Hostname: page-component-848d4c4894-p2v8j Total loading time: 0.001 Render date: 2024-06-02T15:13:48.724Z Has data issue: false hasContentIssue false
  • English
  • Français

Conservatoire leaders’ observations and perceptions on curriculum reform

Published online by Cambridge University Press:  05 July 2019

Tamara W. Rumiantsev ,
Wilfried F. Admiraal  and
Roeland M. van der Rijst
Tamara W. Rumiantsev*
Affiliation:
Graduate School of Teaching, Leiden University, PO BOX 905, Leiden, The Netherlands
Wilfried F. Admiraal
Affiliation:
Graduate School of Teaching, Leiden University, PO BOX 905, Leiden, The Netherlands
Roeland M. van der Rijst
Affiliation:
Graduate School of Teaching, Leiden University, PO BOX 905, Leiden, The Netherlands
*
Corresponding author. Email: info@tamararumiantsev.com
Get access Rights & Permissions [Opens in a new window]

Abstract

Musicians nowadays need to be able to work both creatively and collaboratively, often in a wider range of artistic, social and cultural contexts. A strong vision on conservatoire pedagogy is needed to reach this goal and at the same time align with the demands of higher education. At the start of the 21st century, renewal of curricula concentrated on implementing the teaching of a broader range of skills, knowledge and attitudes, including problem-solving, reflective, cooperative and communicative competences, as part of the Bologna process of implementing bachelor and master of music programmes. In semi-structured interviews, leaders of conservatoires in Belgium (Flanders) and the Netherlands reflected on their curriculum and revealed their observations and perceptions of its connection to professional practice. Based on a thematic analysis, conservatoire leaders’ observations and perceptions of the process of curriculum reform were identified. They indicated that teaching professionals continue to maintain an autonomous position, practising traditional forms of teaching and learning. Conservatoire leaders were rather hesitant in implementing new pedagogies, teaching principles and guidelines, due to a dedication to craftsmanship and a large amount of respect for the expertise of their teaching professionals.

Keywords

Higher music educationleadershippedagogycollaborative learningprofessional practice
Type
Articles
Information
British Journal of Music Education , Volume 37 , Issue 1 , March 2020 , pp. 29 - 41
Copyright
© Cambridge University Press 2019

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

ASSOCIATION OF EUROPEAN CONSERVATOIRES. (2007) Polifonia-Dublin descriptors. Brussels: Association of European Conservatoires. https://www.aec-music.eu/userfiles/File/polifonia-dublindescriptors150107external.pdf (accessed 9.26.2017).Google Scholar
BJØNTEGAARD, B. (2015) A combination of one-to-one teaching and small group teaching in higher music education in Norway – a good model for teaching? British Journal of Music Education, 32 (1), 23–36.CrossRefGoogle Scholar
CAMPBELL, P. S., MYERS, D. & SARATH, E. (2014). Transforming Music Study from Its Foundations: A Manifesto for Progressive Change in the Undergraduate Preparation of Music Majors. Report of the Task Force on the Undergraduate Music Major. Missoula: College Music Society.Google Scholar
CAREY, G. & LEBLER, D. (2012) Reforming a Bachelor of Music Program: A case study. International Journal of Music Education, 31, 1–16.Google Scholar
CREECH, A. (2012) Interpersonal behaviour in one-to-one instrumental lessons: an observational analysis. British Journal of Music Education, 29, 387–407.CrossRefGoogle Scholar
DUFFY, C. (2013) Negotiating with tradition: Curriculum reform and institutional transition in a conservatoire. Arts & Humanities in Higher Education, 12(2–3), 169–180.CrossRefGoogle Scholar
DUFFY, C. (2016) ICON: Radical professional development in the conservatoire. Arts & Humanities in Higher Education, 15(3–4), 376–385.CrossRefGoogle Scholar
GAUNT, H. (2008) One-to-one tuition in a conservatoire: the perceptions of instrumental and vocal teachers. Psychology of Music, 36, 215–245.CrossRefGoogle Scholar
GAUNT, H. (2009) One-to-one tuition in a conservatoire: the perceptions of instrumental and vocal students. Psychology of Music, 38, 178–208.CrossRefGoogle Scholar
GAUNT, H., CREECH, A., LONG, M., HALLAM, S. (2012) Supporting conservatoire students towards professional integration: one-to-one tuition and the potential of mentoring. Music Education Research, 14(1), 25–43.CrossRefGoogle Scholar
HADDON, E. (2014) Observational learning in the music masterclass. British Journal of Music Education, 31(1), 55–68.CrossRefGoogle Scholar
HANKEN, I. M. (2016) Peer learning in specialist higher music education. Arts & Humanities in Higher Education, 15(3–4), 364–375.CrossRefGoogle Scholar
JØRGENSEN, H. (2000) Student learning in higher instrumental education: Who is responsible? British Journal of Music Education, 17, 67–77.CrossRefGoogle Scholar
LEBLER, D. (2008) Popular music pedagogy: Peer learning in practice. Music Education Research, 10(2), 193–213.CrossRefGoogle Scholar
MYERS, D. (2016) Creativity, diversity, and integration: Radical change in the bachelor of music curriculum. Arts & Humanities in Higher Education, 15(3–4), 293–307.CrossRefGoogle Scholar
PORTER, K. (1998) Management in the conservatoire of the future: Administering or leading? Studies in Higher Education, 23(1), 7–16.CrossRefGoogle Scholar
REID, A. & DUKE, M. (2015) Student for student: Peer learning in music higher education. International Journal of Music Education, 33(2), 222–232.CrossRefGoogle Scholar
RENSHAW, P. (2013) Collaborative learning: A catalyst for organizational development in higher music education. In Gaunt, H. & Westerlund, H. (Eds), Collaborative Learning in Higher Music Education (pp. 237–246). Surrey: Ashgate.Google Scholar
SMILDE, R. (2009) Musicians as Lifelong Learners: Discovery Through Biography. Delft: Eburon Academic Publishers.CrossRefGoogle Scholar
SMILDE, R. (2010) Innovative Conservatoire: Creating a model of continuing professional development for conservatoire teachers. AEC Pocketbook Researching Conservatoires. Available at: http://www.innovativeconservatoire.com/wp-content/uploads/2012/04/SEM1-AEC-Pocketbook.pdf (accessed 2.1.2019).Google Scholar
TREGEAR, P., et al. (2016) Conservatoires in society: Institutional challenges and possibilities for change. Arts & Humanities in Higher Education, 15(3–4), 276–292.CrossRefGoogle Scholar
YOUTH MUSIC. (2002). Creating a Land with Music: the Work, Education and Training of Professional Musicians in the 21st Century. London: Youth Music.Google Scholar