Instrumental and vocal teacher education: competences, roles and curricula

Abstract

This article focuses on selected outcomes of the European Association of Conservatoires (AEC) ‘Polifonia’ Working Group for Instrumental and Vocal Teacher Training in Europe (2007–2010). The introduction provides the background to the project, explains the rationale and objectives, describes the research process and gives an overview of the research outcomes. The main part of the article focuses on the resulting set of competences proposed for instrumental/vocal teaching, organised around the concept of teacher roles and explores implications for curriculum development. The many different pedagogical traditions, music education systems and musical cultures in Europe suggest a multitude of possible approaches to address common goals. The article calls for increased dialogue and collaboration between higher music education and the instrumental/vocal teaching profession at local and national levels and, in keeping with the implications of the Bologna Process, points to the need for ongoing international collaboration between higher music education institutions.

Keywords:

• instrumental and vocal teacher education
• instrumental and vocal teacher training
• competences
• roles
• curriculum
• Europe

Notes

1. For more information about the Polifonia project, please visit www.polifonia-tn.org

2. More information about the ERASMUS Programme can be found at http://ec.europa.eu/education/erasmus/doc1061_en.htm

3. The Bologna Process is named after the Bologna Declaration, which was signed in the Italian city of Bologna on 19 June 1999 by ministers in charge of higher education from 29 European countries. Its overarching aim is to create a European Higher Education Area (EHEA) based on international cooperation and academic exchange that is attractive to European students and staff as well as to students and staff from other parts of the world. More information about the Bologna process in the field of music (with glossary of terms, etc.) can be found on www.bologna-and-music.org

4. Members of working group and their institutions: Kaarlo Hildén (Chair), Helsinki Metropolia University of Applied Sciences, Helsinki; Natalia Ardila-Mantilla, Universität für Musik und darstellende Kunst Wien, Vienna; Thomas Bolliger, Haute Ecole de Musique Genève HEM GE and Conservatoire de Lausanne Haute Ecole de Musique CdL HEM; Jean-Charles François, Cefedem Rhône-Alpes, Lyon ; Mary Lennon, DIT Conservatory of Music and Drama, Dublin; Geoffrey Reed, Royal Northern College of Music, Manchester; Tine Stolte, Prince Claus Conservatoire, Groningen; Terrell Stone; Conservatorio di Musica di Vicenza “Arrigo Pedrollo”, Vicenza.

5. Council conclusions on Promoting a Creative Generation – developing the creativity and innovative capacity of children and young people through cultural expression and access to culture: http://register.consilium.europa.eu/pdf/en/09/st14/st14453.en09.pdf

6. The AEC Learning Outcomes for first, second and third cycle in higher music education can be found at www.bologna-and-music.org/learningoutcomes

7. The national descriptions are available online at www.bologna-and-music.org/countryoverviews

8. See Appendix 1 for the site visit template.

9. For more information about the project, see www.aecinfo.org/westernbalkans

10. See handbook, chapter I, section 1 – An overview of instrumental/vocal teacher education programmes.

11. See handbook, chapter I, section 3 – Forces of change in instrumental/vocal teaching.

12. See note 6 above.

13. Towards a European Qualifications Framework for Lifelong Learning, Commission of the European Communities, Brussels, 8 July 2005. http://ec.europa.eu/education/policies/2010/doc/consultation_eqf_en.pdf