INNOVATIVE CONSERVATOIRE: TEACHING AND LEARNING

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1 Lithuanian Academy of Music & Theatre Gedimino pr. 42, Vilnius ERASMUS TEACHERS ACADEMY international seminar INNOVATIVE CONSERVATOIRE: TEACHING AND LEARNING June 16-18, 2011 Vilnius, Lithuania 1

2 Addresses and contacts: LITHUANIAN ACADEMY OF MUSIC AND THEATRE International Relations Office Gedimino pr. 42, Vilnius (central building of the Academy, room 102), office phone rima.rimsaite@lmta.lt, kristina.valenton@lmta.lt, roberta.cepulyte@lmta.lt Lithuanian Academy of Music and Theatre Assoc. Prof. Renata Marcinkutė Lesieur Head of Department of Organ and Harpsichord mobile phone renata_lesieur@yahoo.com Hotel "Ratonda" Gedimino pr. 52/1, Vilnius Hotel "Holiday Inn" Šeimyniškių g. 1, Vilnius Restaurant "Esse": Gedimino pr. 50-2, Vilnius Restaurant Neringa Gedimino pr. 23, Vilnius 2

SCHEDULE June 16 th, Thursday 17.00-17.15 Opening of the seminar 17.15-18.45 What inspires you in your work? J. Karosas hall Helena Gaunt, Gerda van Zelm, Tine Stolte, Bart van Rosmalen, Karst de Jong, Dinah Stabb 19:00 Dinner in restaurant Neringa (guest professors only) June 17 th, Friday 10.

3 SCHEDULE June 16 th, Thursday Opening of the seminar What inspires you in your work? J. Karosas hall Helena Gaunt, Gerda van Zelm, Tine Stolte, Bart van Rosmalen, Karst de Jong, Dinah Stabb 19:00 Dinner in restaurant Neringa (guest professors only) June 17 th, Friday Dinah Stabb session sharing the work J. Karosas hall Dinah Stabb A practical session to illustrate the initiatives being undertaken at the Guildhall School of Music and Drama to enable young performers from both the Drama and Music departments, to share and exchange their learning experiences. An illustration of how young performers can take part each other s' learning processes and become enabled and enriched as performers. 3

4 11:15 11:45 Coffee break, room 315 Work in small groups (workshops): 1. Improvisation session Karst de Jong. Improvisation used to be a general skill for many great classical musicians in the past. We have lost this skill nowadays, and are becoming musicians who cannot function anymore without being exactly told what to do. By recovering the lost skill of improvisation we can become more aware of what we are playing, and regain essential creative skills that we need to keep our performances and interpretations fresh and interesting. To be a complete musician means to connect our interpretative and technical skills with understanding of composition and improvisation, regardless of the instrument we play. 307 Karst de Jong, Bart van Rosmalen Exploring Improvisation. Seven entrances in free play by Bart van Rosmalen. How to jump in improvisation in a direct and natural way? What approaches can you develop that fit you and your lessons as well? We explore different entrances into improvisation. The group plays in duo s, trio s and larger ensemble. We welcome all different instruments and voices. The workshop is led by cellist Bart van Rosmalen Royal Conservatoire The Hague 2. Musicians for 21 st century-what skills do they need? What are the implications to one-to-one teaching? Approaches to one-to-one tuition: meeting the needs of musicians in the 21 st century. This workshop will consider the key skills and characteristics that musicians need to be successful as professionals in contemporary societies, and will then work in detail on the implications for one-to-one lessons. What are the most important things we are trying to achieve in this context? How can we effectively support students in acquiring the skills and characteristics and then in making the transition to professional life? The workshop will combine discussion about our own practice, a look at recent research, and practical work exploring the experience of teaching and of being a student. (Note: for this workshop, please could everyone bring instruments and be prepared to teach someone else something for 5 minutes. As it is unlikely you will teach someone who plays the same instrument, it will need to be something like a short melody that can easily be transferred to another instrument, or a particular 219 Helena Gaunt 4

5 approach to practicing or musical interpretation.) 3. Innovative forms of Teaching and Learning. Peer-learning and self-assessment This workshop will address the learning opportunities that lie in peer assessment and self assessment for both students and teachers. In a practical way we go into questions like: what is peer assessment and self assessment; how could it be used; what skills and characteristics could be developed through these forms of assessment and what are implications for the role of teachers working with these forms of assessment. 4. Innovative Forms of Teaching and Learning. Peer-learning Peer learning, the advantages of learning together, from and with each other. In the workshop some ideas and experiences on peer learning will be presented. Peer learning was introduced in the voice department of the RC in The Hague in The idea behind peer learning is that learning together with peers (= equals) creates opportunities, possibilities and advantages that are not different than in an individual lesson. To experience the learning of a colleague-student makes students reflect on their own learning; by discussing experiences students learn to verbalize what they hear, see and think; a very adequate way to learn is to explain (to teach) to somebody else, so this can be used as a working form. A group of students of LMTA will take part in the workshop to work on some different working forms. 5. Sharing the Work A practical session to illustrate the initiatives being undertaken at the Guildhall School of Music and Drama to enable young performers from both the Drama and Music departments, to share and exchange their learning experiences. An illustration of how young performers can take part each others' learning processes and become enabled and enriched as performers. 14:00-15:00 Lunch in Esse restaurant 316 J. Karosas hall 308 Tine Stolte Gerda van Zelm Dinah Stabb 5

6 Continuation of the work in small groups (workshops) 16:30 17:00 Coffee break, room Open discussion on the topics of seminar. Manifesto J. Karosas hall, 219, 307, 316, 308 J. Karosas hall Helena Gaunt, Gerda van Zelm, Tine Stolte, Karst de Jong, Bart van Rosmalen Karst de Jong, Bart van Rosmalen, Helena Gaunt, Gerda van Zelm, Tine Stolte 19:00 Dinner on own expenses, restaurant reservation (TBD) June 18 th, Saturday Feed-back and discussions about assessment Lunch time J. Karosas hall Helena Gaunt, Gerda van Zelm, Tine Stolte,Karst de Jong, Dinah Stabb Let s be the night concert St. Casimir church Helena Gaunt, Chris Ruebens, Renata Marcinkutė, Dinah Stabb 6

TUTORS: Dinah Stabb, Drama Department at the Guildhall School of Music and Drama, actress, United Kingdom Bart van Rosmalen, cello teacher at the Royal Conservatory, Hague, the Netherlands Gerda van

, Assistant Principal (Research and Academic Development), Guildhall School of Music and Drama, United Kingdom Karst de Jong, professor of improvisation and music theory at ESMUC Barcelona, Catalonia

7 TUTORS: Dinah Stabb, Drama Department at the Guildhall School of Music and Drama, actress, United Kingdom Bart van Rosmalen, cello teacher at the Royal Conservatory, Hague, the Netherlands Gerda van Zelm, voice teacher, teacher master education at the Royal Conservatory, Hague, the Netherlands Helena Gaunt, Dr., Assistant Principal (Research and Academic Development), Guildhall School of Music and Drama, United Kingdom Karst de Jong, professor of improvisation and music theory at ESMUC Barcelona, Catalonia Tine Stolte, voice teacher, teacher training programme at Prince Claus Conservatoire, the Netherlands Biographies DINAH STABB Dinah has been a professional actress since She has been a member of both the National Theatre and the Royal Shakespeare Company and has extensive TV credits. During the last 10 years she has combined this with directing and teaching at the Guildhall School. She is a member of the audition panel for their three year BA Drama course. She is on the Advisory Board of 'Ecole des Ecoles,' the Association of European Drama Conservatoires. In 2009, Dinah was invited by the Association of European Conservatoires to run a series of workshops in Villecroze and Helsinki for musicians (teachers and performers) on presence in performance. Since then, she has been co-teaching 1st and 2nd year classical singers with Armin Zanner at the Guildhall School. BART VAN ROSMALEN Bart is a cellist, specialising in improvisation, and also a theatre director. He is the head of the research programme Teachers of the 21st Century at the Royal Conservatoire of the Hague. His research and practice as an artist focuses on Connecting Conversations between art, science and business professionals, to contribute to innovation and organisational change. 7

GERDA VAN ZELM Gerda worked at the Dutch Radio Choir in Hilversum between 1987 and 1993, as a voice teacher at the conservatory of Alkmaar between 1980 and 1989, and

She is currently head of the vocal department at the Royal Conservatory. HELENA GAUNT Helena Gaunt Dr.

Her current research focuses on one-to-one and small group tuition in conservatoires, orchestral musicians in the twenty first century, and the role of improvisation

Alongside research, she is a professional oboist, and has been a member of the Britten Sinfonia.

8 GERDA VAN ZELM Gerda worked at the Dutch Radio Choir in Hilversum between 1987 and 1993, as a voice teacher at the conservatory of Alkmaar between 1980 and 1989, and the conservatory of Arnhem between 1990 and Since 1992, Gerda has worked at the Royal Conservatory the Hague and from 2001 at the conservatory of Groningen. She is currently head of the vocal department at the Royal Conservatory. HELENA GAUNT Helena Gaunt Dr. Helena Gaunt is the Assistant Principal (Research and Academic Development) at the Guildhall School of Music & Drama in London, and a National Teaching Fellow (2009). Her current research focuses on one-to-one and small group tuition in conservatoires, orchestral musicians in the twenty first century, and the role of improvisation (verbal and musical) in developing professional expertise. She is an Associate of the Centre for Musical Performance as Creative Practice (CMPCP). Alongside research, she is a professional oboist, and has been a member of the Britten Sinfonia. She is a member of the Editorial Board of the British Journal of Music Education, and Chairs of the Forum for Instrumental/VocalTeaching for the International Society of Music Education. Helena lives in London and has five children, including two sets of twins KARST DE JONG Karst was born in 1961 and studied music theory and piano (classical and jazz). He held teaching positions at the Conservatory of Amsterdam and the Royal Conservatoire of Den Haag before being appointed professor of improvisation and music-theory at the Escola Superior de Música de Catalunya (ESMUC) in Barcelona. He is an active performer, composer and arranger. TINE STOLTE Tine is a core teacher for the Teacher Training Programme at the Prince Claus Conservatoire in Groningen. She is also a member of the INVITE Polifonia Working Group of the AEC that is looking into instrumental and vocal teacher training in European conservatoires. Tine is a classical singer and singing methodology teacher. 8

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