AEC POP & JAZZ Platform Meeting 2015

Transcription

1 AEC POP & JAZZ Platform Meeting 2015 AEC: the leading voice for Higher Music Education in Europe Valencia, February 2015 Introductory session for firsttime delegates AEC Pop & Jazz Platform Meeting

2 The AEC Vision, Mission and Aims Events Organisational structure What can AEC do for you?

3 AEC Vision and Mission to be the leading voice for European Higher Music Education and a powerful advocate for all that is best in it throughout the world working for the advancement of European Higher Music Education and, more generally, of music, the arts and culture in contemporary society and for future generations

4 AEC Aims and Objectives Support and Information for Members Events and Networking External Links Advocacy

5 AEC Aims and Objectives Support and Information for Members: Addressing the needs, wishes and priorities of its member institutions while providing informed advice that helps to shape those priorities in the direction of advancing European Higher Music Education as a whole Events and Networking: Providing a range of platforms for the exchange of experiences and ideas between member institutions and for the identification and sharing of best practice in European Higher Music Education

6 AEC Aims and Objectives External Links: Connecting member institutions with other organisations and individuals in Europe and internationally who are active in areas relevant to the advancement of European Higher Music Education Advocacy: Representing and advancing the interests of the Higher Music Education sector at national, European and international levels

7 AEC Events Annual Congress: representatives of all member institutions meet to discuss specific themes, to exchange information and to broaden their professional and personal networks Annual Meeting for International Relations Coordinators: forum for conservatoire staff dealing with student and teacher exchanges

8 AEC Events Workshops, seminars and platforms on specific subjects: Pop & Jazz Platform Early Music Platform European Platform for Artistic Research in Music (EPARM)

9 AEC Organisational structure General Assembly (All AEC members))

10 AEC Organisational structure AEC Council (12 representatives +1) General Assembly (All AEC members))

11 AEC Organisational structure AEC Council (12 representatives +1) General Assembly (All AEC members)) AEC Chief Executive and AEC Office Team

12 AEC Organisational structure AEC Council (12 representatives +1) General Assembly (All AEC members)) AEC Chief Executive and AEC Office Team Pool of volunteers taking part in AEC Developmental Working Groups

13 AEC Organisational structure AEC Council (12 representatives +1) General Assembly (All AEC members)) AEC Chief Executive and AEC Office Team Pool of volunteers taking part in AEC Developmental Working Groups

14 AEC Council 2015 President: Vice-Presidents: Secretary General: Council Members: Pascale de Groote, Antwerp, Belgium Eirik Birkeland, Oslo, Norway Georg Schulz, Graz, Austria Jörg Linowitzki, Lübeck, Germany Harrie Van Den Elsen, Groningen, Netherlands Kaarlo Hilden, Helsinki, Finland Deborah Kelleher, Dublin, Ireland Grzegorz Kurzyński, Wroclaw, Poland Claire Mera Nelson, London, UK Jacques Moreau, Lyon, France Antonio Narejos Bernabéu, Murcia, Spain Evis Sammoutis, Nicosia, Cyprus

15 AEC Jeremy Cox Chief Executive Office Team Sara Primiterra Events Manager Nerea López de Vicuña Office Coordinator Linda Messas General Manager Ángela Domínguez Polifonia Project Manager Bárbora Vlasova Polifonia Project Coordinator Beatrice Miari Student Intern Jef Cox Student Intern

16 What can AEC do for you? Strength in Numbers: nearly 300 members Information sharing: AEC Website and database Getting together: Annual Congress IRC meeting Platforms Breaking new ground: engaging pro-actively with HE reforms, especially through projects Publications: handbooks for member institutions and the staff working in them

17 What can AEC do for you? Counselling & advice: harnessing the specialist knowledge now held amongst its members Quality Enhancement & Accreditation: specially tailored quality enhancement procedures and a new independent QE and Accreditation agency Reaping the benefits: special members rates and an exclusive members domain on the AEC website

18 Thank you, and enjoy the meeting! Visit

19 AEC POP & JAZZ Platform Meeting 2015 AEC: the leading voice for Higher Music Education in Europe Valencia, February 2015 Introductory session for firsttime delegates AEC Pop & Jazz Platform Meeting

20 AEC POP & JAZZ Platform Meeting 2015 AEC: the leading voice for Higher Music Education in Europe Valencia, February 2015 Welcome everyone AEC Pop & Jazz Platform Meeting

21 Musical Introduction Drones Over Valencia" multimedia composition and performance by Francisco Rafart 12-string stick guitar & Orbit controller

22 Opening Remarks by: STEFAN HECKEL PJP Chairman

23 Opening Remarks by: MARIA ITURRIAGA and BRIAN COLE Berklee Valencia

24 Opening Remarks by: GEORG SCHULZ Kunstuniversität Graz AEC Vice-President

25 Opening Remarks by: JEREMY COX AEC Chief Executive

26 Beehive 1 How do you address the issue of identities at your institution?

27 Plenary Session I Global Jazz: Seeking Diversity, Identity and Social Change Through Music and Its Audiences Presentation and Musical Performance by Danilo Perez, Keynote Speaker Q&A moderated by Brian Cole, Berklee Valencia

28 NETWORKING WITH REFRESHMENTS

29 The Berklee College of Music in Valencia by Maria Martinez Iturriaga

30 BAR CAMP 1 Introduction by Udo Dahmen and topics presentation and selection

31 BAR CAMP 1. How can the audience participate in new ways in concerts? Interact? Ola Bengtsson Royal College of Music in Stockholm

32 BAR CAMP 2. Dance music and Conservatoires Carlo De Wijs Codarts Rotterdam

33 BAR CAMP 3. The differences in educating (future) jazz-musicians and popmusicians. Giel Dekkers The Real Band, Amsterdam

34 BAR CAMP 4. The role of technology in popular music studies and performance Adam Martin Leeds College of Music

35 BAR CAMP 5. Education vs Industry Instrumentalist vs Creator/Writer Brian Zalmijn Codarts, Rotterdam

36 BAR CAMP 6. Transcultural music: are there limits to mixing? Frederic Deval Fondation Royaumont, Paris

37 BAR CAMP 7. The Musician and Entrepreneurship: how could/should AEC-PJP and the institutions involved carry on with this important theme after the termination of the corresponding AEC-Polifonia subproject? Jere Laukkanen Metropolia University of Applied Sciences, Helsinki

38 BAR CAMP 8. Academicism in Jazz and Real Life Teresa Lujan, Conservatorio Superior de Navarra, Pamplona

39 BAR CAMP 9. Inspiring students away from the class room. Discussing the role of the mentor away from the institute. Jamil Sheriff Leeds College of Music

40 BAR CAMP 10. What is most needed in teachertraining for jazz and pop? Simon Purcell Trinity Laban London

41 BAR CAMP 11. How to encourage women in Jazz and Pop studies Hannie Van Veldhoven HKU Utrechts Conservatorium

42 BAR CAMP And now VOTE! You received 10 post it Vote your favourite/s topic/s. The 6 most voted will be discussed in groups tomorrow NB: You will have the opportunity to discuss only one topic but you can vote for more than one

43 SPEED DATING MEET NEW COLLEGUES!

44 PRACTICAL INFORMATION Tonight 19:30 - Concert in Martin Soler Hall Free Evening (please see the List of Restaurants in the Reader) Tomorrow 9:00 - Posters, video and presentations of projects in the lobby of Martin Soler 9.25 Plenary Session in Martin Soler

45 AEC POP & JAZZ Platform Meeting 2015 AEC: the leading voice for Higher Music Education in Europe Valencia, February 2015 AEC Pop & Jazz Platform Meeting

46 Conservatoires as Innovators and Audience Developers: the PJP within the AEC s FULL SCORE Project Jeremy Cox AEC Chief Executive

47 Background to FULL SCORE A project under the new Creative Europe programme ( ) in the line Support to European Networks This line has three key aims: providing cultural and creative players with skills, competences and know-how that contribute to strengthening the cultural and creative sectors

48 Background to FULL SCORE enabling cultural and creative players to cooperate internationally and to internationalise their careers and activities strengthening European cultural and creative organisations and international networking in order to facilitate access to professional opportunities

49 Background to FULL SCORE FULL SCORE explicitly addresses the first aim in its full title: FUlfiLLing the Skills, COmpetences and know-how Requirements of cultural and creative players in the European music sector

50 Background to FULL SCORE FULL SCORE runs from September 2014 to the end of August 2017 Most of its outputs are closely linked to AEC s events, especially the Congress, IRC meeting and PJP Platform It also features a joint project with EAS and EMU on quality assurance

51 Objectives of FULL SCORE A. To strengthen and connect the levels and branches of the music education sector B. To strengthen and connect the quality enhancement frameworks surrounding all levels of music education C. To ensure a full and effective engagement of conservatoire leaders in the development of a European Agenda for Music

52 Objectives of FULL SCORE D. To help cultural and creative players to internationalise their careers and activities E. To share examples of innovative approaches F. To draw upon the perspectives of young musicians

53 Objectives of FULL SCORE A. To strengthen and connect the levels and branches of the music education sector

54 Objectives of FULL SCORE A. To strengthen and connect the levels and branches of the music education An action linking the Boards of all sector three organisations (AEC, EAS and EMU) and building future strategies

55 Objectives of FULL SCORE B. To strengthen and connect the quality enhancement frameworks surrounding all levels of music education

56 Objectives of FULL SCORE B. To strengthen and connect the quality enhancement A joint action frameworks with EAS and surrounding all levels of music education EMU on evaluation of the development of musicians skills, competences and knowhow spanning HME, pre-college ME and Music Pedagogy

57 Objectives of FULL SCORE C. To ensure a full and effective engagement of conservatoire leaders in the development of a European Agenda for Music

58 Objectives of FULL SCORE C. To ensure a full and effective engagement of conservatoire leaders An action engaging the views of in the development of a European conservatoire leaders in the Agenda for Music formation of a European Agenda for Music, in conjunction with EMC

59 Objectives of FULL SCORE D. To help cultural and creative players to internationalise their careers and activities

60 Objectives of FULL SCORE D. To help cultural and creative players to internationalise An action that will their provide careers the and activities network of IRCs with a new and more powerful information infrastructure, combining capacitybuilding sessions with the development of online tools for helping musicians and music teachers to internationalise their careers

61 Objectives of FULL SCORE E. To share examples of innovative approaches to genre diversification, contemporary orientation and cultural stimulation

62 Objectives of FULL SCORE E. To share examples of innovative approaches An action based to genre on a 3-year diversification, planned contemporary sequence of PJP orientation meetings, and cultural stimulation elaborating these themes in a connected and cumulative way and featuring a seminal joint meeting with EJN and IASJ in 2016

63 Objectives of FULL SCORE F. To draw upon the perspectives of young musicians to enrich the debate about engaging in new and innovative ways with audiences and facilitating access to professional opportunities

64 Objectives of FULL SCORE F. To draw upon the perspectives of young An action musicians that builds to enrich ambitiously the debate about upon engaging the AEC s action in new plan and for innovative student involvement (2013) and ways with audiences and facilitating embeds this within AEC events and access to professional opportunities activities for the period (work will include outreach to the European Student Union, European Youth Forum, European Music Council s Youth Committee, IMC Youth and Jeunesses Musicales International)

65 Audience Development Audience development is an important new priority in Creative Europe which helps European artists/cultural professionals and their works reach as many people as possible across Europe and extend access to cultural works to under-represented groups. It also seeks to help cultural organisations adapt to the need to engage in new and innovative ways with audiences both to retain them, to build new audiences, diversify audiences including reaching current "nonaudiences", and to improve the experience for both existing and future audiences and deepen the relationship with them.

66 Objective E: actions in Adopting a 3-year strategy (The Audience [Re-]engaged) to widen the scope of the AEC PJP meeting across this period Organising the first meeting of this strategic initiative Producing the first Platform bulletin Taking forward liaison with EJN and IASJ

67 Objective E: actions in Delivering jointly with EJN and IASJ a PJP platform on musical ecosystems and audiences, as part of the strategy The Audience [Re-]engaged Producing second Platform bulletin Implementing an agenda for continued cooperation with EJN and IASJ

68 Objective E: actions in Organising the final meeting of the 3- year strategy The Audience [Re- ]engaged, addressing the roles of contemporary musicians as cultural citizens and leaders Producing a final publication on audience development with reflections drawn from all three Platform meetings

69 Objective E: actions in Producing a new strategy for , including structured cooperation with EJN and IASJ

70 FUlfiLLing the Skills, COmpetences and know-how Requirements of cultural and creative players in the European music sector

71 FULL SCORE

72 Plenary Session II Music Performance "Beatrice by Sam Rivers (Arranged in Flamenco buleria style by Sergio Martinez) Wycliffe Gordon II tenor saxophone Yuri Storione piano George Lacson bass Sergio Martinez cajón

73 Beehive 2 How do you work with diversity at your school?

74 Plenary Session II Jazz, Pop and ME: connecting artists and audiences Panel Discussion Merlijn Twaalfhoven, Netherlands Muhammad Mughrabi, Palestine Scott Cohen (Orchard), US/Spain David Linx, Belgium Moderated by Hannie Van Veldhoven, Utrechts Conservatorium and Simon Purcell, Trinity Laban London

75 PRACTICAL ANNOUNCEMENTS We now go to the Cantina for Coffee Break, 11:30 12:00 World Café Discussion, 12:00 13:00 Bar Camp Topics Discussion 13:00 14:00 Lunch Cantina 14:00 15:30 you will be given a voucher at the entrance Activity Sessions 15:30 16:30, indicated on your badge Closing Session Martin Soler 17:00 17:45

76 NOW COFFEE BREAK! LET S WALK TO THE CANTINA

77 AEC POP & JAZZ Platform Meeting 2015 AEC: the leading voice for Higher Music Education in Europe Valencia, February 2015 CLOSING SESSION AEC Pop & Jazz Platform Meeting

78 Closing Session News From The VOCON, The Pop And Jazz Vocal Teachers Network

79 Closing Session Please fill in your PARTICIPANT QUESTIONNAIRE

80 Closing Session NEWS FROM THE AEC AND ITS PROJECTS: POLIFONIA AND FULL SCORE

81 AEC Council 2015 President: Vice-Presidents: Secretary General: Council Members: Pascale de Groote, Antwerp, Belgium Eirik Birkeland, Oslo, Norway Georg Schulz, Graz, Austria Jörg Linowitzki, Lübeck, Germany Harrie Van Den Elsen, Groningen, Netherlands Kaarlo Hilden, Helsinki, Finland Deborah Kelleher, Dublin, Ireland Grzegorz Kurzyński, Wroclaw, Poland Claire Mera Nelson, London, UK Jacques Moreau, Lyon, France Antonio Narejos Bernabéu, Murcia, Spain Evis Sammoutis, Nicosia, Cyprus

82 AEC Jeremy Cox Chief Executive Office Team Sara Primiterra Events Manager Nerea López de Vicuña Office Coordinator Linda Messas General Manager Ángela Domínguez Polifonia Project Manager Bárbora Vlasova Polifonia Project Coordinator Beatrice Miari Student Intern Jef Cox Student Intern

83 Upcoming Events in 2015 European Platform for Artistic Research in Music (EPARM) University of Performing Arts KUG Graz, April 2015

84 EPARM April 23 25, 2015 (Re-)processing Research Musical Practice as both Source and Target domain for Artistic Research in Music

85 EPARM April 23 25, 2015 (Re-)processing Research Musical Practice as both Source and Target domain for Artistic Research in Music

86 Upcoming Events in 2015 Meeting for International Relations Co-ordinators Ionian University of Corfu Corfu, September 2015

87 Upcoming Events in 2015 Meeting for International Relations Co-ordinators Ionian University of Corfu Corfu, September 2015

88 Upcoming Events in 2015 Annual Congress and General Assembly Royal Conservatoire of Scotland Glasgow, November 2015

89 Upcoming Events in 2015 Annual Congress and General Assembly Royal Conservatoire of Scotland Glasgow, November 2015

90 Upcoming Events in 2015 Early Music Platform In conjunction with Collegium Marianum and REMA at the Academy of Performing Arts Prague, November 2015

91 Upcoming Events in 2015 Early Music Platform In conjunction with Collegium Marianum and REMA at the Academy of Performing Arts Prague, November 2015

92 Latest developments in Quality Launch of MusiQuE Assurance European External Evaluation Body for Quality Enhancement in Music

93 What is MusiQuE Music Quality Enhancement? o An independent European-level subject-specific external evaluation body o Its aim: To assist institutions in quality enhancement To improve quality of higher music education as a whole o MusiQuE takes over and develops AEC review responsibility (29 reviews since 2008) o Various services with one philosophy

94 The MusiQuE Procedures o Continuation of: Institutional and programme reviews Joint procedures with national agencies o New services: Reviews of joint programmes Accreditation procedures Quality Assurance Desk o All procedures have the same principle: Self-study Visit of peer-review team Report of the peer-review team

95 Why is it important for MusiQuE to be independent? o Independence is needed for making objective assessments o It is an important principle of the European Standards & Guidelines for QA agencies (ESG) o We don t want the collegial and inclusive nature of AEC to be compromised

96 The structure of MusiQuE o MusiQuE board: 5 members appointed by AEC (3), EMU and Pearle* (I each) o Supporting staff (normally seconded from AEC Office) o Peer-reviewers register The MusiQuE board is responsible for overseeing all MusiQuE activities

97 Who can use MusiQuE and what are the benefits? o Institutions can use MusiQuE services and benefit from: Advice from international specialists The use of internationally accepted standards An emphasis on improvement Helping to establish an international reputation A comparable approach that will build trust MusiQuE s flexible structure with diverse services Guidance with targeted advice and professional development o Staff and students will benefit from the QA Desk o National QA and accreditation agencies

98 MusiQuE s future development o MusiQuE as the go-to provider for review and accreditation in music Completion of EQAR registration necessary in order to do formally-recognised accreditation procedures o Extending MusiQuE standards to pre-college training and music teacher training o Potentially also supporting procedures in multi-disciplinary institutions with various performing arts disciplines

99 AEC Projects: Polifonia ( )

100 Polifonia Outcomes completed and soon to be online! Assessment and standards Report on existing assessment methods and procedures in HME Checklist for internal assessment systems in HME institutions Description of seminar model for assessments and standards Artistic Research Handbook on 2nd cycle HME programmes as routes to artistic Doctorates Database - European register of Students projects/supervisors for Artistic Research in Music

101 Polifonia Outcomes completed and soon to be online! Benchmarking: Short Guide Learning from each other - Sharing good practice through benchmarking Quality enhancement Standards for review of HME institutions, programmes and joint programmes Entrepreneurship Online Handbook on Entrepreneurship in HME

102 Polifonia Outcomes completed and soon to be online! Mobility and joint degrees Step by Step: Guidelines for Erasmus+ Mobility Actions Report on external examining arrangements in HME Handbook on mobility and recognition issues in European joint programmes Online tools for mobility (common deadline)

103 AEC Projects: FULL SCORE ( )

104 AEC Projects: FULL SCORE ( ) Runs from September 2014 to August 2017 Half-way through first year - building momentum PJP an important focus for the work Other areas of the project will be taken forward through Congress and IRC meeting

105 AEC Projects: FULL SCORE ( ) One action especially worth communicating to colleagues: Jobs Vacancies service on AEC website Currently modest We hope by 2017 to have developed it into the go-to site for employment opportunities in Europe in the field of higher music education

106 And talking of Job vacancies...

107 And talking of Job vacancies...

108 And talking of Job vacancies... Closing date 8 th March 2015

109 Closing Session ANNOUNCEMENT OF THE PJP PLATFORM 2016

110 Closing Session THE PJP PLATFORM 2016 joint meeting PJP EJN - IASJ CODARTS Rotterdam, The Netherlands February 2016

111 Closing Session CLOSING REMARKS

112 Thank you! See you in Rotterdam!

113 AEC POP & JAZZ AEC: the leading voice for Higher Music Education in Europe Platform Meeting 2015 The End AEC Pop & Jazz Platform Meeting