Until recently, the goal of higher music education (HME) was relatively simple to describe: nurture talented individuals, providing them with the skills and knowledge necessary to excel in specialised musical careers. However, a variety of factors has complicated this, and the rapidly changing global context has further hastened these changes, causing the landscape of music education to evolve at an ever-greater speed. This poses a fresh and unique set of challenges and opportunities for institutions whose goal is to train the next generation of musicians.
A recent report by the Association of European Conservatoires, titled Musicians as ‘Makers in Society’: A Conceptual Foundation for Contemporary Professional Higher Music Education, sheds light on the pressing issues and changing paradigms. It explores the purpose, values, and principles of HME from two distinct perspectives: educating professional musicians and engaging higher music institutions (HMEIs) in society. In a world marked by dynamic shifts in technology, society, and culture, this report calls for new frameworks that can address the complex challenges.
Embracing Complexity in Higher Music Education
At the core of this report is the concept of the “musician as a maker in society.” This concept challenges traditional assumptions about music education by emphasizing the need to bridge the gap between artistry and social consciousness. It encourages the cultivation of a deep connection between musicians and their societal context, pushing the boundaries of the HME curriculum, which has traditionally focused on presentational musical skills.
Shifting Ground for Higher Music Education
The report acknowledges that adaptations to HME programmes have been made in recent years. Topics such as business skills and digital technologies have found their place alongside traditional music instruction. The report highlights the necessity for HMEIs to engage in a broader civic mission and adapt to pedagogical shifts, ensuring that their students are equipped to meet the changing demands of the music world and the role of music in society.
A Time to Strengthen Music in Society
The report argues that music holds a unique position in nurturing inclusive and flourishing societies. As the educational landscape embraces a STEA(rts)M movement, the report calls for a re-evaluation of music’s role in shaping collective identities and addressing societal challenges.
The report builds upon the idea of “musicking,” a term coined by the academic and writer Christopher Small. The changing of music to a verb suggests more than the mere act of performing or composing music; rather, it highlights a broader, modified set of practices, emphasising a move toward active, holistic engagement in which musicians take a proactive stance in the world, using music as a tool for change, identity formation, and societal development. It also denotes a change in the relationship between performer and audience, from one in which the audience is passive observers, towards a view of mutual interdependence, with the audience as participant and co-creator, also blurring lines between the professional and amateur. This positionality overcomes traditional dialectical oppositions, stressing how a musician’s practise can contribute to both artistic and social dimensions.
However, this shift raises ethical and political complexities regarding the use of music. It sparks a debate about the balance between excellence and societal orientation in HME curricula and the requirements of the cultural and musical industries. The report emphasises that the COVID-19 pandemic has significantly impacted the music industry, further underlining the need for resilience and adaptability among professional musicians, and the need for this to be nurtured during their training.
Partnering Values for a Transformative Future
Various underlying tensions are present within HMEIs. Faculty often find themselves on opposing sides of arguments, with varying perspectives becoming competing ideological positions in confrontation for limited physical and financial resources. The report discusses a range of existing and emerging tensions, for instance, the goal of nurturing ‘musical superstars’ is contrasted with the training of musicians with socially engaged practices, the intrinsic value of music is contrasted by its instrumental or social value, and the musical canon and the need to preserve musical traditions are juxtaposed by a perception of music as a living and evolving act that requires the creation of new works and practices.
The report suggests a necessary move from competing values toward partnering values. It argues that traditional hierarchical values should be challenged, including, importantly, a reconsideration of what excellence means within these institutions, stressing that a unidimensional perspective is no longer adequate. Ultimately, the paper argues that creative tensions must be embraced if they are to harmoniously coexist within institutions.
Evolving Curriculum and Pedagogy
In response to the changing landscape, HMEIs must evolve their curricula and pedagogy. This likely means integrating a broader range of core topics into programs, such as technology, applied arts, improvisation, composition, and devising skills. Equally, it requires the decolonization of the curriculum to make it more relevant to local contexts and societal issues. It could require HMEIs to question the degree to which pedagogy is developed upon principles of individual or group training, highlighting the tensions between individual craft, ensemble work, and collaborative inquiry, and the degree to which experimentation, trial, error, and indeed failure should be embraced. The relationship between the student, the tutors, and the institution should also be explored. Various descriptions of the teacher-student relationship are described through terms such as gatekeeper, midwife, or fellow traveler. Similarly, it is proposed that student voice be amplified, recognizing them as emerging practitioners who have a critical stake in the future. Indeed, the ability for students to sculpt their own learning trajectories is encouraged. It is also suggested that institutions might wish to review their assessment criteria, viewing them not only as assessment tools but also as political statements of their position on quality, excellence, and inclusion, and importantly, as strategic pronouncements on their perceptions of the relative importance of different skills for professional musicians in the future.
Critical Reflection and Reflexivity
The report highlights the importance of critical reflection in preparing musicians for the challenges of the future. The report advocates for the development of students as reflective practitioners. Beyond even this, it raises the challenge of developing artists who can produce knowledge; transformative professionals who can add a reflexive dimension and make a commitment to change, not simply understanding. The report makes a case for HMEIs to stress the importance of time for reflection and deliberation and the need for this to be embedded into programs, arguing that it has the potential to lead toward an expansion of creativity.
The Need for a Paradigm Shift
As society changes, HMEIs must adapt to remain relevant. This involves a paradigm shift in how we think about and approach music education. The notion of the “musician as a maker in society” serves as a foundational concept for this development, bridging the gap between traditional artistry, societal engagement, and future practices. Strategic optimism becomes a driving force, guiding institutions as they navigate the complexities of the modern world. It calls for a careful balancing act between artistic and educational values and underscores the importance of including and amplifying student voices in shaping the future of professional music education.
Conclusion: Bridging Artistry and Society
The landscape of higher music education is evolving, and the challenges it faces are complex. To better prepare for the future, HMEIs must embrace a multifaceted approach. They should emphasise craftsmanship, diverse pedagogical methods, and inclusive, socially-conscious practices. As the report highlights, the future of music education is not just about producing exceptional musicians; it’s about nurturing individuals who are deeply connected to their communities, who understand the power of musicking, and who can navigate the complexities of a changing world. Music education should be a force for positive change, a means of fostering inclusive and flourishing societies, and a dynamic bridge between artistry and social consciousness. In doing so, we can create a harmonious future where music enriches lives, strengthens communities, and inspires change.