researchproposal/portfolio.

4. Aninterview.

Someinstitutionsadditionallyrequireoneofthefollowing:

5. Admissionexamand/oraudition.

6. Professionalexperience.7. Languageskills.

8. References.

ManyinstitutionsoperatetheirThirdCyclestudiesthrougha g.Thiscansolve

bothvalidationandresourceproblems.Differentkindsofcooperationexist:

1. Institutionscooperatebecausetheconservatoiredoesnothavethelegalpositiontoawardthe

ThirdCycledegree.

2. Institutionscooperateforsinglecourses.

3. Institutionsallowforsupervisionfromotherinstitutions.

4. Institutionscooperatetofacilitatestudentmobility.

5. Institutionscooperateinauniquewaye.g.OrpheusInstitute,Gent.

1 AustrianUniversitiesofMusic,forexample,receiveastudyfeeof363,36pertermfromeverydoctoralstudent.

2 BirminghamConservatoirestudyfeeforoverseastudents.

3 ExamplesaretheJanacekAcademyofMusicandPerformingArts(Brno,CzechRepublic).UniversitataeNationaladeMuzica

Bucuresti(Bucharest,Romania)orSwedishinstitutionsthatofferThirdCyclestudentsfull-timepositions.

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ManyinstitutionsofferingaThirdCycledonothavethelegalrighttoawardthedoctoralqualification

withintheirwalls,butrelyupon .Thecooperationintheframeofsinglecoursesorsu-

pervisionshowsthatsomeinstitutionsallowtheirThirdCyclestudentstogatherexpertisewhereveritisoffered.Especiallyatthislevelofhighereducation,specialisationisrequiredtobeabletooper-

ateontheforefrontofthefield.Thisconcernsstudentsaswellasinstitutions.

Thespecialrequirementsofadvancedstudyinmusicmeanthatthemajorityofsuchinstitutionsoper-

ate ofcompulsorycourseelements.Thesecoursesincludespecificseminars

forThirdCyclestudents,someofwhicharealsomeantasanopportunityforinformationexchanges,

courseson methodology, music related courses (includingperformance).Languagecoursesand

pedagogy/psychology,presentationandcommunicationtrainingandphilosophycoursesarealsoim-

portantcomponents.Institutionsshouldalsoconsiderinclusionofinformationtechnologycourses,

wheresuchcoursescanbeofbenefittoThirdCyclestudents.

Anoverviewofthe y forexistingThirdCycleprogrammesinmusicshowsthe

followingresult:

SpecificThird-Cycle( individual)seminars 31%

Methodology 17%

Musicrelated(includingperformance) 17%

Language 10%

Pedagogy/Psychology 10%

Presentation/Communication 7%

Philosophy 6%

Informationtechnology 2%

Theseminarcategorythatscoreshighestaccordingtotheabovedisplayedlisthasbeensetupas

acommoncategoryforthespecificThirdCyclecoursesthathavenotbeendefinedinmoredetail.It

cancompriseelementsofthelessfrequentlymentionedcoursetopicsorberelatedtothestudents

inquirytopicandthereforeindividualtoeachdoctoralcandidate.

Asdiscussedin4.,g isakeyconsid-

erationforcurriculumdevelopmentteamswhowishtocreateinnovativeThirdCycleprogrammes.

ThemajorityofThirdCyclestudiesofferedinhighermusiceducationinstitutionsareacombination

ofresearchandartisticpractice,whichindicatestheimportanceofhavingaclearpictureofwhat

thismeansintermsofcontent,outcomeandevaluationstandards.Asarule,institutionsgivepro-

nouncedattentiontothestudentsartisticdevelopmentduringThirdCyclestudies.Morethantwo-

thirdsoftheinstitutionsdeclaretheydoso,whichmeansthatthishappenseveninsomestudiesthat

arespecificallyresearch-basedonly.

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38

svremainsthekeyteachingmodalityatThirdCyclelevel,andcurriculumdevelopersneed

toconsiderthisaspectofprovisionverycarefully.Differingpatternsofsupervisionarepossible.Re-

searchshowsthatmorethanhalfofinstitutionsoffertheirThirdCyclestudentssupervisionthroughasinglesupervisor.In31%ofthecases,thestudentsaresupervisedbyatleasttwopeople,oftenby

aresearchandanartisticsupervisor,aninternalandanexternalsupervisororamaintutorandan

assistanttutor.Inabout15%oftheThirdCyclestudies,studentsaresupervisedbymorethantwo

people.Mostinstitutionsallowteamsupervision,andthiscanbeaveryempoweringapproachfor

bothstudentsandstaff.Insomecasesthereisageneralsupervisorandaspecialistsupervisorwho

isanexpertinthefieldofstudythatthestudentisinvestigating.

Supervisionsusuallyconsistofregularmeetingswiththesupervisor(s). fqy v

isvariable,andshouldbeflexibleinordertobestmeetstudentneedswithoutbeingwastefulofthe

resourceofstafftime.Someinstitutionsofferthemostintensivesupportintheinitialphaseofstud-ies,withmoreautonomyexpectedatlaterstages.Itcanbeveryhelpfultoindividualstudentsifthere

isaregularpossibilitytodiscusstheirworkandprogresswithateamofpeersand/oracademicstaff

involvedinresearchandThirdCyclework.

Inmorethanhalfoftheinstitutionsthestudentisinvolvedintheprocessof,orsolelyresponsiblefor,

g v(s).IntheothercasesitisacommitteeoraThirdCycle/researchcommis-

sionthatchoosesthesupervisor(s)ortheHead/Dean/ChairoftheFacultyorResearchDepartment.

Curriculumdevelopersneedtocomplywithinstitutionalregulations,althoughtheparticipationof

studentsatthislevelishighlydesirable.

a v(s)usuallyinvolvesinterfacingwithofficialbodies,andtheseproc-

essesneedtobeclearlyunderstoodwithintheprocessofcoursedesign.Thesupervisor(s)are,in

mostcases,notappointedbythesamebodythatchoosesthem.Forexample,theappointmentisin

onesinglecaseamatterfortheMinistryofEducationandResearch4.Inanothercase,allstaffmem-

berswithaThirdCycledegreeappointsupervisor(s).Insomecases,thisisataskofaspecialboard

butinmostcasesthesupervisor(s)areappointedbysenioradministrativestaff.

Mostsupervisorshavetobeteachingstaffmembersintheinstitutionswherethestudentstudies.

SometimessupervisorsadditionallyneedaPhDorThirdCycledegreethemselvesorequivalentar-

tisticexperience.Insomecases,theyarenotrequiredtobeteachersbutcanalsoberesearchers

only,holdingaThirdCycledegree.Someinstitutionsallowsupervisiononlybystaffmembersthat

alreadyhavesupervisingexperience;thisisusuallyconnectedtoteamsupervision,wherenotevery

supervisorhastobequalifiedinthesameway,butisusuallyaspecialistinhisownfield.Insome

exceptionaloccasionsanexternalconsultantcanbeallowedtosuperviseandischosenaccordingto

his/heroutstandingexpertise.

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Prof/Universityteacher PhD/Dr. Both

45% 16% 39%

Tableshowsqualificationrequirementsforsupervisors.

RequirementsforthosegThirdCyclestudentsaresimilartothequalificationssupervisors

musthave.AThirdCycledegreeisnotalwaysnecessarytoteachThirdCyclestudents.Inaddition,

externalexpertsaresometimesinvitedtolecturetoThirdCyclestudents.Theexternalexpertsusu-

allyarenotrequiredtohaveacademicqualificationsbutequivalentqualificationslikecareerexperi-

ence.

i a ggisamandatorycomponentofmany,thoughnotall,doc-

toraldegreeprogrammes.Inprogrammeshavingthisstructure,thereisastageathigherMasterslevel(e.g.MPhil,MMA)ofoneyearsdurationthatprecedesanexaminationprocessinwhichthe

studentattemptstobeupgradedtofulldoctoralregistration.Thisinterimexaminationusuallyin-

volvespresentationofwork-in-processtoaPanelcomposedofmembersfrominsideandoutside

theinstitution.Studentswhodonotpassthisexaminationareusuallygivenanotheropportunityto

attemptit,afterwhichtheyareeitheradmittedtofulldoctoralregistration,orinstructedtocomplete

theirMasterslevelstudy.

p, f ex/p:Therecurringcomponentsofthefinalexaminationare

athesisandanartisticpresentation.NearlyallThirdCyclestudiesinmusicforpromotionrequire

athesisandapublicdefenseofit.Thisseemslogicalforscientifically-orientedThirdCyclestudies.Moreover,ThirdCyclestudiesthathaveanartisticemphasisstipulatethatcandidatesdemonstrate

non-verbalisable outcomesof theirdoctoral research throughconcerts, workshops, lecture-per-

formancesandsoon,asidefromthewritingofathesiswhichhastobedefendedinpublic.Thereare

fewvariationsofthisconceptthatfittheartisticpurposebehindbutcombineitinasensitivewaywith

researchorinquirythatmayneedaspecialmodeofpresentationtotheexaminationboardinafinal

presentation.Intheory,thenatureofaThirdCyclequalificationinmusiccouldbepurelyscientific

(musicology),oracombinationoftheoryandartisticpractice.

Thefinalproposalasto which ismostappropriatetoastudentsworkneedsto

beagreedbetweenthestudentandher/hissupervisorsandsubmittedtotheResearchDegrees

Committee(orequivalent).Appropriateproceduresneedtooperateinthepresenceofperformance-

centredand/orpractice-basedworkwithinasubmission,ofteninvolvinginterrogationofastudents

researchprocessesthroughouther/hisprogrammeofstudy.Candidatesaregenerallyexaminedvv

vontheirsubmissions.

f x areusuallycomposedofacombinationofinternalandexternalmembers,

forartisticandacademicprobity.Asubstantialamountofpanelsarealsocomposedofinternalex-


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40

aminersonly.Onlyonepanelinonerespondinginstitutionconsistsofexternalevaluatorsonly.Most

committeesarecomposedofthreepeopleormore,butmayhaveuptotwelvemembers.

Forthemostpart,the q inthefinalexamisanacademicone.

Theyareprofessorsorseniorteachingstaffmembersinhighereducationinstitutions.Sometimes

practicalexpertscanbeinvitedtotakepartinthecommittee.Studentsdousuallynottakepartin

thecommittee.Onlyoneinstitutiondeclaredthatthisisthecaseintheirfinalevaluationcommittee.

Thesupervisorofthestudentissometimespartofthepanel,sometimesonlyallowedtobepresent

withoutavoiceinthefinaldiscussion.

PossessionofaThirdCyclequalificationinmusiccanhaveaprofoundlypositiveeffectoncareerop-

portunities(v ).Inmanycases,itsattainmentisnecessaryinordertobepermittedtolecture

atthehighereducationlevelorbecomeaprofessor.InmanyinstitutionsaThirdCyclequalificationisrequirednotonlyforscientificteachingatuniversitylevelbutalsoforthepositionofartisticpro-

fessor.AllinstitutionswherethisappliesofferaThirdCyclethatisacombinationofresearchand

artisticpractice.Inamajorityofcases,acompletedThirdCyclehasapositiveeffectonthesalary

oftheteacherholdingaThirdCycledegree.ForinstitutionsembarkinguponthecreationofaThird

Cycleforthefirsttime,understandingcivileffectisimportant,sinceitcancreatetheneedfornew

recruitmentofstafftrainedtoThirdCyclelevel,andthuscausestrainonfundingresources.Itcan

alsocauseinternalstrainwithstaffmemberswhodonotpossesssuchqualifications,butwhowish

toteachatThirdCyclelevel.Inthiscase,staffdevelopmentopportunitiesneedtobeconsidered.

Qy aisanimportantcomponentoftheBolognaDeclarationProcess.Theimportanceofthissubjectisbasedontheunderstandingthatifhighereducationalprogrammesaretobecome

more comparable andrecognised at European level,themechanisms for theassurance anden-

hancementoftheseprogrammesshouldalsohavehigherlevelsofcomparabilityandcompatibility.

Wheretheydonotalreadyexist,qualityassuranceandaccreditationagenciesarecurrentlybeing

establishedinvirtuallyallBolognacountries,whilestandardsandproceduresarebeingdeveloped

atEuropeanlevel.Formusicians,it isimportanttoensurethat thespecialcharacteristicsofpro-

fessionalmusictrainingaretakenintoaccountwhensuchstandardsandmethodologiesarebeing

formulated.

Within theproject AECProjectAccreditationinEuropean Professional Music Training, a frame-

workdocumenthasbeendevelopedbyaEuropean-wideworkinggroup,whichcontainssuggestions

andguidelinestosupportqualityassuranceandaccreditationproceduresinhighermusiceducation.

Thedocumentisdesignedtotakeaccountofthefactthatqualityassuranceandaccreditationcan

involvemanydifferentstakeholdersandmaytakeplaceindifferentcontexts.Asaresult,thepro-

posedframeworkdocumentcanbeusedinahighlyflexiblemanner,takingintoaccountthediversity

ofsystemsandapproachestoqualityassuranceandaccreditationinhighereducationthatexistin

Europetoday.Thebasicassumption,however,isthateverythingwritteninthisdocumentisbasedon


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41

athoroughunderstandingofthecharacteristicsandneedsofthehighermusiceducationsector.The

documentshouldthereforebeabletoassistAECmemberinstitutionsinrelationtoqualityassurance

oraccreditationproceduresandtheirqualityenhancementactivitiesonall3cycles.

i:TheuseofECTS(EuropeanCreditTransferSystem)creditshasbeenagreed

uponin theframeworkoftheBolognaDeclarationProcess.However,it isstillnotcustomaryto

usecreditsforThirdCyclestudies.Inthefewinstitutionsthatdomakeuseofthissystem,thetotal

numberofcreditsrangesbetween120-240credits.

Some institutionsmaybrokerpartnershipagreementsbeyondtheEuropeanspacetoimplement

theirThirdCycle programmes.Theprincipalchallengewith this is todevelop mutually compati-

blevalidationandqualityassuranceprocesses.However,thereareindicationsthatsuchjointpro-

grammeswillbecomemorecommoninthefuture.

Thea p ex lg(APEL)isanimportantconsiderationforinstitu-

tionsgrantingdegreesinvolvingpracticalmusicmaking.Sincetheexperienceofmanystudentsen-

teringsuchprogrammeswillhavecomefromprofessionalwork,itislaudablethatthisworkshould

beconsideredaspartofthestudentsoverallprofile.Wheresuchexperienceisrelevantandverifi-

able,thereshouldbeapossibilitytocreditsuchattainmentwithintheThirdCycleprogramme.


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42

appendIxC

exaMplesoFoFFICIalQualItyassuranCe

doCuMentatIonForthIrdCyClestudIesvalIda- tIons:ratIonale,resourCes,revIew,studenthand

Book

(not applicable to all institutions, but presented for information)

WhereinstitutionsarelaunchingThirdCyclestudiesforthefirsttime,aProgrammeValidationproc-

essthatmeetstheregulatoryneedsofboththeinstitutionanditsgoverningbodieswillneedtotake

place.Thisprocessandits associateddocumentationwilldifferfrominstitutiontoinstitution,but

generallyinvolvesaprocessofprogrammedevelopment,auditingandexternalscrutinypriortothe

approvaloftheprogramme.Curriculumdevelopersmustworkcloselywithallbodiesofgovernanceinordertoassurethatthespecificrequirementsforvalidationaremet.

Inmanyinstitutions,ar scanbeahelpfulintroductiontotheprocessofvalidation.

Thisstatementshouldsetoutclearlythereasonsfordevelopinganewprogramme,theplaceofsuch

aprogrammewithintheinstitutionalstrategy,itspotentialprofilenationallyandinternationallyand

thekindsandnumbersofstudentsthattheprogrammemayattract.WhereThirdCyclestudieshave

notexistedpreviously,itisimportanttowritethedocumentinsuchawaythatstaffandstudentstak-

ingFirstandSecondCyclestudiescanseetherelevanceofaThirdCycletotheirownexperiences.

Thestatementshouldalsooutlinelong-termaimsforThirdCyclestudies,andthegeneralstrategies

tobedevelopedinsupportofsuchaims.

ThirdCycleprogrammeswithinanyinstitutionneedtobebothfinanciallyviableandcapableofbe-

ingimplementedwithoutdeleteriouseffectsuponotherimportantprovisionwithintheinstitution.

Toprovethis,manyinstitutionsrequirea r sthatoutlinesboththecurrentpro-

grammeprovisionintermsoffinancialandphysicalresources,andmakesprojectionsforwardto

accountforfuturedevelopment,usuallyonatime-scaleoffiveyears.Themanagementteamofthe

institutionwillneedtoapprovetheResourceStatement,aswillcertainnationalgovernmentswith

directinstitutionallinks.

Apg rv dshouldbewritten,thatdescribesindetailthemannerinwhichthe

programmewilloperate,includingitsdailymanagement,thecurricularstructures,unitdescrip-

tions, examinationprocessesand regulations.The validationdocument shouldaddressstaffand

studentfeedbackabouttheproposedprogramme,andaddressanyquestionsraisedduringtheproc-

essofgatheringthisfeedback.

Atthecompletionofthevalidationprocess,theProgrammeReviewDocumentcanbecomethebasis

forthes h,whichshouldcontainalltheorganisationalinformationthatastudentwill

requireforthecourseoftheprogramme,andbecomestheprincipaldocumentforthedailyopera-

tionoftheprogramme.


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c e ogg pg rv

a mgprocessesoperatewithinmostinstitutionsofferingThirdCyclestudies.Thisin-cludestheannualanalysisofcohortstatistics(i.e.numbersofstudentsgraduating,numberswho

havenotpassedtheirexaminationsandsoon),gatheringofannualfeedbackfromstaffandstudents,

managerialconsiderationof changestobe implementedwithintheprogramme,andthedevelop-

mentofanannualactionplanfortheimprovementofthestandingprogramme.Allthisinformation

shouldbegatheredandanalysedwithinaunifiedAnnualMonitoringReport,completedatthesame

timeeachyear,andpresentedforconsultationandapprovaltointernalandexternalbodiesgovern-

ingtheThirdCycleprogramme.

BecauseoftheinnovativenatureofThirdCyclestudiesinmusic,s dvisimportantto

enhancetheresearchenvironmentandtomaintainhighstandardsofteachingandlearningwithinprogrammesthatareworkingatthevanguardofmusicresearch.Staffdevelopmentcanbecar-

riedoutasteamevents(e.g.staffdiscussionsaboutassessmentcriteriarelatingtoperformance)

andcanalsoinvolvetrainingtailoredtoindividualneedsandaspirations.Staffdevelopmentactivity

shouldalsobereporteduponwithintheAnnualMonitoringReport.

Qq/ voftheentireThirdCycleprogrammeisnecessaryinordertomaintain

standardsandtocreateaspaceinwhichlarge-scaleprogrammeinnovationsmaytakeplace.Such

processesusuallyreplicateinitialvalidationsintermsofthedocumentationproducedandthekinds

ofscrutinytowhichtheprogrammeissubjected.


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Association Europenne des Conservatoires,

Acadmies de Musique et Musikhochschulen (AEC)

PO Box 805 NL-3500AV Utrecht The Netherlands

Tel +31.302361242 Fax +31.302361290

Email [email protected] Website www.aecinfo.org

aec handbook - guide to third cycle studies in higher music education - en

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