Sound Links ± Full Report

Contents

INTRODUCTION by Huib Schippers, project supervisor

PART I Survey Cultural Diversity in Higher Music Education

- Introduction

- Scope, organisation, aims

- Outcomes

- Conclusions

PART II Institutional profiles and Sound Links Pilots

- Introduction

- Case studies / Pilots:

Conservatory of Amsterdam

Pilot

Musikhochschule Basel

Birmingham Conservatoire

Rhythmic Music Conservatory, Copenhagen

Pilot

Dartington College of Arts

Pilot

Sibelius Academy, Helsinki

Irish World Music Centre

Pilot
School of Oriental and African Studies, London

Malmö Academy of Music

Pilot

Rotterdam Conservatory

Pilot

World Music Centre, Serpa

Pilot

- Conclusions

PART III The Higher Education Climate

- Introduction

- Developments and Mechanisms

General Developments in Higher (music) Education

Credit Systems

Degrees and Transferability of Qualifications

Professional Development

- Funding Mobility

Student Mobility

Mobility Programmes

Grants and Funds

- Market and Employment

Record trade

Festivals and concerts

Press
Education

EPILOGUE By Peter Renshaw, project moderator

APPENDICESSound Links ± Full Report

Why Sound Links ?

By Huib Schippers

IntroductionSound Links ± Full Report

Introduction

The awareness of the relevance of cultures with origins outside of Europe started to
be clearly felt during

the 1980s, after several decades of intensive exposure through migration, media,
and travel. In the

performing arts, the number of plays, concerts and dance performances with non-
western background or

influences increased dramatically. At first, social motives played a key role in this
development,

acknowledging and accomodating reflection of extra-European cultures. But

gradually, the artistic

relevance of µ world arts¶ became more of a leading principle. More recently,

market arguments started

playing a role as well. By 2000, the CD turnover of world music was estimated to
be over two-thirds of

that of western classical music, and the drastic changes in ethnic background in
many European cities
have created the need to re-address the issue of target audiences.

Not surprisingly, the effects of these changes have been slow to enter into higher
arts education.

Institutions for higher arts education, by their very nature in terms of background,
brief, expertise, and

structure in terms of organisation and personnel, tend to be rather conservative. In

fact, the amount of

activity in this field that has actually been developed over the past two decades is a
real indication of the

readiness of a substantial number of institutions to embrace new impulses.

In terms of music, initiatives have been realised in a number of shapes and

approaches, ranging from

incidental workshops with guest teachers to full-fledged degree courses. Initially,

exchange between

initiatives was very limited. From the early 1990s, a number of institutions
involved in cultural diversity

started meeting biennially in the informal µTeaching World Music¶ (later µCultural
Diversity in Music

Education¶) network, and the subject became increasingly prominent during

conferences of the

International Society for Music Education (ISME), the European Association for
Music in Schools (EAS),

and the Association Européenne des Conservatoires, Académies de Musique et

Musikhochschulen (AEC).

The latter ran a project called µMusic Education in a Multicultural European

Society¶ in 2000-2001, which

can be seen as a precursor of this project.

What has been lacking, however, is a fairly comprehensive, in-depth overview of
actual practice in terms

of frequency, size, and issues concerning approach and content, which could serve
as a basis for further

developments and transnational co-operation. For these purposes, Sound Links was
conceived. A

succesful application was made to the European Commission programme Socrates

6.2.. Rotterdam

Conservatoire, the institution with perhaps the most comprehensive experience in

this field, was

designated as lead partner. Six other partners committed themselves to the project
as part of the core team

and organiser of a pilot project in the context of Sound Links: Music Academy
Malmö, Irish World Music

Centre, Dartington College of Arts, Rhythmic Music Conservatory, Conservatory

of Amsterdam, and

World Music Centre Serpa. Drs. Ninja Kors was attracted as researcher/project
manager for Sound Links,

while Peter Renshaw accepted to be moderator for the pilots.

Sound Links was defined with three major aims:

· undertaking a survey on culturally diverse music education provisions at a

number of institutions in

Europe, in order to analyse existing practice in cultural diversity, looking into

programme content and

level of multicultural approach, training structures and credit transferability,

availability of
internationally recognised qualifications in connection with labour markets and
student funding

schemes.

· realising a series of well-defined and targeted pilot workshops for music students
from the

partnership, based on the initial results of the survey, identifying the potential for
joint curriculum

development that is transferable within a set network of institutions, and used to

develop a number of

changes and adjustments, based on the exchange of existing expertise in the partner
institutions,

leading to the enhancement of cultural diversity in music education provision.

· creating a concise, accessible document with a number of key issues in realising

cultural diversity in

higher music education for individual development and transnational co-operation,

targeted at music

students, curriculum developers and decision-makers on music education policies.

The general results of the survey can be found in Part I of this report. In Part II, we
present an in-depth

account in the form of case studies of the actual practice of cultural diversity at
eleven institutions,Sound Links ± Full Report

including the organisers of the six pilots. The reports of the pilots follow the case
studies, in order to

create a clear context for each. Part III describes aspects of the Higher Education
climate in Europe
which are relevant to further development and co-operation in the field of cultural
diversity, such as

degrees and qualifications, credit transfer, professional development, and practice

and mechanisms for

staff and student mobility. Finally, as a separate document, we have prepared a ten-
step µ toolkit¶ for those

wishing to (further) develop activities in cultural diversity. This document can be

seen as a summary of the

content of the entire project, and an accurate reflection of the state of practice and
thinking in a field, that

promises to become one of the major developments in European higher music

education over the next

few decades.

Drs. Huib Schippers, project director

Terminology

The rise of cultural diversity in music education has also caused a major confusion
in terminology. Below

we outline the meaning of the three most common terms. As the field is quite
dynamic, there are no

absolute definitions, but the approaches below are becoming quite widespread and
will be our reference

for the purpose of this research project.

Cultural Diversity - a neutral indication for the presence of more then one culture
in any given

situation. Most commonly refers to content (music from various cultural

backgrounds), or to people (especially a mix of ethnicities), but can also refer to

different approaches to music making or systems of transmission and learning

World Music - generic term usually referring to music originating outside the
Euro-American

cultural area. In some contexts only refers to mixes and fusion, but now more

commonly used to indicate both this and the numerous distinct traditions across

the world. For music education, the definition µmusic that has taken root outside of

its culture of origin¶ has proved useful.

Multicultural - in its most general use, this concept has a meaning akin to cultural
diversity. More

specifically, it can refer to an approach to cultural diversity where various cultures

exist together without much contact between them, as distinct from monocultural

(with a single, dominant cultural reference), intercultural (a voluntary meeting of

cultures with a focus on product) and transcultural (a total merging of content and

underlying values).

The full text of the Sound Links report can also be found on the Sound Links
website: www.cdime-network.com. The text of

the accompanying practical guide µFrom Policy to Practice¶ is also available on the
website in English, French, German,

Portuguese and Spanish.Sound Links ± Full Report

Survey

Cultural Diversity in Higher

Music Education

Part ISound Links ± Full Report

6

Survey cultural diversity in higher music education

Introduction

While it is easy to regard the world of higher music education as a conservative

fortress for the musical

heritage of European culture in the 18th

and 19th

century, the results of a broad survey of this field present

a different picture. Cultural diversity in the form of world music has already
become part of the courses

offered at a large variety of institutions all around the world. The information
gathered offers strong

indications of a growing and diverse practice. Not only do we see activity at

institutions which for a long

time have profiled themselves in this area, such as Rotterdam Conservatoire,

Sibelius Academy in

Helsinki, or the School of Oriental and African Studies in London, but many others
have developed some

kind of initiative in this field. The Conservatoire de Paris has an accomplished

Indian sitar player on its

staff, the Conservatorium van Brussel works with gamelan, and the Escola
Superior de Musica de Lisboa

runs pilots to introduce world music in its teacher training programme.

Scope, organisation and aims

In three stages, over 500 institutions for music education were approached for
information.
Stage 1

The first stage consisted of analysing 100 course brochures that were gathered
anonymously, without

stating the purpose of the request. A cross-section of conservatories was selected:

two institutions in every

country were approached, supplemented with other institutions known as

authoritative or potentially

interested in the field of world music or otherwise. Particularly for West-European

countries this led to a

wide selection of institutions. Information was gathered exclusively through

written documentation, such

as brochures and study guides, sometimes complemented with web sites.

Although the method has obvious limitations in terms of representativity and

completeness of data, the

results were interesting. In this more or less random survey of 100 institutions for
higher music education

all over the world, indications of world music courses were found in almost half
the course brochures.

That is relatively high, even if we allow for a correction for the initial selection. In
addition, follow-up

research demonstrates that in addition, there are many courses containing elements
of world music that do

not appear in the brochures. The Excel chart in appendix 1 reflects the result of this
survey. Its main

target was to get an impression of presence and volume of world music at

institutions for higher music

education world-wide.
Stage 2

The second stage was much more specific. A questionnaire (appendix 2) was
developed focusing on

activities realised in the field of cultural diversity, activities planned and issues
regarding the institutional

organisation itself. Concerted efforts to distribute and receive back an initial

questionnaire by LOKV,

WMC, ISME and AEC led to 59 returned questionnaires: sufficient to draw

conclusions about a number

of aspects of this work.

Stage 3

The third stage consisted of an in-depth questionnaire (appendix 3) about the actual
practice of world

music activities, their place in the curriculum, the use of expertise and resources,
policies, and methods of

teaching and assessment. Most of the institutions in this category have been visited
and/or spoken to on a

number of occasions. Out of twenty institutions mapped out in detail in this way,
initial descriptions of

eleven ± seven Sound Links project partners and four additional profiles - have
been included in this

survey as case studies illustrating various approaches. (See part II of this report.)

Outcomes

Almost half the institutions (49%) researched in stage 1 (appendix 1) have

developed world music

activities in some form. These vary from world music degree courses to occasional
project weeks. Most of
the institutions (67%) offer classical music courses. This stands to reason: most
conservatories haveSound Links ± Full Report

started out as institutions for classical music, but have expanded their activities to
pop, jazz and world

music. A large number of institutions that offer jazz and pop, also offer world
music: about 67%. This

indicates that those institutions that are open to innovation and new ideas, have a
more welcoming

approach towards other musical cultures. The same ± although in a lesser degree ±
can be said about the

institutions that offer music education: 60% also include world music activities.

Although questions relating to this subject were only asked to part of the
institutions, the participation in

international networks may be an additional indication. The first signs show that
those who participate in

networks have a tendency to be more open-minded towards cultural diversity (15

out of 20), and have a

greater need for international exchange.

Fifty of the institutions that responded to the first questionnaire (stage 2 of the
survey) already have

realised activities in the field of cultural diversity. Five who have not are planning
them. Four institutions

indicated to concentrate solely on western music. Obviously, this can not be

interpreted as an indication

that 93% of conservatoires have or want world music. Both mailing and response
have inevitably been
biased towards those interested in the subject. On the following pages, the results
of the questionnaire are

represented in a spreadsheet: first realised, then planned activities. In the following

analysis, only the 55

institutions with (planned) activities have been taken into account.

Activities realised

Courses may be offered fully integrated in the existing curriculum, or apart from
the regular programme.

Activities realised so far cover a broad range of approaches and cultural areas.
Degree courses in which

world music has been integrated seem to be the most common format chosen,
followed by optional

modules, extra-curricular activities, and music in schools. Only few institutions

offer specialised degree

courses in world music, but a number indicate interest in developing such courses
in the near future. In

most cases, these are courses in national folk traditions. In addition, many
institutions express the wish or

intention of starting integrated approaches, professional development courses for

world music, and

embedding world music in music-in-school and extra-curricular activities.

An underdeveloped area is credit-bearing summer/winter courses. This may be

caused by the fact that few

institutions offer this kind of courses structurally. Approximately the same results
can be found in planned

activities, but there seems to be a remarkable interest in developing courses in

professional development.
While most of the activities until now have been realised by the institutions
independently and within the

regular budget, the majority of the planned activities are planned in collaboration
with other institutions

and organisations. This causes an increase in expected external financing as well.

Cultural areas

The cultural areas addressed in both realised and planned activities range from
Arab countries and Africa

below the Sahara, to Latin America, the Caribbean and Asian countries. A clear
preference cannot be

pointed out, although institutions tend to choose music from cultures with social
relevance in the home

country: either µneighbour cultures¶, or foreign cultures which are significantly

represented in the

population. A colonial past may play a role in combination with this, or separately.
Often, an institution

offers musical styles from countries just around them or from indigenous peoples,
e.g. Maori culture in

New Zealand, or from cultural groups represented in society, such as Indian and
Pakistani music in

England. Asian music is very popular, with particular emphasis on North Indian
classical music and

Indonesian gamelan.

Methods of Teaching

While activities show considerable volume and a great variety of approaches, there
is little evidence that
the methods of teaching have changed significantly under the influence of cultural
diversity. The general

picture is that in integrated courses western pedagogical models continue to be

used, while in practical

courses in a single musical tradition, the traditional method of teaching is

approached as much as possible.

This includes styles of teaching without notation. There are no clear reports of
fruitful combinations and

overlap of approaches.Sound Links ± Full Report

Points of entry

Another interesting outcome of the survey ± particularly the interviews in stage 3 ±

is how aspects of what

is now often referred to as world music entered into the institution. This is
generally not by force from

above, but almost invariably by inspiration coming from one department or even
one person within the

organisation. Driving forces are ideas that world music can

· enrich students¶ musical understanding,

· inspire new approaches to methods of teaching,

· prepare young musicians better for professional musical activity in the coming
decades,

· feed the general curiosity that lies at the core of all great musical development
and innovation.

The institutions consider the world music courses to influence principally the
general musicianship of the
students. The two areas expected to be least affected are notation skills and
principal instrument

performance. The explanation for this can be found in the fact that most of the
courses offered or to be

offered are general world music or ethnomusicology courses, without

concentrating on a single

instrument.

If we look at the practice, we see that world music most commonly enters through
the training for music

teachers in schools or the community. In their work field, cultural diversity (in the
sense of ethnic

background) is most evident. Other common points of entry are pop, rock and jazz,
which are

continually influenced by music from other cultures, percussion, where we

generally find a great curiosity

for the great rhythmic traditions of Africa, Latin America and Asia, and finally
contemporary

composition, where concepts from other cultures are often used.

The benevolent µTrojan horse¶ effect of world music activities is remarkable. Once
the expertise enters the

institution, other individuals and departments tend to get interested. This does not
have to lead in any way

to full-fledged world music departments. In fact, it may develop in a wide variety

of approaches, as can be

seen in the case studies in this report.

Policies and student population

Of the European institutions that were asked specific questions about policies, 17
out of 28 institutions

indicated having a specific policy to include cultural diversity in the recruitment of

staff and students. But

from stage 3, it transpired that many institutions have more implicit then explicit
policies in this field.

Since all of the respondents were European institutions, the majority of students
who took part in the

world music courses were European. A remarkable number came from Asia. This
can largely be attributed

to the presence of many Asian students of classical western music, particularly at

the University of Vienna.

Conclusions

It is apparent that activities realised so far cover a broad range of approaches and
cultural areas. Degree

courses in which world music has been integrated seem to be the most common
format chosen, followed

by extra-curricular activities, music in schools and optional modules. Only few

institutions offer

specialised degree courses in world music, but a number indicate interest in

developing such courses in the

near future. In addition, many institutions have the wish or intention of starting
integrated approaches,

professional development courses for world music, and embedding world music in
extra-curricular and

music-in-school activities. The survey has yielded little evidence of credit-bearing

summer or winter
courses in world music, but a growing interest in professional development.

The cultural areas included in both realised and planned activities range from Arab
countries and Africa

below the Sahara, to Latin America, the Caribbean and Asian countries. A clear
preference cannot be

pointed out, although institutions tend to choose music from cultures with social
relevance in the home

country: either µneighbour¶, foreign or indigenous cultures, which are significantly

represented in the

population of the country. The activities do not necessarily lead to new approaches
to teaching methods

across the board.

We can see that cultural diversity has become an artistic reality in a substantial
number of institutions

throughout the world. But at the same time, we have to establish that the
development is still in its early

stages. On the basis of the findings, we can distinguish an eight-step

development:Sound Links ± Full Report

1. Occasional optional workshops and events from outside

2. Regular optional workshops with credits

3. Optional credit bearing modules

4. Obligatory credit bearing modules

5. Structural attention for cultural diversity in some courses

6. Structural attention for cultural diversity in all courses

7. Acknowledging cultural diversity in teaching methods and approaches

8. Reflecting cultural diversity in organisation entire institution

Most institutions that have developed activities are around stages 5 and 6. The
most profound response to

the realities of cultural diversity is yet to come.Sound Links ± Full Report

10

Institutional profiles and

Sound Links Pilots

Conservatory of Amsterdam

Pilot: Beyond banging drums ± African percussion as an

instrument for reflection

Musikhochschule Basel

Birmingham Conservatoire

Rhythmic Music Conservatory Copenhagen

Pilot: Cuba in Copenhagen ± Inspiration and

confrontation

Dartington College of Arts

Pilot: Preparing students for working in a culturally

diverse community

Sibelius Academy, Helsinki

Irish World Music Centre Limerick

Pilot: The carnival model in community settings

School of Oriental and African Studies (SOAS), London

Malmö Academy of Music

Pilot: Welcoming students to a diverse world

Rotterdam Conservatory

Pilot: Adapting teaching styles to new situations

World Music Centre Serpa

Pilot: µConfrontera¶ ± Exploring the borders of Christian

and Islamic arts

Part IISound Links ± Full Report

11

Introduction

This part can be considered the core of the Sound Links project. It contains some
of the most in-depth

action research into the actual working of cultural diversity in institutions for
higher music education

realised to date. In order to provide optimal insight into the actual workings of
cultural diversity in various

institutions we have chosen two, complimentary approaches:

· On the basis of an advanced questionnaire, research trips and live interviews,

detailed profiles have

been compiled on the position and practice of cultural diversity in the six Sound
Links partner

institutions, the lead partner, and another four institutions across Europe, which
were selected from

the survey described in part I as particularly active or representative of a particular

approach. For
each of these eleven institutions, a general introduction to the national higher (arts)
education

situation and the institution is followed by paragraphs on Music Degree Courses in

general, Cultural

Diversity in the institution, Evaluation and Assessment, Student Mobility, relevant

General

Developments in the Institution and specific policies relating to cultural diversity.

· For the seven institutions that participated actively in the pilot programme of
Sound Links, the

institutional profile is followed by a description of the pilot: aims and objectives;

content and

organisation; relevance to the teaching and learning climate; reactions,

observations and evaluation. In

a separate paragraph, the practical relationship is indicated between the outcomes

and lessons learned

from each pilot to one or more issues in the ³From Policy to Practice´, which can
be seen as the

summary of the key outcomes of the entire Sound Links project.

The profiles and the pilots show a great variation of approaches and µareas of
intervention¶:

The Conservatory of Amsterdam, which aims to have cultural diversity actively

accessible for future

performers, composers and teachers alike, provided a well-prepared context in

terms of content and

methods of teaching for an introductory course in African drumming.

Copenhagen Rhythmic Music Academy realised an intensive confrontation with

music and teaching
styles from Cuba in the context of an academy that aims at naturally including
cultural diversity in the

training of high level teachers of jazz, pop, and world music.

Dartington College of Arts placed a community project in co-operation with a local

organisation in the

context of degree courses in contemporary music, which naturally includes models,

approaches and

content from other musical cultures.

The Irish World Music Centre, which has focused on developing master¶s courses
on and beyond Irish

music, presented a model for Community Arts projects based on Brazilian festival
music.

Malmö Academy of Music organised an introductory week for all new students to
emphasise the

importance of cultural diversity throughout an institution that has realised a

striking µ total immersion¶

programme primarily aimed at future music teachers.

Rotterdam Conservatory, with specialised degree courses in five specific world

music traditions,

participated with a life-long learning project for professional world musicians

wanting to become teachers.

World Music Centre Serpa realised an interdisciplinary, hands-on study trip for
students to the

intersection of Christian and Islamic culture as a forerunner to establishing an

international campus for

world music in the area.

All pilots were conceived and organised from within the institutions themselves.
From Sound Links, each

project was monitored by the project manager, an external moderator, and an

observer from one of the

partner institutions to ensure objective and critical reporting, as well as a real

exchange of ideas and

examples of good practice. Before and after their realisation, all pilots were
discussed extensively with the

entire Sound Links group as well (see table overleaf).Sound Links ± Full Report

12

These discussions are reflected in ³From Policy to Practice´ and the conclusions of
the case studies and

pilot descriptions, in which six aspects of cultural diversity identified as

particularly relevant to

contemporary thinking on cultural diversity in the context of higher music

education, are approached

from a different angle.

Throughout the project, it was emphasised that the goal was not to present a naive
promotion document,

but rather a study that addresses both the joys and complications of cultural
diversity in actual practice.

This spirit of openness and the active participation of all partners have enabled the
Sound Links team to

create a picture that will enable policy makers and other institutions with similar
interests to gain a unique

insight into real-life approaches to cultural diversity within the institution, and
make well-informed
decisions on whether, how and where to deal with this force in the world of music
education in their own

environment.

Date Location / organiser Visiting institution

Pre-pilot March 2001 World Music Centre Serpa

Meeting 1 April 2001 Rotterdam Conservatory Sound Links partners

Meeting 2 June 2001 Conservatory of Amsterdam Sound Links partners

Pilot 1 August 2001 Malmö Academy of Music Irish World Music Centre

Pilot 2 November 2001 Conservatory of Amsterdam World Music Centre Serpa

Meeting 3 November 2001 SOAS, London Sound Links partners

Presentation November 2001 CDIME conference, London

Pilot 3 May 2002 Irish World Music Centre Malmö Academy of Music

Pilot 4 May 2002 Dartington College of Arts Conservatory of Amsterdam

Digital meeting June 2002 Internet Sound Links partners

Presentation August 2002 ISME World Conference, Bergen

Pilot 5 October 2002 Rotterdam Conservatory Rhythmic Music Conservatory,

Copenhagen

Pilot 6 October 2002 Rhythmic Music Conservatory,

Copenhagen

Dartington College of Arts

Meeting 4 November 2002 Rotterdam Conservatory Sound Links partners

Table: Project planning Sound LinksSound Links ± Full Report

13
Institutional Profile: Conservatory of Amsterdam

Broad perspective as a tool for the artistic and labour market

Introduction

The Conservatory of Amsterdam is part of the Amsterdam School of the Arts. It

has a long tradition and

excellent reputation in the field of teaching classical music to a fairly international

student population.

Through a merger with the Hilversum Conservatory in 1996, a strong jazz

department became part of the

institution. From about the same time, the institution started making conscious
efforts for the cultural

diversity within the institution to reflect that of the city ± with 47% of the
population and 66 % of youth

in schools of non-Dutch origin.

Before that, world music had already entered various departments µthrough the
back door¶. There was a

samba ensemble in the percussion department, guitar students received flamenco

lessons, popular

Brazilian music featured in the training of jazz vocalists, and composition students
were introduced to

South Indian rhythms and ragas.

A major development was the µinterculturalisation¶ of the Music in Schools

curriculum, an innovation

project supported by the Dutch Ministry of Education from 1996-2000. This

entailed bringing aspects of

cultural diversity to a minimum of 10-15% in all subjects in the curriculum.

Cultural diversity entered into
the meat of the curriculum, and the related skills are expressly mentioned in the
criteria for obtaining the

degree. After the completion of the Music in Schools project, an µintercultural co-
ordinator¶ was appointed

for the entire institution. It is his task to ensure the stimulation and implementation
of cultural diversity in

all departments of the conservatoire. At the moment, about a quarter of the students
have registered for

electives with world music content, while another large group follows compulsory
courses with world

music components.

Music degree courses in general

In the Dutch higher music education system there is at present only two degrees: in
music and music

education. This can be divided into instrumental majors, opera, composition, choir,
orchestra or brass

conducting, and music theory. The first phase consists of four years of 1680 hours
of study a year (42

credits), a second phase for the exceptionally talented adds another two years of
study. A formal process

of aligning these two phases with the BA/MA structure (which the European
Ministers of Education

embraced in the Bologna treaty) is in progress in the Netherlands.

The Conservatory of Amsterdam has over 1000 students: 500 follow the first phase
classical music, and

300 jazz. In the second phase, these directions have 75 students each. In addition,
there are 40 µyoung
talent¶ students, and 100 in the preparatory year. Fees for EU students are about ¼
1300 per year, for nonEU students and students over 30, the annual fee is ¼ 1700.

At present, the Conservatory of Amsterdam does not develop summer/winter,

professional development

and extra-curricular activities with a focus on world music. However, a continuing

education programme

aimed at music school teachers that was developed in the 1990s is based on
transcultural approaches to

learning.

Cultural diversity in the Conservatory of Amsterdam

Currently, many culturally diverse activities are offered to students and new
activities are in development.

The activities can be divided into three groups:

Accessible for all students

These activities are accessible for students from all sections:

¸ performance courses (³free space´ during 3rd and 4th year)

¸ introduction to world music and musical culture (elective course)Sound Links ±

Full Report

14

¸ first year choir (compulsory for first year classical, optional for all others)

¸ world music in project weeks

¸ study trip to West Africa for students education and jazz

¸ course Contemporary music through non-western techniques

Related to sections / departments

Music in Schools Ensembles, workshops, methodology, theory, specialisation
secondary

education, placements, study trip (to Gambia or Senegal) ± Highly integrated

into regular programme. Musical traditions offered in a broad range.

Jazz Latin percussion, Brazilian Música Popular, cross-over groups, flamenco

group

Composition Students choose to do a composition assignment linked to a certain

musical

tradition, especially Indian music.

Classical A guest teacher is invited during main-subject lessons or group lessons.

Series

Meet the Masters. Musical tradition often linked to main instrument: bansuri in

flute lessons, kora in harp lessons. Otherwise on request by teacher.

Theory and history All first year students learn about the Javanese tonal system
and get hands-on

experience with the instruments. Elective Introduction to world music. Intercultural

history module is offered as an elective. Theory students have the opportunity to

deepen their knowledge at the ethnomusicology department of the University of

Amsterdam.

Choir & orchestra

conducting, education

These programmes are still in development. Activities for the education

department will officially start September 2002, but they are already taking place.

Individual level
Students can file requests for certain activities, such as second-subject courses in
non-western traditions,

or deeper academic training at the University of Amsterdam. In the long run, the
Conservatory hopes to

develop strong links with other institutions for trimester abroad programmes and
intensive study trips.

Evaluation and assessment

Students are evaluated on the basis of aural and written exams, as well as on their
practical work in

classroom traineeships. In the latter, guest specialists in non-western traditions may

also play a part in the

student assessment. Regular evaluations by staff and students of innovations within

the institution take

place, but not as often as the intercultural co-ordinator wishes. The culturally
diverse courses and events

are under constant evaluation by the intercultural co-ordinator. He uses a wide

network within the

community in the Netherlands as well as abroad to secure the quality of the

teachers.

General developments and policy within the institution

In November 1999, the management team approved a policy paper that paints an
ambitious picture of the

future of world music within the Conservatory of Amsterdam. The basis for the
document is the idea that

cultural richness in society is audible in music. Cultural diversity affects the

musical reality. It raises
important questions on how to relate teaching, composing and performing as
learned at a conservatoire to

this new musical reality.

The Conservatory consciously chooses not to make a separate world music

department, but to integrate

cultural diversity into the existing curriculum. It has an explicit policy to integrate
and create room for

world music in the existing curricula on the basis of artistic arguments, as well as
policies aimed at

recruiting a greater number of talented teachers and students with non-western

backgrounds.

While many of the initiatives in this field come from students and teachers, it is
also the staff (artistic

director and co-ordinators) who feel that cultural diversity is an important tool to
connect the institution

to society, to keep up with current developments, and to use in the constant

innovation of the institution.

The artistic director is not directly involved with these developments, but takes an
active interest in them

from his own background as a conductor, and support and facilitates where
necessary.Sound Links ± Full Report

15

Many students in the school support cultural diversity and take it as a matter of
course that it should be in

the curriculum. This goes for teachers as well although there is some opposition
from this group,
especially in the classical department, but also in jazz. Some teachers feel that
world music in the

institution is a threat to their own practice and unnecessary for their students. In the
student group, there

is a lot of interest in world music, but this does not necessarily mean that they are
willing to be involved in

practising it.

Future

In the near future, the Conservatory aims at strengthening the link with society by
concentrating more on

community activities. Involvement in the CDIME (Cultural Diversity in Music

Education) network as well

as the Sound Links project are important elements in this development, since it
provides useful contacts

on a high level. Another aspect that Amsterdam will focus on is educational

projects and productions that

deal with transferring (world) music. A working group has just been installed to
examine this area.

The world music programme in the departments of school music and educational
sections of jazz and

classical will have a prominent position in the new lectorate arts and cultural
education. This will result in

more academic support for the intercultural education. The Conservatory of

Amsterdam is also looking

into firmer connections with other intercultural educational programmes in the

School of the Arts, and
responding to the demand for better and more world music education within the
city of Amsterdam.

Pilot project: Conservatory of Amsterdam

Beyond banging drums ± African percussion as an instrument for reflection

Introduction

The Conservatory of Amsterdam has a large number of non-western music courses

on offer for its

students. This report describes one of these courses, which served as a pilot project
for Sound Links:

Djembe sessions ± teaching and learning African percussion. The course period ran
for ten weeks from September

to November 2001, the first trimester of the academic year.

The project consisted of two African percussion (mainly West African djembe)
courses by the same

teacher, running parallel for ten weeks. Two groups of about 10 students each were
involved. The first

group consisted of first year students of the music education (music in schools)
department. The second

group was more advanced and was made up of students further in their study
career, who had some

experience with African percussion. This group was mixed; there were music
performers from various

departments, as well as music education students.

The focus of this report is on the methodological impact of the course on the
students and teacher, as

well as on the place of this course within the institution. Another point of interest is
the difference in
perception by two groups: beginners (first year students) and µadvanced¶ (second
year and higher, familiar

with djembe). The outside observer on this project was Huib Schippers from the
World Music Centre. His

speciality is methodology. The observers spoke with the students, the teacher, the
intercultural coordinator, the artistic director, and other staff involved with
bringing cultural diversity further into the

institution.

Aims & objectives, place in curriculum

The project had a number of objectives:

1. Testing various forms of transmission. These deal with:

· combining analytic and holistic approaches

· use of context, questions of authenticity in playing and learning

· use of notation, µfixed music¶

· working in groupsSound Links ± Full Report

16

2. Training of skills. The Conservatory wanted to know how far the students could
be trained within 10

lessons.

· rhythmic training, sense of timing and pulse

· physical memory

· group communication and interaction: solo/improvisation ± accompaniment, call-

andresponse, recognition of rhythmic codes

· use of body in making music

3. Transfer of skills. This concentrates mainly on two fields:

· transfer to playing of other instruments and music making in different traditions

· transfer to third party, in the way of workshops or projects (in the case of the
second group)

4. Reflection on methodology and development by students, teachers, and other

staff.

For the first group, the course was compulsory. During their first study year, these
students are offered

three musical styles in the µworld music¶ range: west African drumming, Javanese
gamelan, and Caribbean

and Surinam music. These courses result in one credit for the whole series.

The second group had the course as an elective. The students were required to have
some experience with

West African drumming. This group did not stop after ten weeks, but continued the
lessons throughout

the year. This is part of the µfree space¶ that the curriculum holds for all students:
they are free to spend it

on the subjects they choose themselves. They received 2 credits for the whole year.
Music in schools

students do not have µfree space¶ in their curriculum. The students involved in this
class used the course as

an addition to their regular programme.

Content

The djembe is an instrument that is by now well known in the Dutch cultural
landscape. Experts estimate

that there are 2000 to 3000 of these drums in the Netherlands. It is taught in private
settings and public
music schools, and concerts are organised regularly, especially in Amsterdam. This
familiarity was one of

the reasons for choosing the instrument for the first beginners course. The playing
techniques are also

quite accessible at first. The students are quickly able to make distinctive sounds
and play rhythms without

very complicated techniques. The advanced group was already familiar with
playing the instrument.

An advantage of West African drums in the curriculum is the connection with

other musical styles, such

as jazz and pop music. This could clearly be seen in the second group, in which
two jazz students took

part. They had a strong connection with the music and could relate to the rhythms.

The traditional teaching and learning styles of djembe are very different from
western traditions, as are the

attitudes towards playing and listening. This gives an interesting perspective on

physical transmission in

general, and also on the matter of transferability: what elements from another
culture can be transferred to

western practice, and vice versa. The advanced group will test these issues in
practice at the end of their

course, when they will be required to set up a workshop or project involving

djembe drumming. The

Conservatory intends to take this direction of community music more often, to

bridge the gap that exists

between the institution and the society that surrounds it.

Teaching
The matter of teaching rests greatly on recontextualisation: music from West
Africa is brought to a

completely different surrounding, where it can not be taught in the traditional way.
It is up to the teacher

to find a format for bringing across the essence of the music and the skills to a
different kind of student in

a different context. The teaching methods in the two groups did not differ much,
but in the advanced

class it was more refined and emphasis was more on timing and playing together,
solo playing /

improvisation, and increased polyrithmic complexity through use of dun-dun

drums.

The djembe classes were taught by Victor Oskam. His background is in western
percussion, which he has

been teaching at the Conservatory. Some twelve years ago, he came into contact
with African percussion.Sound Links ± Full Report

17

He was taught djembe in the African way. This means he is familiar with both
teaching styles, European

and African. He is especially interested in teaching methods and transferring

African music to a European

audience, which is why the Conservatory is interested in his teaching. The teaching
methods used in this

course were like a distillation of the methods Victor usually adopts in classes. He
takes care in introducing

new techniques to conservatoire students, because he first wants to understand

them thoroughly himself.
The teacher used various teaching methods, trying out the effectiveness of each.
Apart from standard

(African) demonstration, imitation and repetition, he used techniques he developed

himself such as

µclapping and stepping¶. This method can be seen as a recreation of a setting in an

African village, where

music is learned and absorbed first without the instruments but through listening
and moving (dance).

This learning process begins at birth and is therefore impossible to recreate in the
classroom, but in

another form it can be placed in a different context. The students stand in a circle
and co-ordinate

clapping their hands with the movement of their feet, like walking. By doing this
for a certain period of

time and changing the patterns, they become familiar with the rhythms and the
principals underlying

them, gaining confidence to play and use them.

The teacher found that this pilot project for him was an opportunity to reflect on
his teaching methods

and approaches. Before the course he made a plan of how it would be set up and
what he expected to be

the outcomes. The plan was kept very flexible, because the aim was to see how far
the students would get

in the end. At the end of the term, the first year students had received very basic
training. In the last two

lessons, some attention was paid to subjects for further development, possibly in a
follow-up course:
improvisation and solo playing.

Learning

In two sessions, the student groups had the opportunity to give their views on the
course, teaching and

learning, and cultural diversity in their own institution. Their reactions were critical
and reflective. They

understood the teaching methods and found them very useful and effective. Their
attitude towards nonwestern cultures was very open and they understood the value
of the courses for their development as a

musician.

An important aspect that came up was group learning: making music as a group
was perceived as an

inspiring setting. Playing as a group gave a feeling of security and support, and it
added to the pleasure of

making music. Especially the first year students commented on the lack of group
learning in the

Conservatory. They suggested more frequent use of a masterclass format, where

listening to each other is

as important as participation.

One of the key elements that students took from the djembe course was a more
physical approach to

music making than usual. They were often surprised by the use of physical
memory and incorporation of

musical patterns while making music. They connected this way of making music to
the subconscious, and

at one point even to meditation aided by the repeated patterns. This could be used
as a way of reaching a
state of balance and inner stillness from which music was created. The balance
between mind and body

was an object of discussion and touched upon the issue of analytical versus holistic
approaches to

learning.

From a musical point of view, the students discovered a new way of creating and
experiencing music.

West African music is mainly cyclical, which is quite different from the usual
linear perception of rhythm

and melody used in the western tradition. The layered structure and building-up of
rhythms was new, as

well as a more melodic approach to percussion-based music; remembering a

rhythmic pattern by its

intrinsic melody. This required a different way of learning things too. Learning
was practice-based and no

notation was used, which led to a few objections from the music education
students. They were afraid

they would forget the rhythms if they did not write them down. In the case of this
short course, this fear is

not without foundation. However, in the advanced class, the students were more
immersed in the music

and could remember the rhythms quite easily. It helped that they learned the music
collectively, so there

was constantly a structure to build on.Sound Links ± Full Report

18

Reactions, observations, evaluation

The Conservatory of Amsterdam has a very energetic approach to cultural
diversity. The integration is

done by practical work, but with a strong theoretical and visionary background.
Quite a few members of

the staff are dedicated to the matter, and they are supported from above as well as
below. The students

see the need for cultural diversity in their training and come with own initiatives.
This µdrive¶ has led to a

solid presence of world music in an institution that is traditionally based on the

performance of western

classical music.

The Conservatory is currently dealing with a number of important issues that arise
from the integration of

cultural diversity. An important issue is transferability of skills. Being in an

institution that concentrates

traditionally on classical excellence, it is important to µdefend¶ the integration of

world music into all

sections. The current way of doing this is successful: by integrating culturally

diverse practice and electives

into the curriculum in dialogue with staff and students, it is not perceived as a
threat as long as it is clear

how students benefit from these activities. One of the conditions is that the courses
are of high quality.

The intercultural co-ordinator is constantly involved with finding the right tutors
for the students. Not

only should the students gain transferable skills from the courses, the level of
music making must also be
high.

However, the Conservatory does not aim at training high level performers in world
music traditions ± by

offering world music courses, it provides students with a broad range of musical
input and skills. It is in

this question of breadth versus depth where the Conservatory is constantly finding
its balance.

The broad professional profiles that students are training for, requires them to
make their own musical

identity. Through various musical influences and creativity, students make their
own musical language that

allows them to become not only music teachers or performers, but rather musicians
who teach and/or

perform. This process requires an open mind from the students as well as the
institution. As one of the

students in the first group remarked, curiosity is the first step in discovering your
own style.

Amsterdam is looking outwards without losing sight of what is happening inside

the institution. The

Conservatory is regularly involved with international projects and networks. In the

future, the

Conservatory of Amsterdam will be concentrating more on its connection to

society around it. The ethnic

make-up of the city requires musicians that can be flexible in their approach to
musical culture and

context.
Relevance of the project to the key issues identified in Sound Links µFrom Policy
to Practice¶

Methodology

When musical traditions are moved into a different context, for example a western
institution for music

education, many things change. Usually the traditional method of transmission can
no longer be used in

the new context. On the other hand, the western teaching methods are not always
suitable for every kind

of music. Amsterdam Conservatory is currently investigating the implications in

methodology of world

music traditions entering the institution. With the growth of cultural diversity in
higher music education as

a whole, the aspect of methodology will become even more prominent. A great
deal of research remains

to be done.

Support structure

The artistic director of Amsterdam Conservatory takes an active interest in all

culturally diverse activities,

and the management acknowledges the need for a strong support structure. Not
only have many members

of staff become involved, there is also a special cultural diversity co-ordinator.

Specific commissions,

consisting of staff members from many departments, are set up for important issues
such as methodology.

This support structure ensures optimal sustainability for activities in this

field.Sound Links ± Full Report
19

Openness

Amsterdam Conservatory is surrounded by a multicultural city in which people

from all around the world

find their place, where they live, work, eat, socialise and make music. The
Conservatory is very much

aware of this, and has tried to adjust its approach to this new every-day reality.
Especially in the Music in

Schools department, the aspect of multiculturalism is found to be very important.

An open attitude

towards all kinds of musical cultures is a prominent feature in the curriculum, and
stimulated throughout

the programme.Sound Links ± Full Report

20

Institutional profile: Music Academy Basel, Switzerland

World music as liaison across levels of education

Introduction

Teaching world music has a tradition of more than 25 years at the Musik-
Akademie der Stadt Basel. In

1976, a class for Balinese gamelan at the Musikhochschule of the Music Acadamy
was formed. Since 1980,

regular classes for the Japanese flute shakuhachi and North Indian vocal and
instrumental music are held.

In 1994, the various activities in the field of world music were concentrated by the
formation of the

Studio für Aussereuropäische Musik (Studio for Extra-European music).

Often referred to as SAM, the Studio for Non-Western Music has a special position
within the Music

Academy. The school in fact consists of four institutions: the Musikschule, which
provides music lessons

for lay people and is currently most successful, the Musikhochschule, an institution
of higher music

education, and the Scola Cantorum (SCB), specialising in Early Music; the Musik-
Adademie also has a

music education department, providing both education in primary schools and

teacher training.

Until 2002, the Studio for Extra-European Music was formally an independent
department in the MusikAkademie. Now, it has become part of the Musikschule
(music school), but positions itself as a liaison

µbetween¶ these departments, providing world music in the curricula of the four
institutions as well as

organising its own classes, workshops and concerts.

(World) music courses

The Musikhochschule gives degrees in music education, concert performance, and

solo performance.

Although none of the world music courses lead to a formal degree, the continuous
availability of the main

teachers of Indian, Balinese and Japanese music allow motivated students to reach
a high level.

Integration into existing courses

In the Musikhochschule, world music is represented in the modules General Music

Studies (1st

year),
Music History (2nd

year) and Instrumentology. In the 3rd

year students are encouraged to follow one of

regular courses SAM is offering (shakuhachi, gamelan, North Indian music). In the
Schola Cantorum SAM

offers courses in modal improvisation for students of Medieval Music. Within the
frame work of the

Musikschule there exists a class for Shakuhachi, two classes for Balinese Gamelan
(children and adults),

and a class for North Indian vocal music.

Other activities

SAM organises regular workshops in Balinese dance, Brasilian dance (Orixas),

Korean percussion (Samul

Nori), Persian percussion (Tombak) and Indian Tabla. It strives for returning
workshops, enabling

learners to achieve a level of some proficiency on the instruments of their choice.

In addition, activities

like a trip to Bali for young gamelan players are organised, a seminar on theory
and practice in

ethnomusicology and a workshop week where all workshop activities are

concentrated.

A special position amongst the workshop activities is taken by the annual master
classes by Indian sarod

maestro Ali Akbar Khan, with Swapan Chaudhuri, one of the foremost tabla
players. One of the

acknowledged grand old men of Indian classical music, Ali Akbar Khan has made
room in his touring
schedule to visit Basel 15 times so far for a one-week intensive course for 50-100
Indian music students

from all over Europe. The workshops are realised together with the Ali Akbar
College of Music in Basel.

Evaluation and assessment

As the world music courses are not part of the formal educational structure of the
institution, evaluations

are generally only done by the teacher, and feedback is given verbally by the world
music specialists

themselves. There are no written criteria for this.Sound Links ± Full Report

21

General developments / policy within institution

The Studio fur Aussereuropäische Musik has been an independent institution

within the structure of the

Music Academy until 2002, when it was incorporated into the Musikschule (music
school). The Studio has

however kept its own budget and is now better represented on the Board of
Trustees of the academy. Its

independence looked good in theory, but it also made the Studio vulnerable: a free-
floating structure is in

constant danger of being blown away in the next cost-saving round. Integration
into the Musikschule

means more security. The Studio has not lost its function as liaison for world music
activities between the

departments.

The Musikhochschule is going through a process of validation, in order to change

from Konservatorium
to a EU-compatible Musikhochschule. The process will consist of two rounds of
validation by a Swiss and

an international board. At the moment there are no new initiatives to strengthen the
position of world

music within the Musikhochschule.

There are no formal policies regarding cultural diversity, making this area (and
SAM) vulnerable within the

institution. Activities do not take place at the heart of things, but more on the
fringes. However, a crossdepartmental Studio secures continuity and distribution of
activities, mostly thanks to the commitment of

the leading figures in SAM to preserve the department.Sound Links ± Full Report

22

Institutional profile: Birmingham Conservatoire

Responding to new musical realities

Introduction

World music at Birmingham Conservatoire has always been regarded more as a

dynamic influence on

contemporary music and composition rather than as research-based

ethnomusicology. Operating in

emphatically multicultural surroundings, Birmingham Conservatoire has for a long

time responded actively

to the challenges of cultural diversity. Courses involving a wide variety of world

musics have until recently

been realised from the level of single modules to entire degrees. However, recent
developments under

new management show a shift in attitude towards cultural diversity within the
institution.
Music degree courses in general

Birmingham Conservatoire offers courses at undergraduate, postgraduate, research

and Junior school

levels. The following degree courses are specified:

Undergraduate

· BMus (Hons)

In the description of the course, it is specifically mentioned that the subject matter
is Western classical

music. The course, which takes four years, consists of practice supported by
academic work. During the

last year the students embark on a project, giving them opportunity for
specialisation in: performance /

composition, teaching, academic studies, or community music.

· BMus (Hons) Jazz

This four-year course is the same as above, but focusing on jazz. Elective modules
include world music

traditions.

· BSc (Hons) Music Technology

Students are trained to work in a recording studio, as a sound technician, or

working in multimedia

projects and digital broadcasting and publishing of music. Duration: three years.

Postgraduate

· PGDip in Music

This postgraduate course offers specialist study in performance, composition or

world music. Apart from
45 hours of specialist tuition during the course of the study (1 year fulltime, 2 years
part-time), students

receive support lectures, for world music in the subject of ethnomusicology. There
are different modes of

assessment available for non-western performance practice.

Half the amount of study credits will give students a postgraduate certificate in
music.

· MA in Music

The one-year MA course resembles the PGDip, but a fourth option of

specialisation is available:

musicology. An MA is regarded as a good preparation for a research degree

programme.

· MPhil and PhD

PhD proposals are welcomed dealing with ³(«) questions relating to the practice
and philosophy of

musical performance and composition, and other areas of particular interest in the
conservatoire context.´

The MPhil degree of one year gives good access to the PhD programme.

· DPS

The Diploma in Professional Studies is only accessible for exceptionally talented

students of music

performance. The course is available in one of five divisions: Instrumental

Performance, Piano

Accompaniment, Opera Performance, Opera Repetiteur, and Vocal Performance.

World music traditions

are not mentioned as possible subjects.

Cultural diversity in Birmingham Conservatoire

World music was established as a core subject in the undergraduate curriculum in

1989, when no other

conservatories in the UK, and very few university departments and colleges, taught
world music.

Academic study was combined with a practical hands-on approach to West African
music, English Folk,Sound Links ± Full Report

23

gospel singing, Brazilian samba batucada, Indonesian gamelan and Hindustani

classical music. After initial

resistance from some departments these activities were gradually accepted and
welcomed by many staff.

A core module on world music was part of the BMus programme until 2001, when
the course was

revalidated. The module provided an introduction to different musical cultures and

was generally found to

be useful especially for the majority of the students who have gone through rather
µmonocultural¶ school

education. There are now plans to replace the module with an introduction to
ethnomusicology (2 or 3

lectures) as part of second year history.

For some time, Birmingham Conservatoire has had a BMus Raga Sangeet (Indian
music) programme on

offer. This course has been cancelled after application numbers fell below target
for two successive years.

The course is now waiting to be revalidated, along with its recruitment and
marketing strategies.
Current activities in the field of cultural diversity are mainly in the optional
subjects, mostly non creditbearing. World music is integrated is some subjects and
modules, mainly in the School of Composition

and Creative Studies. For example, world music is included in composition courses
and workshops, as

well as special projects such as the Music Extra Week ± a project week for the
entire school. In these

cases, world music is formally mentioned in the objectives. On the whole, teachers
do not yet use nonwestern methods of teaching in the training of students, except
for the world music specialists from other

cultures. A member of Conservatoire staff has been assigned to co-ordinate all

world music subjects and

ensembles.

Evaluation and assessment

World music subjects are assessed by a teacher or a panel, who have written
criteria for this. The students

receive feedback in written and/or verbal form, by means of marks. The formats of
assessment for world

music include group assessment, solo and accompaniment or a recital. Academic

modules are assessed by

written work, seminar presentations and aural tests.

General developments / policy within institution

Formal policies regarding cultural diversity have been adopted at Birmingham

conservatoire. For a great

number of years, there has been a multitude of activities in place, available for all
students. Although
world music was in some cases firmly established within the programmes, recent
developments have

shown that the institution will need sufficient staff and financial support to keep
the activities as a

significant part of the overall programme of the institution.Sound Links ± Full

Report

24

Institutional profile: Rhythmic Music Conservatory, Copenhagen

World music in the context of training µrhythmic¶ musicians

Introduction

Denmark has a tradition of summer music seminars on Danish µfolk highschools¶,

which was originally

initiated by Grundtvig. Although it is part of the Danish adult education system,

this form of education

does not provide students with a diploma. It is meant as an orientation, a

broadening of mind or µaftereducation¶. These summer seminars have been
important for the development of Danish music and music

groups. In the seventies the summer schools acquired a more political and
contemporary approach and

atmosphere, and the kind of music offered at those schools changed into the same
direction.

It was from this concept ± and from the simultaneous development in the Danish
evening school system

± that the idea for a conservatoire for µrhythmic¶ (mostly Afro-American) music
emerged, creating a place

for jazz, pop and ultimately world music in the educational landscape. After some
years it was established
within the existing structure of traditional conservatories. The Rhythmic Music
Conservatory (RMC)

opened in 1986, primarily as a high-level pop/rock/jazz school, with an emphasis

on music education. As

a result of its complex and different history, as well as its musical content, it was
separated from the

established classical education right from the start.

Music courses

There are three main educational directions: core activity is the 4-year education of
music teachers (MT)

and 5-year musicians/singers diploma education (MS). A new professional 4-year

education music and

movement teacher (MMT) was introduced in 1998. 80% of the students follow
teacher training courses,

only 20% concentrates solely on performing. That does not mean insufficient
attention is paid to artistic

development: all students obtain high level performing skills, and most candidates
will eventually work

both as professional performers and teachers.

Apart from these courses, there are two 1-year diploma courses for musicians and
music teachers, and

from 2000, a new 3-year sound technician course (ST). All courses require the
same study load: 1500

hours a year, of which 500 are contact hours. A study at RMC does not lead to an
official academic degree

or title, as the RMC falls under the authority of the ministry of culture, and not the
ministry of education.
Graduates are qualified to teach in music schools. For teaching in formal education
in Denmark ± like in

most countries ± one needs a degree from teacher training college (for primary and
secondary schools),

university or conservatory (for higher education).

Cultural diversity at RMC

RMC offers only general programmes, not focusing on a specific musical tradition.
Most of the traditions

taught at RMC (pop, rock, jazz and world music) are considered multicultural (or
intercultural) in

themselves, because of their origins. Students have the possibility to specialise

after the second year, but

the programme will still include general subjects. RMC does not offer specialist
programmes in world

music traditions.

The amount and manner of attention paid to world music seems more or less
dependent on the teachers.

Apart from this, world music is mainly practised during project weeks every year,
which focus every time

on a different geographic area and musical culture: Cuba, Brazil, Nashville,

Louisiana, etc. Students show a

growing interest in world music, but rather integrated than presented as a separate
field of study. Most

teachers involved in world music in the institution also make use non-western
methods of teaching in

their classes.
RMC does not have an active community programme. Student placements are
mainly in the music

schools, where they teach ensembles and instruments. There is an immigrant

community in Copenhagen,

but it is relatively small compared to other European cities and RMC is not
influenced by the groups of

µnew Danes¶. It is difficult to come into contact with immigrant groups and
musicians. They usually do notSound Links ± Full Report

25

go to music schools, and only a small percentage will study in higher education ±
the percentage in music

education is even smaller. There have been projects to make a connection with
Islamic culture. For

example a project week that focused on music from the Middle East, or another
with Turkish musicians.

Student mobility

15% of RMC¶s students are from abroad. Outgoing mobility is limited, and mainly
to the US, Brazil, Cuba,

Africa (Ghana, South Africa), and other Nordic countries. With regard to studying
in non-western

countries, aligning study programmes is often a bottleneck. Internationalisation is

mainly a matter of

informal contacts and serves to make deals with individual institutions. Teachers¶
own networks are

important for this, as are the project weeks. RMC takes part in international
networks, but there are few to
no applications for Socrates/Erasmus as the RMC only entered the Socrates
programme this year, and

students seldom take courses or semesters at European conservatories outside of

Scandinavia.

Technically, a mechanism for funding study abroad is in place. For comparable

modules abroad students

can take money reserved at RMC with them. For incomparable and extra modules,
they have to find

additional funding. Students can also take their grants from the State Educational
Fund with them.

For RMC a problem with study abroad is that hardly any country or institution
pays as much attention to

pedagogical/didactical training as RMC. In other words: there is a lack of suitable

modules. Therefore

studying abroad for most RMC students means studying longer. Language and
usefulness for Danish

teaching situations and professional practice are relevant as well: many students
live in Copenhagen and

work as teachers and performers during their study-time to gain experience, so

there is a strong

connection with the home town context.

Teaching and Learning

At its initiation, RMC constructed a curriculum that resembled those of classical

conservatories in

Denmark. This was mainly a way of meeting the requirements for the Ministry of
Culture. Now there are
developments towards more appropriate forms of teaching, forms that are
uncommon at classical

institutions, for example band-based learning. Professional development for the

teaching staff ± educated

in classical institutions or at RMC themselves ± is vital in this process. However,

there is often a lack of

financial means to involve them in the development of the teaching process: long-
term planning, new

ideas and initiatives, student-centred learning. The institution is now finding ways
to accommodate this

and create room for reflection.

Many modules in RMC are practice-based. More time is devoted to this approach
than to theoretical

teaching. Reflection on students¶ learning and teaching is largely missing.

Discussions about these

processes take place in the third year, but at the moment staff is working on
extending this time to the

second to fourth year. During these years, students will be working with ensembles
in- and outside the

institution, both learning and teaching.

RMC has had a continuing education department since 1995. It seemed like a
natural step to include

continuing education, since the RMC has its own origins in this area. At the
moment activities in this

department have been toned down, mainly as result of change in funding policies
from the Danish Music

Council.
Evaluation and assessment

RMC only assesses courses in the core curriculum. The students are individually
assessed by a teacher

panel in exams including written, verbal, pass/fail or grades feedback, according to

the type of exam. All

exams are described in the curriculum.Sound Links ± Full Report

26

General developments / Policy within institution

Before the founding of RMC, the introduction of rhythmic music into higher music
education was very

slow in Denmark. When state funding was made available for RMC, many
conservatories in Denmark

followed and included rhythmic music into their curriculum in some form,
although they are still mainly

focused on classical music. The advantage of having a separate position from

classical music institutions is

that the RMC is free in choosing its own forms, methodologies and content.
However, it takes constant

effort and development to avoid µtunnel vision¶: not seeing and/or understanding
what others in the field

are doing, and not making connections.

The RMC has no formal policy regarding cultural diversity. Its musical content ±
rhythmic music ± gives

many entry points for inclusion of world music traditions in the programme,
something that is done

mainly through the project weeks. Its artistic focus also creates ample opportunities
to create links with
various groups in the Copenhagen community. Students and staff take part in
Copenhagen¶s cultural life

by performing and teaching, but there is no real connection with community work.
There is no such

subject available in Denmark, but RMC is considering to develop a similar effort ±

for example by a

community music training programme for its students.

Pilot project: Rhythmic Music Conservatory, Copenhagen

Cuba in Copenhagen ± Inspiration and confrontation

Introduction

Every year the Rhythmic Music Conservatory in Copenhagen organises a week

around the music of a

specific geographical area for all its students. In 2002, the central theme was the
music of Cuba. The main

aim of the music weeks at RMC is to bring students into contact with a different
kind of music in order to

broaden their experience and interest in music. In the past these weeks have led to
study abroad, student

exchange, and new ensembles ± apart from improving the institution¶s library and
teaching resources. The

set-up of the Cuban music week was different from earlier years: since the
academy wishes to increase

background knowledge and reflective thinking of students and staff, it included

some theoretical elements

into the programme and invited a Cuban ethnomusicologist specialised in the field
of Afro-Cuban music.
Another new aspect was the inclusion of dance, which was compulsory for all
students.

All classes during the music week were taught by Cuban musicians, flown over to
Copenhagen especially

for this week. Two years of preparation by a latin music expert with contacts in
Cuba preceded the visit of

17 musicians and 3 dancers. Volunteers from Copenhagen were brought in as

interpreters for all ensemble

training and masterclasses.

Content & organisation

Attendance during the Cuban music week was compulsory for all students from the
1st to 4th year. Since

absence means that you have to double the entire year, all students were present at
their classes. It is not

possible for the institution to regulate student attendance with credit points, since
they do not give out

degrees and do not use credits. RMC does not have many students for percussion
or wind instruments.

Since Cuban music requires especially those two instrumental groups, some 5th
year students and

graduates were brought in to complete ensembles.

Students were divided into two groups with a schedule from 9.30 AM to 5 PM
comprising of a welcome

concert, a lecture by Olavo Alén, masterclasses, and dance lessons, but especially
band practice. In the

evenings there were concerts and jam sessions. Masterclasses were on the
following instruments: piano,
bass, guitar, vocal, violin, saxophone, trumpet, trombone, drums, percussion, and
clarinet.Sound Links ± Full Report

27

Teaching & learning

The Cuban musicians, aided by interpreters, taught all classes during the music
week. The Sound Links

observers attended masterclasses by Luis Abreu Hernandez, who taught conga

rhythms to eight

percussion students. Teaching consisted primarily of imitation: the teacher would

play the whole rhythm

and the students repeated it back to him. Then the rhythm would continue. In case
of mistakes, the

teacher would use non-verbal signals to communicate with the students. In some
cases, students tried to

get around the teacher¶s method by explaining things verbally, but the teacher
stopped this as much as

possible by slowing down and giving the students the opportunity to µwatch and
do¶. If everything was

going well, the teacher would get up and sing or dance. At a certain point all
students had the opportunity

to add something to the rhythm: improvisation, gestures, words, etc. Apart from
fun, this added

confidence to their playing.

Reactions, observations, evaluation

The pilot project in Copenhagen was well-organised. A lot of time and money had
gone into selecting the
teachers, freeing students from other responsibilities, and setting up the
programme. Since the RMC did

not have the necessary expertise to select the teachers, negotiate and arrange the
visit, an external expert in

the field of Cuban music was brought in. Not only did he prepare the project, he
also took care of the

musicians during the week. The dancers had a separate co-ordinator.

When taking into account the costs, it must be considered what the benefits of this
week will be for the

students, staff, and indeed the whole institution. How does the institution ensure
sustainability of the

results of the Cuban music week? What will happen when the Cuban guests have
left and the Academy

stays behind with enthusiastic students and a stocked up library?

Earlier experience at RMC has shown that the greatest effect of world music weeks
lies in exchange and

contacts. However, one can argue that the lasting effects could be increased. Most
of the regular teaching

staff was not involved, or even present during the Cuban music week. They did not
come into contact

with the Cuban musicians. Not only is this a missed opportunity for professional
development of teaching

staff, it also creates a distance between teachers and students and loss of
connections between the various

musical cultures taught at RMC. The opportunities for staff and students to reflect
on the effects of the
Cuban music week on their teaching, learning, and further development is likely to
be lost. RMC is

currently looking into the development of its staff and the whole institution, and
these considerations will

be taken into account.

Relevance of the project to the issues identified in Sound Links µFrom Policy to
Practice¶

Methodology

The Cuban music week at the Rhythmic Conservatory in Copenhagen was for
many students a

confrontation with different ways of teaching than what they were used to in their
institution. The Cuban

musicians were often accomplished musicians, but not trained as teachers.

Combined with an inevitable

language barrier, communication problems occurred during classes. This can have
serious consequences

for the atmosphere and also the effectiveness of the practice sessions. Both
students and teachers should

be aware of (and prepared for) the situation of cultural encounter they are in.

Staff involvement

Activities in the field of cultural diversity in institutions for music education

usually do not involve other

teaching staff than necessary. This is unfortunate because it presents many

opportunities for professional

training and staff development, for example meeting new musical traditions and
ways of teaching.
However, often teaching staff is on part-time contracts with limited hours for
teaching. If professional

development is not a paid contractual obligation, funds need to be made available

for this purpose.Sound Links ± Full Report

28

Sustainability

The students of RMC come into contact with world music traditions at least once
in every year. The

institution has decided to spend a substantial amount of money on these projects, to

be able to attract

high quality musicians from the country of origin. However, in the end the students
only spend one week

with these musicians, and the learning experience is not continued afterwards when
they go back to their

regular schedule. There is a substantial danger that the experience will be very
superficial, and will not

yield a deeper understanding of the musical culture. To make these efforts

sustainable, students need to

come into contact with other musical cultures more often.Sound Links ± Full
Report

29

Institutional profile: Dartington College of Arts

World music as a given in comtemporary music

Introduction

Regarding cultural diversity in music education, Dartington College of Arts adopts

an approach based on
the study of contemporary music ± meaning all genres and styles relevant today,
without making

hierarchical value judgements. World music is integrated into the teaching of all
BA and MA courses and

is (to some extent) variable, depending on staff availability and student interests.

Dartington College of Arts was founded in the early 1930s, as the fruit of a
meeting between an American

heiress and a British visionary. After spending time in India to work on an

innovative project in

agricultural innovation, Dorothy and Leonhard Elmhirst returned to Devon with

the aim of reviving rural

life in the face of the adverse effects of urbanisation. As part of this major
endeavour, they established a

liberal arts college in an impressive medieval manor house that was built for the
half-brother of Richard II,

which they thoroughly renovated.

At the College, extensive room has always been reserved for innovative
approaches to arts and arts

education. Dartington College of Arts developed a substantial world music

department, which functioned

until 1990, with courses in Japanese shakuhachi, gamelan, Indian music and
African music. Unfortunately,

in the chosen format, it could not be run on a cost-effective basis, so the

department was discontinued.

The interest and some activities in world music have remained, however.

Music degree courses in general

Duration study load per year ECTS

BA Honours in Music 3 years 1200 hrs 3 x 60

BA Honours in Music (Performance) 3 years 1200 hrs 3 x 60

BA Honours in Music (Composition) 3 years 1200 hrs 3 x 60

BA Honours in Music with Arts Management 3 years 1200 hrs 3 x 60

MA in contemporary music 1 to 2 years 1800 hrs total 90

M Phil 2 to 3 years

Ph. D. courses. Minimum 5 years

From the academic year 2003-2004, the study load per module will double from 10
to 20 credits (ECTS).

As a consequence, students follow only half the number of modules but will
receive more in-depth

education. While in the µold¶ system there was more flexibility and choice for the
students, there will now

be more room for reflection and discussion. The content and effectiveness of the
modules is expected to

increase.

World Music in the degree courses

Dartington does not offer specialist degree courses in world music, or specific
modules/ programmes in

world music as part of existing degree courses. Dartington accepts virtually all
instruments for practical

study. All students must take either Performance or Composition practical

modules. It also has a range of

ensembles, some quite specifically world music e.g. Balinese Gamelan, Samba,
Ghanaian
drumming/xylophone, and others which often include some world
music/instruments e.g. free

improvisation, choral work. As the focus of the entire institution is contemporary

arts, which includes folk

and world music, the accent lies on integration of world music in most key
subjects, such as instrumental

education, pedagogical classes, music theory, and practical workshops. In this way,
world music can be

found implicitly throughout the curriculum, for example:

BA first year: Modules dealing with 'Music in Time & Place'. This is Dartington¶s
version of a 'history'

course. It examines what music was and is for various cultures, mostly historical,
and how we can know

about it. It takes an ethnomusicological approach, asking questions about the

function of the music within

the culture as well as examining the musical constructions.Sound Links ± Full

Report

30

BA second year. Ethnomusicology is offered some years as one of the musicology

options. Students can

take 'Ensemble Studies' as one of their modules; several ensembles on offer play
world music. Students

can also take a 'Negotiated Project' - supervised but not taught directly - which
some students use e.g. to

develop their playing of Ghanaian xylophone.

Elective modules offered to all students of the college (theatre, visual performance,
performance writing
as well as music) include cross-cultural work and modules such as 'Investigating
Culture'.

BA third year. Students mostly choose the area of work themselves this year. They
have to do a project off

the campus, a piece of written research and a final practical module. A significant
number of students

choose to include an area of world music in their final year e.g. by locating their
project in India, West

Africa etc. working with local people/music, or by researching an relevant area.

MA work follows this same pattern, with students choosing the focus of their work
with staff tutorial

input/support.

Other courses

In Summer/Winter courses, professional development and extra-curricular

activities world music does not

feature prominently. However, the famous Dartington International Summer

School, which has been

running for over 50 years, typically features courses in African drumming,

flamenco music and dance,

Balinese gamelan, African and Gospel choir, and Argentinean Tango.

Evaluation and assessment

At present, there is a range of modes of assessment, including essay writing,

performance, project

logbooks (evaluations), presentations, oral assessments. There is a considerable

emphasis on students

being able to communicate in a variety of forms/media and being able to present a

detailed critical
evaluation of their work. For example, a student may set out on a project which has
been quite well

planned but, for a variety of reasons, goes badly wrong. The student can still pass
this module if they can

show how they managed the project positively, showing appropriate planning and
evaluation, redirecting

the project and understanding what they have learnt. Staff at Dartington also try to
identify the forms of

learning and the specific skills that they expect students to develop and offer a
great deal of formative

evaluation/assessment, but only assess the student in that skill once summatively.
For example, a course

that relied heavily on written essays, even though they were on different topics,
would constantly assess

mostly the ability of the student to communicate in writing.

Currently, Dartington is trying to improve the course/programme evaluation. At

present, staff teaching a

module are responsible for seeking feedback from the students on the module and
writing this up. This is

seen as something of an imposition, in addition to all the other work staff must also
do. Dartington is

trying to develop ways of enabling students to evaluate their performance within a

module, contributing to

the work they submit and enabling them to identify skills learnt through the
module, but also providing

answers to the sorts of questions teachers want to ask to be able to evaluate the
course.
General developments / policy within institution

Dartington has explicit policies stimulating cultural diversity in the curriculum. A

general urge to avoid

cultural hegemony has led to integrating world music into the existing curricula,
and adjusting the form

and organisation of the educational programmes to students with culturally diverse

backgrounds.Sound Links ± Full Report

31

Pilot project: Dartington College of Arts

Preparing students for working in a culturally diverse community

Introduction

The pilot consisted of a series of workshops, working with students from

Dartington College of Arts and

staff from the Music Zone, a community music initiative in Plymouth. During the
course, which was

offered as an elective module, the students were trained in developing and

delivering a workshop. Staff

from the Music Zone were not only brought in to share their experience and
expertise, but also because

many of them lacked the skills to work for a broad group of people. Some were
trained as teachers but

found it difficult to leave the classroom behind in a totally different setting, while
others had good

communication skills on an individual level but did not know how to handle a
group. Since the Dartington

students also face similar issues when doing workshops, these two groups were
joined together into one
course. The main focus was on developing workshop skills, issues of cultural
diversity were part of the

programme.

The Music Zone (Plymouth Education Action Zone)

Plymouth Education Action Zone is a project working with children from a

socially and culturally

deprived area of the city of Plymouth in the south of England. Part of this is the
Music zone, offering

extracurricular music experiences using a range of musical styles. The Music Zone
realises 35 after school

activities every week. Activities are, for example: fun music workshops as a first
encounter with music

making (boomwackers), Music Zone orchestra, instrumental tuition, (African)

percussion groups, music

technology labs, and a brass band. In three years time almost 1200 people have
participated. The average

now is 100 children a week, a significant engagement in music. All activities are
free of charge. Children

can hire an instrument for a very low sum. Initially the Music Zone was funded by
an anonymous

benefactor, but in July 2002 it was awarded a substantial grant by the National
Foundation of Youth

Music.

Aims & objectives

The following aims were defined for the project:

¸ To offer development in workshop skills to potential workshop leaders, drawn

from both Dartington
College of Arts and the Music Zone

¸ To provide the opportunity for the workshop participants to examine the range of
skills and support

they have to offer, in relation to an examination of the needs and aspirations of the
pupils in the

Music Zone

These were linked to the following objectives:

¸ To examine and develop generic workshop skills for the participants, in particular

Ú an understanding of workshop planning and delivery

Ú to gain confidence by developing and delivering a workshop within a supportive

setting

Ú to acquire and understand tools for evaluation and the ability to use these for
continuing

development

Ú to deliver workshops in the Music Zone, working in mutually supportive groups

¸ To enable participants to identify the skills and understandings they have to offer,
those they may

need to acquire, and the methods of acquiring and developing these

¸ To inform the participants about the aims of the Music Zone and, within the
context, to examine the

range of skills, interests and aspirations of pupils

Cultural diversity is not formally mentioned in the aims or objectives, but

awareness of the context and

audience are included implicitly in the project set-up.Sound Links ± Full Report

32
Content & organisation, place in the curriculum

Workshop Development was offered as a credit bearing optional course for all
second year students.

Twelve students were drawn towards the subject, mainly because of interest in
educational processes and

the working field. There were two phases in this project. In the first phase the
students were presented

with an introduction to workshop development, and some issues of context and

culture were addressed by

practical as well as theoretical materials. The students received three classes of

three hours each, followed

by a Saturday during which they delivered workshops to each other. These

workshops were then discussed

by the whole group. The day ended with an evaluation session of all the
workshops.

During the second phase of the project, the students had to develop and deliver a
workshop in the Music

Zone in Plymouth. They worked in small groups of two to four students,

supporting each other and

providing critical evaluation. In the end, the workshops differed greatly. The
following projects were

realised:

· Computer composition with two groups of children (age 14-16). The goal was to
give the children

some IT experience, as well as exploring their creativity with music and

computers. The students first
gave a quick demonstration of the possibilities, and then mainly guided the pupils
in their own

attempts.

· Teaching children (age 14-16) about composition through learning a piece of rock
music, developing

the existing skills of the children and making new compositions with them.

· Workshops in vocal and movement skills, concentrating on performance aspects

and confidence in

moving with music. The target group consisted of high school girls (age 14-16).
The workshop leaders

tried to link on to the current R&B trend by taking gospel music as a starting point.
This did not work

so well, which is why the students studied R&B for a week themselves and then
went on with an R&B

workshop.

· Song session of rock and pop music to learn more about form, techniques, and
playing the guitar.

· Introduction to wind instruments in primary schools in Plymouth. After a

presentation about

available instruments, blowing techniques and sound principles, the children could
have a go at the

instruments themselves. The students who made this workshop were the only ones
who developed a

teaching package. This project was visited by the Sound Links representatives.

The organisation was in the hands of Dartington College of Arts and the Music
Zone. Both partners agree
that this partnership could be stronger and more balanced, which would benefit
both parties. The Music

Zone could serve even more as a platform for placements and student projects, and
Dartington College

could provide opportunities for professional development and improvement of

musical background. The

main challenge in strengthening these partnerships lies with funding. The

freelancers of the Music Zone

would be unable to accept work during courses so it would effectively cost them
money. Dartington

College is not in a position to offer the courses for free, nor can the Music Zone
pay for the study hours

of its employees.

Teaching, learning

The main focus of the course was on skill-building. The aim was to teach students
to look for what the

people in the workshops and community want and need, and what they themselves
had to offer. Attention

was also paid to the level of their musical work. As the director of the Music Zone
remarked: ³Playing

your instrument well will inspire people. If you don¶t, you become a social worker
and you lose sight of

the artistic value of your work ± and yourself.´

Issues of cultural diversity and relating to context were included in the course. For
example: an African

music and dance style was adopted during the first day, not only to show the
artistic potential of the
tradition, but also to put the students off their guards. By encountering a musical
form that they were

unfamiliar with, they felt the same as many people in the community may when
they first encounter music

making. Another aspect was discussions about riots among ethnic groups that had
taken place not long

before. This made issues of cultural diversity an actuality ± and close to the
students¶ own lives.Sound Links ± Full Report

33

However, at the evaluation session the students did not demonstrate convincingly
that they were able to

integrate aspects of cultural diversity into their own work. Only two students
(working on the vocal and

movement workshops) were able to show they had responded intelligently to the
challenges of the context

of their workshops by, for example, adjusting attitude, appearance and content to
the situation at hand.

They were also the only ones capable of articulating their response. It is therefore
unclear how far

elements of cultural diversity and context were integrated and effective in the
teaching and learning

processes, or how far the students were encouraged to form their own ideas about
this.

Because the course took place over a short period of time, and bore only five
ECTS credit points (an

indication of the study load, equals 100 hours of work) the aims of the course had
to be narrowed, giving
the students less room to become aware of and/or articulate the concepts. However,
this module is

followed by another in the next year of study. Previous experiences from

Dartington staff has shown that

in the first module students begin to develop their awareness. Additionally, the
students were involved in

many courses at the same time, limiting the time and energy students were able to
devote to this project.

In a review of its current provision, from 2003-2004 Dartington will offer a smaller
number of options,

but with more room for in-depth study in each of them.

The target groups in Plymouth consisted of children in the Education Action Zone,
schools in a socially

deprived area. In Plymouth there is relatively little ethnic diversity, almost all
children have an English

cultural background. Dartington College makes a clear distinction between cultural

diversity and ethnic

diversity. In cases like the pilot project, it feels that the difference in socio-
economic background provides

sufficient variety of input, reception and approach.

Students received weekly classes, introducing them to concepts and practices in

workshop delivery to

community groups. The students were given a certain amount of responsibility for
their own learning

situation in the Music Zone in the second phase of the course. Although they
received regular tutoring,
there was insufficient time in this course for appropriate mentoring by staff from
Dartington College or

Music Zone. For budgetary reason this could not be realised, but the students could
have used more time

with a mentor helping them to identify and observe issues and formulate
appropriate responses.

Observation, evaluation

The first part of the project took place entirely in Dartington, and many of the
students did not see the

work of the Music Zone until they started working on their own workshops.
Therefore they had not seen

any action there which could have served as an example, except for their own
experiences when they

learned music. Typically for learners, when placed under pressure they tended to
use this role model from

their own music learning as reference material in the development of their

workshops, rather than using

the new input they received during the course and from the Music Zone staff. The
Sound Links

commission observed this very clearly during their visit to a workshop in a primary
school in Plymouth.

Students introduced children to wind instruments by standing in front of the

classroom, explaining the

technical principles of their instruments. Afterwards the children could have a go at

the instruments

themselves. In attitude and methodology, this could have been a music class thirty
years ago. Staff from
both Dartington and the Music Zone were disappointed by the presentation, and the
fact that there was

not a greater commitment to innovation and experimentation. However, this same

group of students had

prepared teaching materials to leave in each school, showing good awareness of

another common issue in

workshops where specialists fly in and out without a commitment to establishing a

sustainable practice.

The planning of the project (and the choice for situating the first half in
Dartington) were dependent on

organisational and logistical circumstances. If the students had been taken to the
Music Zone first, there

would have been different consequences. On one hand the students would have
opened up their own

creativity earlier in the project. On the other hand it would have been hard for them
to recognise the

issues that were involved, or the skills of the workshop leaders.

The mutuality of the partnership between Dartington College and the Music Zone
was partly lost.

Although the Music Zone contributed greatly to the course by providing expertise
and placementSound Links ± Full Report

34

opportunities, not many Music Zone workshop leaders were able to participate in
or were committed to

the course themselves to gain more insight into their own work. Their absence was
felt in decreased
exchange of ideas and practice with the students. As was mentioned before, the
main reason was money:

µSchool¶ took place during normal working hours for the freelance musicians,
giving them a choice

between training and ± in a way ± making a living.

Dartington College of Arts has a clear view of the position of cultural diversity
within the institution and

the curriculum. The College has a broad perception of cultural diversity; not only
does it include artistic

differences, but also diversity in class and socio-economic background. However,

musical diversity has

proved its value especially in community settings. The College includes issues of
the context of music and

musicians. These concepts take time to be understood by students, more time to be

incorporated in their

work, and even more to be articulated through a theoretical framework. Cultural

differences can be

immediately apparent when student are faced with unfamiliar, music, instruments,
or people evidently

from another culture. Dealing with less apparent differences of culture contained
within our society is

more difficult to grasp and address. Forming intensive partnerships with

organisations such as the Music

Zone is therefore important. A course like this pilot is a good way to start and
shows opportunities for all

partners: the College, the Music Zone, the students, and the children in Plymouth.
Relevance of the project to the key issues identified in Sound Links µFrom Policy
to Practice¶

Making connections

The Dartington pilot has shown the advantages and challenges of partnerships with
organisations outside

the institution. Both organisations have a lot to offer in terms of training

opportunities and experience in

different fields of music education, for both students and staff. To maximise a
partnership like this, it is

important to have equal commitment and involvement from both partners. The
distribution of tasks and

responsibilities should be clear from the beginning, and an joint evaluation helps to
ensure sustainability.

Aims and targets

The full implications of cultural diversity is not something that most students grasp
from the first

moment. While it is certainly wise to involve them as soon as possible during the
course of their studies, it

can not be expected of them to fully understand all the issues, whether these
concernteaching methods or

globalisation. This will take time and at least several hands-on encounters during
the years they spend at

the institution.Sound Links ± Full Report

35

Institutional profile: Sibelius Academy (Continuing Education Centre),

Helsinki
Folk music and cultural diversity in life-long learning

Introduction

The Sibelius Academy in Helsinki is the only music academy in Finland at

university level. The institution

is world renowned, and is well connected through numerous networks and co-
operation projects and

agreements. It has extensive departments for performance, composition and music

theory, music

education, research, folk and jazz. Sibelius Academy also includes a Junior
Academy for talented young

people. In addition to instrumental studies students can receive instruction in other

areas, such as folk

music. World music mostly plays a role in the folk music and music education
departments. The

institution is generally well-funded by the Finnish government, which gives

students the opportunity to

participate in a wealth of subjects outside their main area of study.

The Sibelius Academy Continuing Education Centre provides supplementary

training in the field of music

to over 2000 students a year. Its main principle is to promote lifelong learning. The
aim is to give

professionals new stimuli, increase their preparedness to cope with change related
to music and to provide

them with opportunities for artistic regeneration and renewal. The Continuing
Education Centre organises

a wide choice of long-term programmes and diplomas, development projects,

expert services and master
classes. The Open University, which operates within the Continuing Education
Centre, arranges open

access courses for the public at large. All the Open University trainers are teachers
at the Sibelius

Academy.

The rationale for including courses dealing with cultural diversity in a continuing
education department is

obvious: many musicians and music teachers were trained a decade ago or more, at
a time that the artistic

reality and relevance of world music was not broadly acknowledged.

Consequently, professionals find

themselves faced with challenges ± on stage or in the classroom ± they were not
given the instruments to

deal with during their initial training.

Music degree courses in general

The Sibelius Academy itself offers a number of degrees in music:

· MMus ± This degree is at university level. To complete this course, students must
obtain a total of

180 credits. The duration of this course is at least six years.

· BMus ± The study load is less: 120 credits.

· Postgraduate degrees include Licentiate (100 credits, minimum of two years) and
Doctor of Music

(160 credits, minimum of three years)

Degree programmes are available in the following subjects: classical music, jazz,
folk music, church music,
music education, opera singing, orchestral and choral conducting, composition and
music theory, music

technology, and arts management (only Master¶s).

Specialist degree courses in world music

The Sibelius Academy offers a degree programme in Folk Music. This study
programme trains folk music

performers, teachers and researchers in traditional music playing and different

styles of singing. The Folk

Music Programme keeps an eye on modern ethnic music. The musical bases of the
programme are the

Finnish and global folk music traditions. The key object however is to create own,
new music. Folk music

studies have been offered by the Sibelius Academy since 1983 and the degree
programme trains students

as performers, teachers and researchers of folk music.

Studies concentrate on main instrument and ensemble playing. Students may

specialise in music making,

folk dance and folk music teaching or research. Students are introduced to Finnish
instruments, folk song,

folk music traditions from Europe and other parts of the world. Teaching
emphasises the closeSound Links ± Full Report

36

relationship between the theory and practise of folk music. It is also possible to
take a research-based

Master of Music degree in this degree programme.

Students from the folk music department have for the most part continued their
working career as
musicians (performers) or teachers. The demand for folk music teachers in, for
instance, various music

college around Finland has been growing rapidly. Work opportunities are
predominantly project based:

folk musicians are often needed in theatrical productions and cross-disciplinary

performances.

Specific modules/programmes in world music as part of existing degree courses

In principle, all courses are open to all students at Sibelius Academy. In this way,
many choose to take

lessons in Finnish folk music or African percussion as an elective. Attention is

being paid to cultural

diversity at a more structural level within the music education and folk music
departments, and very

emphatically in a number of courses in the continuing education department.

Courses and study programmes at the Continuing Education Centre:

The Sibelius Academy Continuing Education Centre concentrates on teaching

music related subjects to

adults, mostly professionals working as teachers. The courses include general and
western oriented

programmes, as well as parts involving the cultures of Latin American, West-

African, Gamelan, Turkish,

Irish, Greek, North-European, and Finnish traditions.

Open University

As part of the Continuing Education Centre, Open University studies offer study
programmes that are

represented in the Curricula of various departments of the Sibelius Academy.

Three of these are
emphatically µworld¶ oriented.

- Introduction to World Musics

- Latin American Music

- West-African Drums

- The History of Western Music

- Music Theory and Solfège

- Jazz-music

- Music Pedagogy

The duration of these courses varies from some days to 3 years. Study loads vary
from one to 120 credits,

the majority or programmes yields from 5-20 credits.

Evaluation and assessment

World Music courses are assessed by the teacher, peer review, self assessment, and
sometimes a panel,

Students receive feedback in written and verbal form, as well pass/fail or marks.
The formats of

assessment for world music can be group, individual, solo & accompaniment,
recital, or a concert.

General developments / policy within institution

Sibelius has outspoken policies relating to cultural diversity in a number of areas.

It aims at realising:

· specialist courses created in World Music: in Folk Music, Music Education,

Continuing Education,

some courses in Church Music Departments

· integrating and creating room for World Music in existing curricula, curriculum
development has been

done for years ( beginning late 1970s) in: Folk Music, Music Education,
Continuing Education,

gradually developing as optional studies in Soloist Studies, Music Theory, Church

Music

· teachers with different cultural backgrounds as guest lecturers/musicians in

various departments

There are no specific educational programmes aimed at students with culturally

diverse backgrounds, and

as of yet no staff development programmes focusing on cultural diversity have

been realised.Sound Links ± Full Report

37

Institutional profile: Irish World Music Centre

Master¶s in the context of Irish tradition

Introduction

The Irish World Music Centre is part of the University of Limerick. It was set up in
1994 on the arrival of

Mícheál Ó Súillebháin to take up position as the new Chair of Music at the

university. Initially the Centre

concerned itself with research and innovation in Irish and Irish-related music world
wide. Then it started

growing rapidly, attracting 21 full-time postgraduate students within 18 months. In

1995 the University of

Limerick closed a lucrative sponsorship deal for the Irish World Music Centre with
Toyota Ireland.
IWMC is dedicated to performance and research education in the performing arts
of music and dance. As

the name suggests, the main focus is on Irish music and dance. The institution has
a community outreach

programme and works closely with artists in residence on and off campus.

There is currently an initiative underway to develop an Irish Academy of

Performing Arts with branches

in various parts of Ireland, for which the Irish World Music Centre has been
identified as a centre of

excellence in music and dance.

Music degree courses in general

The BA in Irish Music and Dance was introduced in 2002. The degree is designed
primarily to develop the

performance skills of students. To do this, they work with visiting and resident
tutors. Students are

encouraged to develop second performance skills ± making them more versatile as

performers. Students

also engage in vocational studies directly relevant to traditional music and dance.
For example, students

record CDs and videos, and write business plans. Academic studies relevant to
their performance skills are

also included in the study programme.

Duration: 4 years. One semester can be spent off-campus on a Study Abroad

programme.

The MA in Ethnomusicology is a taught postgraduate degree in the academic study

of traditional music.
The course caters to the expanding international interest in Irish Traditional Music
and it also

acknowledges the growing significance of ethnomusicology as an academic

discipline. This MA was

conceived in association with the MA in Ethnochoreology. Both programmes are

taught primarily by

members of the Irish World Music Centre, but guest lecturers and artists-in-
residence provide additional

instructional support.

Duration: 1 year.

The MA in Classical String Performance is a one-year, full-time programme which

may be extended over

two years at the discretion of the course leader and studio masters. The programme
offers tuition in violin,

viola, cello and double bass, as well as in the repertoire of string chamber orchestra
and ensemble. The

programme is offered in association with the Irish Chamber Orchestra.

Duration: 1 year (or 2 years)

The MA in Chant and Ritual Song is a full-time programme of study, including

two optional streams of

specialisation. Chant performance provides advanced tuition in the performance of

Western Medieval

Plainchant. Performance tuition through practice, rehearsal and the study of style to
encourage idiomatic

performance is designed to achieve a high level of technical proficiency in

plainchant. This study is
augmented by academic work. Ritual song is an academic programme, designed to
examine a number of

religious vocal repertoires from the perspective of anthropology, ethnomusicology,

ritual studies and

liturgical theology. These repertoires include chant, Irish religious song and
liturgical choral music, as well

as an introduction to one additional religious vocal repertoire each year. As the

programme is strongly

rooted in the academic study of ritual and ritual song traditions, students are not
expected to be vocal

specialists.

Duration: 1 year.Sound Links ± Full Report

38

The MA in Music Therapy is the only degree in Ireland leading to a professional

qualification in music

therapy. The IWMC¶s educational outlook combines conservatoire music training

and academic

scholarship. Entry to the course is adjudged through an audition and in-depth

interview process with a

panel of experts from the fields of psychotherapy, music therapy and music
performance.

Duration: 2 years, full-time.

The MA in Irish Traditional Music Performance is a full-time programme designed

to provide advanced

tuition in the performance of Irish traditional music. Critical examination of

repertoire sources and styles
of performance, as well as an examination of modern vocational non-performance
skills such as music

business and music technology, form an essential part of the programme content.

Duration: 1 year.

The MA in Community Music is a full-time postgraduate programme. The

programme offers a

comprehensive grounding in the skills and knowledge needed to function as a

successful community

musician in a range of context. It is aimed at musicians who already have a level of

self-expressive skill and

who wish to enhance their talent while developing the abilities they need to
facilitate the expressive work

of others.

Duration: 1 year.

The MA in Dance Performance is a full-time postgraduate programme. It

facilitates two independent

streams of dance, Irish traditional dance performance and contemporary dance

performance. Although

independent, interactivity between these two dance genres is facilitated in the form
of shared workshops,

seminars, and electives.

Duration: 1 years.

The Graduate Diploma in Education (Music) is a full-time postgraduate initial

teacher education

programme designed to meet the needs of graduates who wish to become teachers
of music in secondary
schools. Holders of the Graduate Diploma are equipped to teach Music at both
senior and junior cycles.

Duration: 1 year.

The course Irish Music Studies is designed as an introduction to the world of Irish
traditional music. It is

aimed at anyone with an interest in music or in Irish culture in general. No

previous knowledge of the

subject is necessary and neither is any knowledge of music assumed. The four
main divisions of Irish

traditional music ± instrumental dance music, song, dancing, and harp music ± are
catered for within the

confines of this course. The history of each component is explored but there is an
emphasis on their

modern context and development.

The Irish World Music Centre also offers an international summer school, called
Blas, for traditional Irish

music and dance. It has an intensive and practical content for which university
credits are available. The

programme includes lectures, tutorials, workshops, fieldtrips and concerts.

Cultural diversity in the Irish World Music Centre

As the name suggests, the Irish World Music Centre has a strong focus on Irish
music in most of its

programmes. Musical traditions from other cultures are sometimes integrated in the
programmes, for

example the ritual and chant course, or community music. There are two festivals
with a culturally diverse
focus: Sionna (traditional music) and Anaíl De (sacred music). The number of non-
Irish people in

Limerick is extremely small but has grown rapidly since a policy of dispersal saw
the arrival of the first

asylum seekers in April 2000. The majority of asylum seekers come from Africa,
mostly from Nigeria, and

Eastern Europe. Most are housed in a number of hostels around the city and are
catered for through a

policy of direct provision. Another group with a distinct cultural identity are the
Travellers.

Evaluation and assessment

Students are assessed for each module of study through a combination of

continuous assessment, end of

semester papers and performances, as well as end-of-year performances and

dissertations. Student work isSound Links ± Full Report

39

blind double marked internally and also reviewed by the external examiner.
Teacher assessment takes the

form of qualitative, descriptive documents, which are distributed voluntarily and

completed voluntarily by

students. The university also has a Dean of Teaching and Learning who monitors
standards within the

university. It is unclear how the standards for the Irish World Music Centre are
defined.

All programmes offered by the Irish World Music Centre must be approved by the
Academic Council of
the University of Limerick. In addition, an external examiner is appointed to each
programme. The

external examiner visits the Centre each year and reviews course structure,
modules and student

assessment and is often also part of the assessing board for final presentations.

Student mobility

The IWMC has strong connections with the United States. Sponsorship from that
country has linked the

institution into a 3-year plan with Ithaca College, New York, which facilitates an
exchange of students and

staff between both locations. Another link with North America is the Junior Year
Abroad programme. A

number of European students also take part in this.

The Centre has recently developed a Scottish ± Irish exchange programme. It has
also been involved in

exchange with Hungary. Other European-funded projects include Eurotrad, a

performance-based

exchange of traditional European musics, and the Sionna-festival of traditional

music from around the

world.

General developments and policy within institution

For a number of years, IWMC has only offered MA and diploma courses.
Recently, a BA programme has

been added to the programme: Irish World Music and Dance Studies. The course
focuses on developing

performance skills, and academic modules are also included. MA programmes

have a stronger academic
focus. Future plans now involve the introduction of performance-based doctoral
research.

Pilot project: Irish World Music Centre

The carnival model in community settings

Introduction

The pilot project at the Irish World Music Centre was an elective course for the
students of the

Community Music programme. The course aimed at providing the students with
practical hands-on work.

There were four students, working with four community groups in Limerick:

· 6th

class Seasíal Gaelscoil (Irish language primary school)

· Bruff Youth Group, Limerick Youth Services

· Age and opportunities programme, Belltable Arts Centre

· Elikya, Congolese Male Choir

These groups took part in a total of eight workshops each between February and
May 2002, plus two

workshops for all groups together. The workshops included song writing,
percussion and composition.

The process ended in a performance during the Community Music Festival in

Limerick. At the festival,

other groups led by the students also made their presentations. These groups were:

· Clogh Writers; The work of this amateur writers group consisted of putting their
own poetry to

music.
· Scoil Chriost Rí; The children of this primary school composed their own song,
and then wrote a

musical drama to incorporate it.

· Sixmilebridge Variety Group; The members of this youth group (age 11-15)
worked on writing

songs, body percussion and drumming pieces. Teamwork and self-expression were
important

elements in the process.Sound Links ± Full Report

40

· Down Syndrome Association, Limerick; The association is a self-support groups

for parents with

children with Down Syndrome. The member of the Song and Dance group are
children, 5 to 25

years old, working on making a theatre production together.

In addition there was a presentation by Comh Cheol, a women¶s choir consisting of

travellers and

refugees/asylum seekers. Their programme included an exchange of Irish and

Nigerian songs, as well as

well-known pop and spiritual songs.

Aims and objectives

The primary aim of the course was to provide students with skills to organise and
lead community music

projects. They received guidance, but in principle were responsible for managing
the whole process:

maintaining contact with their target groups, developing the artistic content, co-
ordinating the final event,
etc.

By combining different age groups and one group with a culturally different
background, the students also

gained experience in working with diversity. In addition they encountered musical

input from the

community (e.g. the Congolese asylum seekers) that they were not familiar with
themselves.

Content and organisation

The project effectively ran from February to May 2002, but preparations started in
September 2001 when

the Irish World Music Centre located interested community groups to work with.
The main tutor of the

course, Lee Higgins, then introduced his students to Brazilian carnival street
drumming techniques. This

served as a basis for working with the community groups. Carnival street
drumming is not only an

interesting musical form to work with in groups, the music and its learning process
also represent a usable

social structure. This structure (not the same musical content) was then used by the
students to work with

four different groups, and to create new pieces with them.

One of the main principles behind community music is that the input received from
the participants

forms the basis for the outcomes. The leader is there not to teach in the traditional
sense or to rehearse an

existing piece, but to provide opportunities to create and discover musical skills
and creativity already
present in the participants. While cultural diversity will not naturally flow out of
the cultural make-up of

the city of Limerick, a variety of musical styles and particularly teaching

methodologies, would be very

much applicable in its community music settings.

Teaching and learning

The course was offered as an elective to all students of the Irish World Music
Centre. In the end, only the

four students of the Community Music programme responded. The course leader
also held a position at

Liverpool Institute for Performing Arts. Due to an increase in his responsibilities

there and his personal

situation at the time he was unable to travel to Ireland very regularly. In his
absence some support was

given by the head of the Music Education programme.

The course was in more than one sense a total confrontation and a challenge for the
students. They were

expected to take responsibility for almost everything themselves, working with

very different groups in the

community. Although they received some tutoring, they indicated that they could
have used more

guidance in the process.

Reactions, observation, evaluation

Cultural diversity at the Irish World Music Centre is included implicitly into the
regular courses, for

example through repertoire or ultimate target group. As a result, there are no

formal policies relating to
the subject. This was also the case in the MA Community Music programme.
Given the nature of the

subject (community music), staff and students indicated that they regarded cultural
diversity as an intrinsic

part of the programme. An example of this was found in two collaborative

composition workshops

involving Congolese asylum seekers.Sound Links ± Full Report

41

It would appear that the Sound Links pilot could have paid more attention to issues
connected with

cultural diversity. This is particularly unfortunate because of the opportunities

cultural diversity has to

offer for a course and an institution such as this. The Irish World Music Centre is
in a position to make

interesting and rewarding connections and partnerships with other cultural groups
and organisations in

Ireland and abroad, perhaps even more so with its own musical focus of Irish
traditional music as a

starting point.

Relevance of the project to the issues identified in Sound Links µFrom Policy to
Practice¶

Support structure

A strong support structure is necessary for cultural diversity to survive in an

institution for higher music

education. European conservatoires are usually built around the classical music
tradition, or at least
western music. But culturally diverse approaches often take a different angle. In
order to survive in this

environment, it needs to be sure of sufficient back-up. The leaders of the institution

need to be aware of

this, and make sure that the efforts in the field of cultural diversity are not lost.
This means the allocation

of personnel ± time and money ± but also creating opportunities for activities in
this field to develop.

Community

The Irish World Music Centre has strong connections with its surrounding
community, and has recently

established a link with the local asylum seeker centre. Connections of this kind are
usually vulnerable. The

population of the centre can change rapidly and it can be hard to establish in-depth
communication with

its inhabitants, but also with the organisation itself. To make the connection
worthwhile for both partners,

an institution needs to be prepared to pay special attention and effort into

establishing and maintaining the

link.Sound Links ± Full Report

42

Institutional profile: School of Oriental and African Studies, London

Bringing together research and performance

Introduction

The School of Oriental and African Studies (SOAS) is part of the University of
London and was formed
in 1916 as School of Oriental Studies. The school has research programmes, and
undergraduate and

postgraduate teaching programmes. It focuses on the languages and cultures of

Asia and Africa (in both

their historical and modern forms), and on the social sciences and humanities,
including music. Research

and education are closely linked.

The Department of Music at SOAS has two basic objectives: first, to provide
training of the highest

possible standard in the academic discipline of ethnomusicology; second; to

provide in-depth

understanding of the musical traditions of Africa and Asia, including the wider
cultural context.

The Music Department has gradually come into existence within SOAS. What
started out as a small

section grew with the increase of public interest in cultural diversity and Oriental
and African music, as

well as the growth of SOAS as a whole. SOAS could take on more staff, and
published more frequently.

Teaching staff has increased from 3 lecturers in 1990 to 7 in 2002, plus

performance teachers,

postdoctoral fellows, etc. At the moment, research and teaching are ranked
µexcellent¶ in the UK¶s

Teaching Quality Assessment and Research Assessment Exercise.

The Department of Music at SOAS is linked with King¶s College (University of

London), Zimbabwe
College of Music, Kathmandu University, and China¶s Music Research Institute in
Beijing. SOAS students

may take selected courses in western music at King¶s, and King¶s students may
take courses in

ethnomusicology/world music at SOAS. At the moment a link with the Institute of

Education (in the

adjacent building) is in development. In September 2002 the Department of Music

became home to the

AHRB Research Centre in cross-cultural Music and Dance Performance.

Music degree courses

SOAS offers a number of degree courses, some of which can be combined with
other subjects.

Degrees Duration in years

BA Music Studies (single subject) 3

BA Music and other subject 3 or 4

MMus ethnomusicology Fulltime: 1, Part-time: 2 or 3

MPhil ethnomusicology Minimum 2

Ph.D. ethnomusicology Minimum 3

A MMus programme is proposed to start in 2003, and will have a duration of one
(fulltime) or two

(parttime) years.

Annual tuition fees for students from the UK and other EU countries are around ¼
1664 for

undergraduates and ¼ 2805 for Master¶s students, while for non-EU students the
fees are around ¼ 12924
for both undergraduates and postgraduates. At present there are approximately 50
undergraduate, 25

MMus and 20 PhD students registered for Music degrees, with many non-Music
student also enrolled in

Music courses.

SOAS runs over 30 courses in world music annually, some compulsory for
particular degrees, and some

optional. The cultural areas involved are Africa (below Sahara), East Asia, South
Asia, Southeast Asia

(mainland and islands), Middle East (Turkey, Persia, etc.), Central Asia, Jewish
Diaspora (Ashkenazy,

Sephardic, Oriental, etc.), and Caribbean (particularly Afro-Cuban).

While lecture and seminar courses predominate, performance is becoming an

increasing focus.

Performance courses taught within the School include at least one instrumental
and/or vocal tradition for

each geographical area; during their first year, undergraduates must follow one or
more of these courses asSound Links ± Full Report

43

a group. Master¶s students and non-first-year undergraduates may also elect to

study other Asian or

African (or diasporic) performance traditions, subsidised by SOAS. The London

area has a rich

population of qualified teachers for a wide range of such traditions. With new
Research Centre (see

below), there will be even more resident musicians from Asia and Africa, some of
whom will also teach
performance.

In recent year SOAS has been hosting non-credit intensive summer workshops in
Indian vocal music (in

co-operation with the Asian Music Circuit) and klezmer (in co-operation with the
Jewish Music Institute).

Other summer offerings are contemplated, and shorter workshops in a variety of

genres are offered

during term-time as well.

Assessment and Evaluation

Entry requirements for music courses at SOAS are fairly high. Students need to be
well-trained in (mostly)

western music, or have an equivalent qualification for other traditions. Entry

requirements for two-subject

courses are more flexible, some evidence of musical skills is needed. For the
Master¶s programmes,

requirements vary.

There are written criteria for the assessment of each world music course. The
students receive feedback

on all essay submissions and may consult lecturers as necessary. The practical
courses are assessed in

group or individual format, as the musical tradition requires, e.g.: tabla will be
individual, Javanese gamelan

will be ensemble. Performance courses also include a non-performance component

of some kind but are

primarily assessed on performance.

The world music courses at SOAS are assessed within a national system (with peer
review and
professional review) as well as by an internal review programme, which includes
non-music and music

staff and external assessors. Courses all have two examiners, and each programme
has an external

examiner. Feedback from the students is gathered in various ways, mainly during
tutorials. A questionnaire

is distributed annually to all students, but the response is usually very low.

General developments and policy

A commitment to cultural diversity is ensured by the very nature of the institution.

SOAS has a unique

position in Europe in the sense that it actively invites practice within an academic
environment, which is

often found in American universities, but seldom within the sphere of influence of
the 19th century

tradition of academia separated from practice, which still dominates most

universities on the European

mainland.

SOAS has the advantage that cultural diversity and world music is implied by the
institution and takes first

place. Western music is perceived as a fringe activity and offered in another

institution, King¶s College.

This means that, contrary to other institutions described in this research, world
music has never had to

fight for its rights. This environment, combined with teaching and research that
was rated excellent by

national standards, ensures high level education in world music subjects.

The weakest point at the moment is a result of the fast organic growth of the Music
Department in the

past 10 to 15 years. Despite an excellent collection of musical instruments, the

building and other facilities

were never intended for this kind of education. This means that there are no sound-
proof practice rooms,

or computers equipped for music study. Some advanced are being made as a result
of funding for the

AHRB Research Centre (see below).

Recent developments

In September 2002 the Department of Music became home to the AHRB Research
Centre in crosscultural Music and Dance Performance, in partnership with the
Department of Dance Studies, University

of Surrey, and the School of Arts, University of Surrey Roehampton. AHRB is the
Arts and Humanities

Research Board, which is funding the Centre. The Centre¶s various research
projects will see a number ofSound Links ± Full Report

44

visiting artists in residence, and Master¶s students in particular will be involved in

the Centre¶s activities.

The AHRB Research Centre will bring together ethnomusicology and ±

choreology, undertaking a number

of interrelated projects like resident performer-researchers; documenting the

findings in booklets and

CD¶s; exploring the validity of applying western analytical techniques to Asian

traditions; and using

computer imaging, graphics, and Labannotation to study dance.

This is part of a general trend to upgrade the practical component of Music at
SOAS, seen not only in the

increased offerings in performance, but in the introduction of a course on the music

business and in a

growing number of student projects relating to such practical matters.Sound Links

± Full Report

45

Institutional profile: Malmö Academy of Music

Total immersion as an impulse for music teachers

Introduction

In Sweden, young performing musicians tend to develop a µmultiple competence¶

(including cross-cultural

approaches, playing several instruments, and mixing musical styles ± but also
educational and community

work), instead of holding on strictly to their original specialism. Thus, they enlarge
their employability

considerably. As a result, students show a growing interest in being educated more

broadly. Nationally ±

and specifically in Malmö ± the necessity of intercultural training for western

teachers, and teacher training

courses for teachers and performers without a recognised diploma is felt strongly.

As in other Scandinavian countries, there is an ongoing strong competition in

Sweden between

institutions for higher education, resulting in a development towards clearly

defined, unique profiles.

Focus on world music may become such a distinguishing profile. Cultural diversity
is considered an issue
of growing importance at all Swedish (and Nordic in general) institutions for
higher music education,

although most of them feel they have insufficient knowledge and experience and
are uncertain about what

to do. Still, very interesting initiatives have been developed. Several conservatories
include well-prepared

µtotal immersion courses¶ (a confrontation with other cultures on the terms of the
receiving country) for

students in Gambia ± originally initiated by Malmö Academy of Music. This can

lead to major steps in

understanding different approaches to music and musical transmission.

Malmö Academy of Music is part of the University of Lund. The Academy has
been active in cultural

diversity for almost ten years. Especially the students in the Music Education
department are frequently

confronted with culturally diverse elements during the course of their studies.

One of the conditions of a broader approach to musical styles and professions is

that the education of

new musicians should be broad as well. This is one of the main reasons that
Malmö Academy has started a

campaign to bring the existing departments (Music Education, Music Performance

and Church Music)

closer together.

Music degree courses in general

Swedish conservatoire students obtain a Master¶s degree ± Education students after

four years,
Performance students after five. However, this does not correspond to the Anglo-
Saxon equivalent. The

system is being discussed nationally these days, with the probable result of arriving
at an internationally

recognised Bachelor¶s degree. The future MA (or MMus) might then be linked to
the actual 5th year.

Both the Performance department and the Education department in Malmö offer
undergraduate, graduate

and post-graduate programmes, as well as additional university courses and

continuing and advanced

education courses. The Academy has no specific world music degree courses.

Cultural diversity in the Academy of Music

At the Academy, a number of activities regarding cultural diversity take place.

These activities are not fully

integrated into the curriculum (although some are compulsory), but can be seen as
complementing the

regular programme.

Generally speaking, especially the total immersion course in the Gambia (see
below) has had influence on

all educational programmes, from graduate to post-graduate. World music is

included in the objectives for

a number of courses and programmes, such as µMusic and Society¶ and ensemble
playing. In some

instrumental education departments ± notably flute and percussion ± attention is

paid to cultural diversity

as well as in composition. Individual requests have led to extra-curricular

modules.Sound Links ± Full Report
46

Gambia course

For the past 10 years, Malmö Music Academy has been sending two groups of
students (mainly Music

Education) to Gambia every year for a µtotal immersion course¶. This is done on a
voluntary basis, with a

large percentage of Music Education students participating. During the project,

staff have noticed that

students are better prepared now than during the first editions of the course, as a
result of both

experiences of previous groups and increasing multicultural experiences within

their own Swedish context.

This means the cultural shock is not as powerful as it used to be. The Academy
will therefore

continuously evaluate the course. If the results are decreasing, the Academy will
consider replacing the

Gambia course by another form. Sending students to the World Music Centre (see
profile) has been

mentioned as a possible alternative.

Studies at home

Since 1992, all students are involved in a project called µstudies at home¶. All
students have workshops

with musicians from different cultural backgrounds full-time for two weeks. Until
now, there have been

musicians from Africa, South America, Arab countries and India. During the first
week, the students learn
about the instruments, songs and dances, the country and history, the people and
their habits. During the

second week, a workshop is implemented in a secondary school, together with the

pupils there.

Project weeks

In addition to the regular programme, the Academy organises project weeks with
multicultural content.

These weeks include various lessons, workshops and concerts. Participation is

compulsory for all students.

World Music School

As one of its outreach programmes, Malmö has developed a µworld music school¶
with a primary school in

a part of town with a strong variety of ethnic backgrounds. In relation to this, a

course has been

developed to train µworld musicians¶ to teach in Swedish settings.

Introductory week

All students receive an introduction to the institution the week before classes start
in September. In 2001,

this was done for the first time with world music content as a major part of the
programme. For further

description, see pilot report .

Evaluation and assessment

Evaluation and assessment at Malmö Academy is fairly conventional. Students are

assessed by their

teacher and they receive verbal feedback on all results. There are no written criteria
for this. World music
specialists are involved in the assessment of world music modules. The students
involved in the Gambia

project have to write about their experiences.

Student mobility

Student exchange, mainly based on the Nordplus, Tempus and Socrates

programme, is more common in

the Performance department than the Education department. The main reason is
that the official demands

to teacher training students are more fixed and nationally determined than
professional demands to future

performers. It is difficult to find suitable educational courses abroad. In Sweden,

the music teaching

profession is narrowly defined (as in many other countries); finding a job as a

music teacher with a foreign

degree is not without difficulties and additional courses at conservatories may be

necessary for

professional recognition. However, the Education department is interested in

internationalisation. The

manager of the Education department would prefer the future profile to become
international from the

beginning, with mobility as an integrated part of it instead of the result of varying,

coincidental student

requests.

In order to facilitate student exchange, ECTS is used. The internal credit system
has been based on 40

credits a year, meaning 40 full-time weeks of work. This system can easily be
translated into ECTS, which
is based on 60 credits per year.Sound Links ± Full Report

47

General developments and policy within the institution

Malmö Academy of Music gained a prominent position in the European landscape

of cultural diversity in

higher music education in the 1990s. It has been forerunner for many years,
especially with the Gambia

course. However, this advantage may now slow the institution down in its
development. Cultural diversity

is in danger of becoming marginalised because the activities are driven by only a

few people. World music

entered the institution through the Music Education department, but because of the
differences that exists

between the Education and Performance departments, it has not had much
opportunity to spread further.

The institution is aware of this, as can be seen from the pilot project for Socrates
Sound Links.

Although there are no formal policies relating to cultural diversity in the Malmö
Academy of Music, there

are plans to formulate these in the near future. This will then reflect a practice with
an emphatic

commitment to doing justice to cultural diversity in both the Performance and

Music Education

departments.

Pilot project: Malmö Academy of Music

Welcoming students to a diverse world

Introduction

The pilot consisted of an introductory week for first year students of the Academy
of Music. During this

week, which occupied the first week of the academic year, the students were
offered musical activities.

They also received a practical introduction to various aspects of studying at the

Academy, such as library

study and ergonomy.

For the musical activities, the students were divided into three groups:

¸ West African drums and dance

¸ Zimbabwean marimba

¸ Gospel choir

At the end of the week, the teachers and students prepared a concert together,
where the

accomplishments of all groups were shown. Participation was compulsory for all
first year students,

regardless in which department they were going to study. The students received no
credits. This project

was a separate event in the academic year, but it will be organised every year from
now on. The

organisation was in the hands of regular staff, the workshop leaders came from
outside the organisation.

The student group was divided into four equal parts, two of which were merged for
the gospel choir.

This report reflects on the way cultural diversity is presented to the fresh first
years, the function it has to
fulfil, and the question of durability. The pilot was attended by Ninja Kors
(researcher) and Peter Renshaw

(moderator), the outside observer on this project was Lee Higgins from Irish World
Music Centre and

LIPA (Liverpool Institute of Performing Arts). He is involved with community

music and has extensive

experience with leading workshops. The observers have spoken with the Head of
the Faculty

Organisation Performing Arts, the Heads of departments of Education and

Performance, the teacher of

Music & Society who is also involved in many of the multicultural projects, two
advanced students who

have been involved in the Gambia project, the workshop leaders and the
internationalisation officer.

Aims & objectives

The aim of this project was twofold:

1. To gain social cohesion within the student groups and within the institution.
Introductory weeks have

been organised before by the Academy, but mostly without culturally diverse
content. Until now, they

were separate for each department: Music Education, Music Performance, Church
Music. By

enhancing social cohesion among the student population, the Academy hopes to
solidify the base for

unity within the institution. In addition, the first meeting for the staff was also
organised together for

the first time in five years.Sound Links ± Full Report

48

2. To introduce cultural diversity to the students at an early stage in their studies at

the Academy, thus

stressing the importance of this area to the institution. By offering cultural diversity
very early in the

course of their studies, the students are made aware that it is a natural and logical
part of studying at

the Academy. Cultural diversity will return during their study career, especially in
the Music Education

department. This new generation of students is immediately involved in world

music activities, which

makes it easier to return to this kind of activities later on.

Important in both these aims was the fact that the target group consisted of first
year students. This group

is ideal for new situations and experiments, because it is still susceptible to change.
As one of the

department heads remarked: ³After five years of study, a project like this would be
a disaster. These

students are open to ideas and not yet set in their ways.´ An added advantage is
that the impression first

year students get in the introductory week, contributes largely to their expectations
of the Academy as a

whole.

Content & organisation

Cultural diversity was used in this project mainly as a tool: it provided the required
conditions for social
cohesion within the group. Three musical traditions were offered that have a strong
social component as

they represent music making in a group: Zimbabwean marimba, West African

percussion and dance, and

gospel choir. The Academy had experience with these traditions from earlier
projects, and also with the

people teaching them. By using mainly non-western traditions, there was little
chance that the students

were already very familiar with them, let alone accomplished. In this way, no one
person had an advantage

over others, and the element of competition was largely removed. This lessened the
barriers for socialising

and inter-departmental contact.

The musical traditions also embodied different approaches to teaching and learning
music, such as use of

the body and playing without notation. Choir singing is something well-known to
the participants, but for

many of them it is an unusual activity to take part in. By using these traditions, the
students did not only

receive an introduction to unfamiliar musical forms, but also to unfamiliar ways of

learning them. The

various teaching methods employed by the workshop leaders are dealt with in the
next paragraph. The

non-musical courses were solely concentrated on practical matters: library

introduction, ergonomy, etc.

These courses are not included in this evaluation.

Teaching
The Academy had done earlier projects with two of the workshop leaders. One was
a former student.

None of them are on the regular teaching staff. Several times a year they are
contacted to do projects, such

as the multicultural weeks. The teaching styles were quite divergent, but each tried
to emphasise the social

aspect of making music together.

Marimba

The aspect of communal music making was most obviously present in the marimba
workshops, led by

Peta Axelsson from South Africa. She used very little notation for memory support
and not at all while

actually playing. The students frequently moved to a different instrument in the

orchestra and supported

and helped each other. She involved the students by making them use their bodies
for musical memory

and rhythm, and moving more freely while playing. She included some dance in
the performance as well.

Most striking was the energy that this teaching style generated among the
performers and audience. The

concept of pleasure in making music was definitely brought across. Although there
was some reference to

the African practice and meaning of marimba playing, the course was not built
around this concept. It

served to put the songs into context for the players.

Gospel choir
Almaz Yebio, the workshop leader, has graduated from the Music Education
department of the Academy.

She learned most of her teaching methods there. This could easily be observed: the
style she used for

conducting the gospel choir was very µwestern¶ and differed little from the usual
practice at European

conservatories and choirs. Although she herself moved a lot while teaching and
conducting, she did notSound Links ± Full Report

49

encourage the students to move or physically approach what they were doing with
the music. This was

also apparent in the presentation. Notation was used during practice and even ± in
some cases ± in

performance.

West African drums and percussion

There were two teachers for this workshop: Soriba Touray (drums) and Max
Soumah (dance). Both come

from Guinée and they have been working together for some time. They have been
involved in the µtotal

immersion¶ courses in Africa and encountered Swedish students there. They claim
their teaching style has

changed little since coming to Sweden. It consisted largely of demonstration,

imitation, and repetition,

both for drumming and dancing. The African influence on their teaching could best
be seen in the final

presentation: the students presented a short story, told through drumming and
dancing ± a form not
uncommon in West Africa. The teaching style and presentation may have had
African elements, there

were western aspects as well. One of the most obvious was in the part of the
presentation where the

students were given the freedom to express themselves through dance; many of
them used their own

dance styles: disco, ballet, circus-tricks, etc.

Learning

Information about the students¶ response was obtained through a questionnaire.

When analysing these, it

should be kept in mind that the respondents were first year students and new to the
institution. They did

not have any experience with teaching and learning in tertiary music education.
The model for student

questionnaires for Sound Links can be found in appendix 4.

In the response from the students, there is little difference between the various
groups, except in how they

feel they benefited. These aspects are partly dependent on the musical style, but
also on the way they are

taught. In the gospel choir, the observers saw far less use of the body in making
music than in the two

other classes. The students also picked this up. The use of the voice in this gospel
choir is not considered

a new instrument or playing technique, as opposed to djembe or marimba.

However, the choir group is

the only group who felt it experienced a new approach to melody. There is little
difference in the
responses from Music Education and Music performer students. Only in the
djembe & dance class did the

Music Education find more ways to benefit from the workshop.

Reactions, observations, evaluation

Malmö Academy of Music has been a forerunner in the field of cultural diversity
in higher music

education for many years. It has now come to a point where it feels the need to re-
evaluate its position in

order to make the next step toward integrating cultural diversity in the institution.
Knowledge, expertise

and activities have not yet spread throughout the institution and cultural diversity is
in danger of staying in

the fringes.

An introductory week such as this is commendable in its aim to drawing students¶

attention to world

music in higher music education. However, world music was used for social
purposes rather than artistic

value. This could be seen as a lost chance: the benefits for the general musicianship
of students can be

great, but need to be emphasised and encouraged. It is questionable if the

impression from this one-week

event will last without consistent, well-planned follow-up. This goes for the
connection between

departments too. Other world music activities are organised as fairly separate
events and do not find a

connection to the rest of the institution or the world outside.

Relevance of the project to the key issues identified in Sound Links µFrom Policy
to Practice¶

Aims & targets

While cultural diversity can be seen as a real part of an institution¶s programme,

sometimes it can not be

defined as a subject as such. It is often an indication of the chosen approach, a

description of its content,

or an aim. In the case of Malmö Academy, cultural diversity was partly used as a
tool for social purposes,

rather than for its artistic content. This was clear from the beginning of the project,
and everything ±Sound Links ± Full Report

50

ranging from teachers to the programme ± was selected or designed for this
purpose. In the evaluation,

the institution concentrated mainly on this aspect.

Sustainability

The students enjoyed a full week of participation in musical styles and traditions,
as well as dance, they

would normally not be involved in. This gives them an indication ± and perhaps
even a taste ± of what is

to come during their studies at the Malmö Academy of Music. However, in order
to make the impression

sustainable, this involvement needs to be continued with a consistent, well-planned

follow-up during the

years to come.

Staff involvement
Cultural diversity entered the institution in Malmö because of commitment from a
number of staff who

were not only interested in world music traditions, but also saw the need for the
institution to adjust to the

multicultural realities of the society that surrounds it. These enthusiastic people are
still the ones who are

mostly carrying the load of the culturally diverse activities. There is a danger that
when they leave the

institution, cultural diversity leaves with them and there is no other member of
staff to take over the torch.

So while people are vital in the introduction of cultural diversity into an institution,
they also play a major

role in sustaining it.Sound Links ± Full Report

51

Institutional profile: Rotterdam Conservatory

Specific world music traditions as main degree subjects

Introduction

Founded towards the end of the nineteenth century, Rotterdam Conservatory is one
of the four major

Dutch music academies. In 1986, the conservatoire merged with other institutions
for higher arts

education into the Hogeschool voor Muziek en Theater (Academy for Music and
Theatre) thus combining

music, theatre and dance. In 1999, the Rotterdam Dance Academy was also
included in the merger, which

changed the name of the institution to Hogeschool voor Muziek en Dans

(Academy for Music and Dance).
One of the conservatoire¶s main assets is an open mind towards progress and new
initiatives that follow

the developments in society. In 1978, Rotterdam was the first conservatoire in the
Netherlands to open a

section devoted to jazz and pop music (µlight music¶) and from 1988, students have
the possibility to

obtain a degree as pop music teacher. The Pop curriculum was completely
restructured in 2001.

Rotterdam Conservatory created a separate world music department, which was

opened in 1990. At the

time it offered education for flamenco guitar, Indian music and Latin American
music. In 1994,

Argentinean tango was added to the curriculum, followed by Turkish music in

2000. Apart from the

classical department, the following ten sub-faculties for undergraduate and

postgraduate studies are

currently available: jazz, pop, Latin, flamenco, Indian music, Argentinean tango,
Turkish music,

composition & arranging, music theatre and music production. These ten contain
about half the

conservatoire students.

In 2001, the Conservatoire opened a research centre, which provides a more

academic focus to the overall

programme. This centre will become especially interesting for second phase
students, and later students of

the MA or MMus programme. The centre is currently involved in a number of

projects, many with a
strong world music focus, e.g. the development of new teaching and learning
materials making use of new

media. In 2002, a centre for development was added, focusing mainly on

curriculum development.

Music degree courses in general

Since 1994, the courses at Dutch conservatories consist of two phases: the first
phase (graduate courses)

with a four-year duration of study and the second phase (postgraduate) which has a
maximum study

duration of two years. Rotterdam Conservatory offers both these courses in music,
as well as a special

teacher training programme for music in schools (graduate). Within the next few
years, the educational

system will be transformed into the BA/MA structure, as agreed in the Bologna
treaty. This restructuring

will have implications for the educational structure of the institution.

Specialist degree courses in world music

In the world music section of the conservatoire, a number of graduate and

postgraduate courses is

offered. Each of these graduate degree courses is described below. Postgraduate

courses currently entail a

continuation of the first phase, primarily directed at fulfilling the development as a

performer. The study

programme leaves a great deal of room for an individual approach. Students have
the opportunity to study

part of the time abroad in the culture of origin of the musical style or at other
leading conservatories.
Teacher training subjects such as educational psychology and teaching
methodology are included in all

study programmes.

Latin American music

Instruments taught include: bass, drums, percussion, piano, and voice. Cuban and
Brazilian music form

the main focus of the study, and their impact on North-American jazz, or Latin
jazz. Lessons in the main

subject instrument form the core of the study programme. The courses are intended
to raise the technical

level in music, and to develop knowledge of and feeling for the clave in different
traditions. The main

subject lessons concentrate more on gaining insight into various compositional

forms and their

accompanying rhythmical structures. Different Latin styles are offered in the

ensemble workshops, such asSound Links ± Full Report

52

Cuban music, merengue, Latin jazz and Brazilian music. There are theoretical
lessons in music theory,

rhythm training and solfège.

Flamenco

Different guitar traditions of flamenco are on offer. In the main subject lessons
students work on optimal

mastery over their instrument, and emphasis is on technique and interpretation.

This intensive training is

enriched by masterclasses from internationally renowned specialists, including

Paco Peña. Learning to
accompany singers and dancers forms an essential component of the study.

Indian music

Instruments: bansuri, sarangi, sarod, sitar, tabla, violin, cello, voice. The Indian
music sub-faculty

concentrates on North Indian classical music. In individual lessons, gaining

mastery over the instrument is

stressed. In sangat ensembles students build up experience as soloist and

accompanist. They take practical

theoretical subjects such as Indian music ear training, Indian music theory, tala and
western music ear

training. In the music history and cultural history courses the cultural context of
Indian music is studied.

Master classes from internationally renowned specialists such as Hariprasad

Chaurasia form an important

part of the course programme.

Argentinean tango

Instruments: bandonéon, double bass, guitar, piano, violin. In the main subject
lessons the focus is on

technique and interpretation. Master classes by internationally renowned specialists

such as Gustavo

Beytelmann form a substantial part of the course programme. The tango orchestra
OTRA plays a central

role in the course. Students receive an intensive training in playing the tango, the
city milonga, the

countryside milonga, the candombe and the valse criollo. In the theoretical
subjects, a great deal of
attention is paid to transcriptions, melodic and rhythmic analysis and the making of
arrangements.

Turkish music

Instruments: baðlama (saz), voice. The Turkish music course provides training in
the combined main

subject baðlama/voice. Master classes by Talip Özkan, playing in ensembles,

instrumental side subjects,

music-theoretical subjects and teacher training form an important part of the course
programme. All

students participate in the saz orchestra. Students get introductions to educational

psychology and

teaching methodology, study the history of world music in general and Turkish
music in particular.

Knowledge of repertoire covers the broad area of traditional and classical Turkish
music. Instrumental

side subjects include tanbur, tar, kemance, kaval, darbuka, davul, bendir and
kudüm, but also piano and

guitar. Students are expected to take part in various ensembles of the conservatoire.

World music within the institution

With the widespread presence of world music expertise in the institution, students
in other parts of the

institution are also exposed to cultural diversity. This may be on a voluntary basis,
for instance by

participation in world music ensembles by classical music students, or by design,

as is the case for the

introductions to world music for all students in the jazz, pop, and world music
department. A number of
world music subjects are offered as optionals for all students. Structural integration
of world music in

other subjects/modules takes place on an incidental basis, but students and teachers
do make use of the

opportunities for connections or cross-overs.

The strength of specialist world music programmes is that the whole curriculum
can be built around a

specific musical tradition. All courses ± including pedagogy, and theory ± are
focused around the main

subject. The artistic leaders of the world music programmes are all well-known and
respected masters of

their traditions, thus assuring quality within the institution and credibility for the
world outside. The weak

point of separate world music programmes is that there is constant danger of new
µmonocultures¶ within

the institution. World music traditions are fitted into the classical structure of
music education and take on

the same closed and sometimes defensive attitude.Sound Links ± Full Report

53

Other courses

In 2001, a new initiative has been developed to prepare young students from
different ethnic backgrounds

to receive professional musical training. Although there are plan, at present

Rotterdam is not involved in

organising Summer/winter courses, professional development, or extra-curricular

activities.

Education
Teaching is at a high level, but education at Rotterdam Conservatory could be
more structured didactically

± and perhaps even more adventurous ± if co-operation with other sections (and the
dance academy)

would be more common. So far this has not been the case. The curriculum until
now has been fairly

straightforward, with limited room for moving outside the fixed path. The
Conservatory is currently

developing a modular curriculum that should enable more flexibility for the
students.

Evaluation and assessment

Students in the world music department are assessed in practical skills and
theoretical understanding from

the perspective of the musical tradition they have specialised in by a panel of

experts in that tradition. This

means that an Indian music student can not fail on defective understanding of
western harmony, but will

have to prove a thorough understanding of melodic structures underlying his

music, and demonstrate

considerable improvisational skills.

There are special requirements for the entrance examinations. Compared to e.g.
popular music, world

music holds a small share in music practice in society and is also not always taught
at music schools.

Preparation for the conservatoire is therefore often relatively weak. This results in
higher risk taking
during entrance assessment, and estimations of development in the following
years. The Conservatory

deals with this partly by offering longer and more intense preparatory training for
world music courses. So

far the flow of students towards world music programmes has been satisfactory,
although the flow tends

to be narrow in terms of student backgrounds: latin music is studied by white

people, Indian music draws

a mixed group, but Turkish music is peopled by Turkish students.

Internationalisation

Rotterdam Conservatory plays an active role in international projects and

networks, such as Socrates,

ISME, ELIA and AEC. It is one of the partners in the European Association for
International Education

(EAIE), working group Flanders-Netherlands. It also houses the co-ordination for

the Cultural Diversity

in Music Education (CDIME) network.

Due to its unique position in Europe, the world music department is very popular
as a µhost¶ institution

for exchange students. Lack of interest from students to go elsewhere for a certain
period of time

sometimes puts pressure on the department¶s budget.

General developments / policy within institution

Cultural diversity is included in the formal policy document of the Hogeschool

voor Muziek en Dans,

Kiezen is Winnen (Choosing is winning). The Conservatory, and specifically the

world music department, is
constantly developing and exploring its chances and challenges in this field. A
recurring issue is that of

broadening versus deepening the current programmes. Currently, the Conservatory

chooses to do both:

the development of a new study course (world percussion) and constant attention
for interculturalisation

of subjects such as music history, and methodology. In 2001, a new subject has
been added to the

curriculum that is compulsory for all students of the jazz, pop and world music
sections: Transmission is

designed to introduce students to various ways of teaching and learning music

from a transcultural

perspective, and raise their awareness about their own place in these processes.

World percussion starts in September 2001 and is based on the latin percussion
programme. The students

bring in their own specific musical tradition, such as West African or Arab
percussion, as a main subject.Sound Links ± Full Report

54

In addition there is constant attention for the interculturalisation of additional

subjects such as music

history, and also of teaching methods. Contact with other institutions and experts
in these areas is vital ±

reason for participation and co-ordination of Sound Links, and organisation of

events such as a miniconference on world music teaching and history (Worlds of
Music in March 2002) and hosting the ISME

Community Music Activities seminar in August 2002.

Pilot project: Rotterdam Conservatory

Adapting teaching styles to new situations

Introduction

In the Netherlands, many musicians work as world music teachers, for a large part
in music schools and

arts institutions. Employment in these institutions is often based on trust, since

only few of the musicians

hold the required qualifications. The reason for this is that many are excellent
musicians with much

experience in performing, but lack formal training in methodology and didactics.

The increased demand

for qualified world music teachers has lead to the initiative of the training course
for world musicians.

From 1992, a number of initiatives in this direction were realised by the

Netherlands Institute for Arts

Education.

It was felt this training had to be placed in a higher education context. The present
training was organised

by Rotterdam Conservatory, and serves as a pilot project for Sound Links. The
institution wishes to see

how a contract course of this kind for professional development can be embedded
in the Conservatory.

Since the initiation of the course, the range of musical traditions on offer at the
Conservatory has

increased. It is now possible to receive a degree in for example saz or world

percussion ± something that

was not available before. Moreover, the course served as a model for possible
contract education at the
World Music Centre in Serpa, Portugal.

Aims & Objectives

The aim of the course is formulated as follows: ³Training will be focused on

making the different

traditions explicit and fitting them into the Dutch situation, without trying to make
them uniform.´ This

means that during the course western and non-western methodologies were
compared, so that ± although

this is outside the aims of the course ± a mutual fertilisation could take place. The
western music

methodology can in this way be enriched with methodologies from other cultures.
Successful completion

of the course will lead to a µbenoembaarheidsverklaring¶ (certificate for

employment), giving musicians the

legal certification to teach at a public music school.

Content

The key issues addressed in the course can be described by way of a number of
questions:

· What does someone do when he/she plays music?

With assistance of an elaborated cybernetic schedule it is explored what skills and

knowledge someone

should possess to be able to play music. What is absolutely necessary and what
takes second place?

· How does a pupil learn to play music?

Different ways of learning are shown and explained with the aid of a common
model. Much attention is
given to learning in a group (with or without guidance) and studying at home.

· What kind of music teacher are you?

Different teaching styles are explained: leading or following, focused on process or

end result. There is no

µbest¶ teaching style; the used style is dependent on pupils and aims. Teaching
styles are explained with

recorded videos.

· What educational learning situation do you use?

There are many different working forms: transmission (teaching), exchange

(finding it out together), or

exploring (giving closed and open exercises).

· How do I shape my education? - Possibilities are presented with examples.Sound

Links ± Full Report

55

Teaching & Learning

The course took place in three intensive weekends spread over a period of ten
months. During these, the

participants (all of them practising musicians) were not allowed to take on work as
performers or teachers.

They stayed at one location together with the teachers to ensure maximum
concentration and exchange of

ideas. In between the weekends the participants had to make assignments,

describing and analysing their

own teaching and learning situations. As a final assignment after the third
weekend, the participants each
make a working plan or method in which he/she describes how he/she would shape
his/her education in

a Dutch music school. In the essay the following points of attention should be
taken into consideration:

general goals, concrete musical and instrumental goals in chronological order and
in phases, materials and

learning activities, working forms and grouping forms, organisational conditions

for the music school in

which the method is used, and learning materials to be used.

Sound Links has observed the third weekend, which began on Friday evening with
presentations of the

short courses that the participants had designed. These were then discussed,
followed by an instrumental

demonstration of Moluccan guitar and singing. The next day the programme
started with a choice of three

subjects: communication (role-play), working with primary school children (this

had to be cancelled), and

working with groups. A video of a music lesson by Sean Gregory from Guidhall
School in London was

shown and discussed before lunch. During and after lunch, the participants had the
chance to ask some

questions to the teachers, and they received more information about the knowledge
that was required for

the last assignment. In the afternoon, the Sound Links observers invited the
participants into a discussion

about world music education. After dinner the participants received a lecture about
world music
traditions. On Sunday morning, the participants had a choice between the
following subjects: fear of

failure in pupils, learning problems in pupils, and use of notation in teaching

situations. The rest of the

time, until lunch, was spent on organisational matters.

Three teachers were involved in the development and teaching of the course. They
were chosen for their

expertise in the field of pedagogy and didactics. Only one of them is a regular
teacher at Rotterdam

Conservatory. During the weekend of the Sound Links observation, one guest
teacher was brought in to

give a broad overview of world music traditions.

In the Netherlands, the network for world music teachers leads to easy word-of-
mouth communication.

Earlier versions of the course had yielded publicity for this edition and many
participants had contacted

Rotterdam Conservatory themselves. Music schools around the country brought in

the other participants.

Often they were already teaching there.

Reactions, observations, evaluation

The course is set in a strong format: during the intensive weekends the participants
stay together with the

teachers, sharing time not only during lessons and demonstrations but also during
meals and informal

gatherings. This gives everyone the opportunity to discuss the subject matter, and
provides room for
reflection. The formal parts of the programme are also aimed at providing room
and tools for (critical)

reflection upon one¶s own and others¶ teaching. Issues connected with cultural
diversity are not explicitly

part of the programme.

The participants were different in musical as well as ethnic background, although

the majority played

West-African percussion instruments, mainly djembe. The artistic level of the

participants seemed to vary.

Before the course, the participants had to audition to prove their musical
performance skills, since the

course does not provide instrumental teaching. For organisational reasons, some of
the auditions were

cancelled, and participants were accepted on the basis of their employers¶ (mostly
music schools)

judgement. In a number of cases, this proved to be inadequate and some of the

participants¶ skills were

below expectations.

Since all of them will receive their final qualification on the basis of their
didactical learning at the end of

the course, the result seems therefore lopsided ± the Conservatory gives out a
certificate stating teachingSound Links ± Full Report

56

and musical qualities that some of the participants may not have. Although it is
formally not the case, in

practice the µbenoembaarheidsverklaring¶ gives course-graduates the same

employability opportunities as
degree holders from the conservatoire, with four years of ± mostly instrumental ±
training at tertiary level.

Relevance of the project to the key issues identified in Sound Links µFrom Policy
to Practice¶

Quality

When working with musicians from different cultures and traditions, the issue of
quality can become more

complex than usual. The standard criteria institutions in Europe use to assess their
students, from

entrance examinations to final performance, are no longer always valid and need to
be adjusted to every

situation. However, it is important not to lose sight of the fact that in higher music
education, in whatever

tradition or programme, the student level should be high.

Teaching methods

The approach taken to the professional development of world music teachers,

based on the interactions

between current models of thinking on music education and the teachers¶

experience, has proven to be of

great value. Through the system of learning as a group experience, teachers were
placed in a position

where they could keep their pride and self-esteem, while a non-threatening
growing awareness of teaching

in new situations was created.Sound Links ± Full Report

57

Institutional profile: World Music Centre, Serpa

A campus with cultural diversity as starting point

Introduction

In this series of profiles, WMC occupies a somewhat exceptional position. Unlike

the organisations

previously described, it does not exist yet in the physical world, although plans for
its realisation are quite

advanced. The relevance of including this project in some detail lies in the way the
concept of WMC

addresses a number of the crucial issues raised in this report.

World Music Centre is being designed as a new performing arts campus in the
heart of the Alentejo region

in southern Portugal: the first institution exclusively dedicated to training,

education, research and

performance in traditional and contemporary forms of music from all over the
world.

The World Music Centre campus aims to be an inspirational meeting place and
designer learning

environment for musicians and music from Africa, Latin America, Asia, the United
States and from

throughout Europe, providing facilities that simultaneously serve as a

contemporary re-creation of various

traditional settings of creating, performing, studying and handing down music, and
as a high-tech

laboratory with a digital window on the world.

More than 2000 students are expected to attend the campus each year, engaged in
activities ranging from
one-week African drumming or Salsa classes to a range of professional courses
including a complete

degree programme in world music. Thousands of visitors will also be approached

to come to Serpa each

year for concerts, festivals and other events. A wide co-operation and digital
network should link WMC to

the rest of the world.

Music degree courses in general

WMC intends to give degrees in performance, in education and in

classroom/community music. It has

planned the entire curriculum in line with the thoughts of the Bologna treaty:
transparent, modular

programs that cover five major areas of competencies expected from professional
musicians: performance

and creation, theoretical studies, educational theory and practice, new media and
recording, and

management, policies and politics.

Specialist degree courses in world music

WMC aims to provide degree courses in specific traditions, as well as courses that
deal with a cluster of

related instruments or styles, such as world percussion or world pop.

World music within the institution

By its very nature, various forms of world music form the core of the activities of
World Music Centre. In

projects and experiments, western forms of music commonly taught at other

institutions will play a role,
but usually of secondary importance. This has one major advantage: it significantly
lessens the threat of

classical western models dominating all choices in terms of the organisation of

education and training. But

at the same time, it also can create a degree of isolation from the rest of the musical
world.

Other courses

Apart from degree students, WMC is being designed to cater for a broad range of
audiences:

Music teachers, who seek to widen their profile to teach world music in their
schools, through specialist

modules awarding professional credits.

Professional musicians, performers or composers, who wish to improve and

complement their skills or

become teachers, through specialist programmes or projects or through the full

degree course.Sound Links ± Full Report

58

Music researchers, including musicologists, ethnomusicologists and

educationalists, who wish to develop

studies in different domains of investigation into world music, through specially

designed programmes

and activities.

Children, through the centre¶s world music programmes in the schools in the
region, through community

projects and on-campus programmes.

Amateurs, through workshops or modules designed for music practitioners at

amateur levels or music
lovers, who wish to widen their scope of skills and knowledge.

Education

As stated before, WMC¶s activities will unfold in five main areas: performance &
creation, theoretical

studies, educational theory and practice, new media & recording, and management,
policies & politics.

Each of these areas will be reflected in the curriculum, but also linked to various
professional and

outreach activities, such as concerts, conferences, publications, research and

development, which

underline the broader cultural reach of the centre.

The curriculum is structured into a variety of modules designed to provide a

custom-built training

programme for a wide range of students, from different ethnic, cultural and
educational backgrounds and

with different interests and needs. Functioning in the form of a menu from which
students can choose,

under expert counselling, the combination of modules that make their own learning
paths, this flexible

training provision will allow student to progress along a number of years through
sequential academic

levels, to build up the skills, qualifications or professional profile they seek.

Each set menu, or combination of modules, will make up a specific course which
may range from the

occasional workshop for professional improvement to the full degree programme

for performers or music
teachers. In this way, it is also eminently suitable to receive students from other
institutions for higher

music education in Portugal or abroad, stimulating mobility, transferability of

credits, and ultimately

equivalence of qualifications.

This student-centred, contract-based structure will respond to the diverse needs

perceived in today¶s

cultural markets, acknowledging the fact that many professions need to be

redefined and adjusted to new

realities and to the trends identified for the future. The training provision will not
only integrate teaching

and learning activities with other activities of the centre, creating an environment
that prepares students

for actual musical life, but will also take into account the different professional
roles an individual may be

called to perform throughout life.

Specialists in different musical traditions and instruments, with recognised

academic credibility, established

old masters, young artists and professionals from the music or music production
field will form WMC¶s

teaching body. Some will be at the campus on a permanent basis, others on a

rotating basis or incidentally.

Many experienced figures have already expressed their desire to come and teach at
WMC for shorter or

longer periods of time.

In order to accommodate the variety of types and levels of students, an intricate

modular structure has
been designed. Every year, about 100 different modules across five areas of
activities will be on offer at

various levels, some permanently, others once every two or four semesters or even
incidental.

The modules are divided over the five areas of activity mentioned before:
performance & creation,

theoretical studies, educational theory and practice, new media & recording, and
management, policies and

politics. These in turn relate to the other activities of WMC: Concerts & Events,
Research & Conferences,

Development of Teaching Methods and Materials, Design & Production of

Educational Software, and

External Projects & Consultancy.Sound Links ± Full Report

59

Evaluation and assessment

In addition to standard evaluation and assessment procedures, such as theoretical

and practical exams

(mostly in front of an audience), WMC intends to develop more contemporary

forms, such as peer

assessment, student portfolios and project reports in audio-visual formats.

Internationalisation

WMC is dependent on an international student population. Apart from mere

international marketing, the

organisation will build up strategic links with leading institutions in most European
countries to facilitate

student exchange through semester abroad programs and even joint curricula.
General developments / policy within institution

Apart from being interesting from an artistic and social point of view, WMC views
world music as a major

emerging market, with millions of music lovers now attending concerts and
festivals every year. Major

music shops are dedicating substantial shelf space to world music, witnessing a
CD-turnover that already

approaches that of western classical music.

Pilot project: World Music Centre Serpa (realised in co-operation with

Conservatory of Amsterdam)

µConfrontera¶ ± Exploring the borders of Christian and Islamic arts

Introduction

The challenges of cultural diversity can be found especially in arts education.

Particularly arts and music

teachers in schools should be able to work from a culturally diverse perspective.

Cultural and Artistic

Education (CKV) is a compulsory subject at all secondary schools in the

Netherlands. The Music in

Schools department of the Conservatory of Amsterdam, Amsterdam Academy of

Arts and World Music

Centre organised the pilot Confrontera: a series of classes and a study trip to the
Iberian peninsula. The

interdisciplinary approach was an important aspect of the project. Confrontera had

a strong intercultural

content. It explored the cultural heritage on the boundary between Christian and
Moorish culture from
the Middle Ages. The starting point was present-day Europe as a society constantly
in contact with other

cultures over centuries.

The Conservatory of Amsterdam regards international co-operation as an important

tool for innovation,

especially in the field of cultural diversity. This is why a connection with the
young World Music Centre in

Portugal is a logical step. The student group consisted of 2 music performers, 9

music in schools students,

2 from the department of arts and crafts, and 9 arts students specialising in
drawing. The trip, and

accompanying course, was not compulsory for these students. They received one
credit.

World Music Centre, responsible for the trip to Serpa, is an institution in

development. Its aim is to

become an international centre of expertise in the field of world music education.

(For more information,

see the institutional profile.) The pilot was developed in order to try out WMC¶s
approach and to

strengthen the links with Conservatory of Amsterdam.

Rationale & place within institution / programme

World Music Centre is not yet established as an institution for higher music
education. It does not offer

courses yet. Present activities consist of pilot projects in co-operation with

institutions within Portugal,

and in other parts of Europe. Confrontera was one of these activities.Sound Links ±
Full Report
60

In Amsterdam, this educational pilot was part of a new interdisciplinary

programme Reflection on Art

(Reflectie op Kunst), which prepares education students for teaching in secondary

education. This

programme is based on the following principles:

· To familiarise students of various art disciplines with each others¶ professional

field

· To bring together students of various art disciplines to familiarise them with each
others¶ artistic

language

· To teach students of various art disciplines to work together in a practical setting

Content

In the south of Spain and Portugal, striking examples can be found of

confrontations between cultures:

Arabic, Jewish and Christian cultures greatly influenced and shaped past and
present traditions and art

forms. These cultural encounters can be found in present day population, music
and dance, visual arts, in

a place where churches and mosques have collided and merged. This meeting
between Christianity and

Islam was placed in a historical as well as present day perspective.

The course consisted of a series of eleven preparatory classes, a study trip with
closing debate, and nine

follow-up classes, followed by oral exams and assignments.

Classes
A number of classes was organised around the study trip. The course focused on
visual arts, music,

architecture, and literature of the Iberian peninsula. During this period, the students
visited exhibitions

and films (Vengo, by Tony Gatlif), and a flamenco workshop. General cultural
history was grouped

around the following subjects:

· court, church, mosque, synagogue

· apart from the classical arts, the folk traditions: gypsy culture, flamenco, saeta

· the above as much as possible in relation to North-Africa: the classical traditions

(ArabAndalusian), the Moroccan Jews, Berber music, gnawa

Through discussions and presentations, these themes were translated to the

twentieth century:

· from Zikr to Rai: exploring the music of the present day Arab (Moroccan) world

· the writer Frederico Garcia Lorca as theme ± there are connections with Manuel
de Falla, gypsy

music, American avant garde

· Confrontera: the presence of groups and artists with different cultural

backgrounds throughout

Europe

Study Trip

After the first series of classes, the students travelled to Portugal (Serpa) and Spain
(Seville, Cordoba,

Jerez, Granada) where visits to monuments, museums, concerts and dance

performances were
complemented with practical workshops and research assignments. The
organisation of the Portuguese

part of the trip was in the hands of World Music Centre. In Serpa the students
enjoyed a workshop of

Alentejo polyphony, visited historic sites and attended a concertof Arab music in
an ancient palace

originally built for Arab generals.

Full programme:

Saturday March 3, 2001

· Travel to Serpa

Sunday March 4, 2001

· Originally, a visit to the town of Mertola

was planned in the morning. Due to bad

weather conditions, this part of the trip

had to be cancelled.

· Workshop traditional folk music Cante

Alentejo

· Concert Arab music in former Arab

palace

Monday March 5, 2001

· Travel to Seville

· Cathedral of Seville & Presentation

working group Goya and the Goyescas

· Antigua fábrica de tabacos &

Presentation working group CarmenSound Links ± Full Report

61

· Hospital de la Caridad ± paintings

Murillo

Tuesday March 6, 2001

· Alcázar & Presentation working group

New World in Casa del Océano

· Travel to Jerez de la Frontera

· City walk and Centro Andaluz de

Flamenco & Workshop working group

Flamenco

· Flamenco concert

Wednesday March 7, 2001

· Museo Arqueológico

· Museo de Bellas Artes

Thursday March 8, 2001

· Travel to Córdoba, through Roman

Itálica

· Museo Torre de la Calahorra, Córdoba

± overview of three cultures

· City walk: synagogue, Plaza del Potro &

Presentation working group Don

Quijote, Jewish quarter

Friday March 9, 2001

· Travel to Granada

· La Cartuja

Saturday March 10, 2001

· Casa-musea Manuel de Falla &

Presentation working group El

sombrero de tres picos

· Alhambra, gardens of Generalife &

Presentation working group Alhambra

& Presentation working group

Frederico Garcia Lorca

Sunday March 11, 2001

· Cathedral

· Capilla Real

· Travel to Amsterdam

The interdisciplinary character of the project was most apparent during the study
trip. The students were

divided into working groups consisting of students from various disciplines. A

tutor-mentor was present

at all times. The students received assignments, which were often practical. As a
result they taught and

learned from each other. This aspect made the trip an intense learning experience
for all students and

teachers, as well as an interesting meeting place of artistic professions.

Serpa

The visit to Serpa serves as an example of the interdisciplinary approach. The

whole programme was

compulsory for all students and concentrated on music and visual arts. The
medieval Moorish city centre

and walls were visited, the archaeological museum, and the pilgrims church. The
Arab palace at the edge

of the historical town received special attention: the students worked on their
sketching assignments there,

and in the evening there was a concert of Arab music. Especially the concert was a
success among the

students, musically and as a moment where music was placed in its original
context.

Students and teachers alike found the trip to Serpa too short, only one day. It was
felt that the area had

more to offer than can be seen and heard in one day. Originally the stay was
planned for a longer period

of time, but it had to be shortened for organisational reasons. The visit to Serpa
was planned at the

beginning of the study trip, which was a weak point in the organisation ± the long
journey from the

Netherlands meant that there was much chance of delays. However, planning Serpa
at the beginning

turned out to be a success concerning content; the students were immersed in the
culturally rich history of

the Iberian peninsula which gave them a framework for the rest of the trip.

Evaluation & future

The educational strength of the project lay in the diversity of working formats: a
series of preparatory

classes with accompanying syllabus and other materials, research groups with
students, workshops (music,

sketching sessions), cultural historical study trip ± that can be seen as classes and
presentations on

location, debate about purposes and impact of the study trip, and follow-up classes
dealing with the

experiences gained during the trip. Student assessment took place during oral
exams in the form of

discussions in small groups, and a file of essays and artistic work.

When the group was back in Amsterdam, the Academies organised a debate about
the purposes and

usefulness of an interdisciplinary study trip of this kind, and the students¶

familiarity with the theme

Confrontera. An important outcome was the perceived inspiration that came from
travelling together,

exploring each other¶s language and artistic landscape through conversations and
presentations, the µalive¶Sound Links ± Full Report

62

activity of travelling as opposed to µinanimate¶ paintings and cathedrals, feeling the

genius loci, being

present at a historical place, the richness of a meeting place of different cultures. In

this way the theme did

not only bring insight into an aspect of the European cultural history, but also got
students thinking about

multiculturality in present day society.

The importance and added value of a pilot like Confrontera can be summarised as
follows.

The project investigates in what way Cultural and Artistic Education (CKV) at
secondary schools can be

taught at high level, with intercultural and interdisciplinary content.

A joint project between academies for higher education raises a number of

questions: what subjects are

suitable, in what way and to what level do teachers work together, what teaching
materials are available (or

not), what are the practical and organisational challenges of a project like this?
How is cultural diversity

presented and dealt with?

Not only teachers and organisations need to learn to work together, but students
need to come together as

well. They should work more in groups. How does this work? How do we guide
this process and assure

its quality? What are the results of this approach?

The experiences gained by this project gives insight and first directions towards
new joint intercultural

theoretical education (Reflection on Art) within the teacher education programmes

in Amsterdam.

Confrontera is a comparatively large project. As a result of the experiences with

this project, smaller

modules with a comparable content can be developed and inserted into the
educational programme at the

Conservatory of Amsterdam and the Amsterdam School of the Arts. For example:
the theme of
intercultural meetings between artists in present day Europe can be connected to
education about cultural

dialogue in general. Another opportunity is the development of a new culture

historical module in which

regular historical knowledge (European history) can be interwoven with elements

from various cultures. A

subject such as this can be integrated into the existing historical programmes
without much difficulty.

It is in projects and courses like Confrontera that World Music Centre finds its
strength in international

partnerships. The concept of immersing the students in other cultures and

confronting them with new

notions of arts and music will be one of the foci of its education. The well-
established links between CoA

and WMC, as well as the relatively advanced approach towards cultural diversity
in Amsterdam, provided

both institutions with an opportunity to try out a concept that seeks to answer some
of the more

profound challenges of actually shaping cultural diversity in music education.

Relevance of the project to the key issues identified in Sound Links µFrom Policy
to Practice¶

The pilot organised by World Music Centre and Conservatory of Amsterdam

served primarily as a try-out

for our models for analysis and description. Nevertheless, in terms of content, it
did address a number of

the key issues of Sound Links

Partnership
Confrontera has been an example of transnational co-operation and international
student mobility

between two institutions involved in higher music education, using each other¶s
resources. Amsterdam

was well equipped to select and prepare a group of students in terms of content and
methodology for a

cross-disciplinary study trip. Serpa had the on-site expertise and contexts to
develop an interesting

programme. Due to the newness of the World Music Centre, it must be said that
Amsterdam had to take

over more of the logistics then was originally intended.

Methods of teaching

The cross-disciplinary target groups of the project was combined with a large
variety of appraoches to

teaching and learning: formal lectures, working groups, literature study, field trip,
workshops, group work,

discussion and reporting by students.Sound Links ± Full Report

63

Conclusions

Much of the value of this part of the Sound Links project lies in the detail and the
strategies applied to the

challenges of cultural diversity in specific contexts and institutions. However, there

is a number of

conclusions we can draw from the institutional profiles and the outcomes and
lessons learned from the

pilots. Some of these go beyond the scope of part II, and are summarised in ³From
Policy to Practice´.
But there are six issues that arise from the research that deserve to be explored in
greater depth.

Cultural diversity and the structure and culture of an institution

The Sound Links research has focused on the inclusion of and the conditions for
fostering cultural

diversity in institutions for higher music education. The various approaches that
are investigated in the

descriptions and analyses of this report also show the consequences that cultural
diversity can bring to the

structure and culture of an organisation. It is striking to note that none of the

projects directly promoted

cultural diversity in the sense of widening opportunities by attracting people of

various cultural

backgrounds to the institution as students and staff (this is often defined on ethnic
grounds, although

other cultural differences, for example those rooted in socio-economic background

or class, can also be

taken into account). Instead, the projects focused on content (the inclusion of world
music in the

institution¶s programmes and activities) and transcultural modes of transmission.

Moreover, most initiatives in the field of cultural diversity seemed to reach only
those students and staff

directly involved with it, while preferably the inclusion of cultural diversity should
be felt throughout the

institution. New musical influences can lead to new practices, new performances,
sometimes new
approaches to teaching and learning, and new ± possibly different ± students and
teachers in the

classrooms and hallways.

It was not always clear in advance how these new influences would affect the
practices and social

structures of an institution. Broadly speaking we have seen examples of two

different angles. Cultural

diversity can be fitted into the regular structure of the institution, as an expansion
or renewal of the

existing programme. Another approach is to model the educational structure into a

more flexible and

diverse environment to accommodate all kinds of music, including world and

classical music. The latter

can lead to a more thorough and complex change of the institution¶s culture and
organisation at all levels.

Cultural diversity, musical identity and creativity

From discussions with staff and students of conservatoires we can conclude they
encounter the influences

and impact of multiculturalism every day, be it inside or outside the walls of our
institutions. These

influences may originate from neighbours and fellow-students from other

countries, to expressions of

mass-media and results of globalisation.

However, conservatoires still seem to be almost inherently µclosed¶. From a narrow

perspective of future

employment, this is understandable: within a relatively short time, students need to

be turned into
specialised, high level performers, meeting the standards of concert audiences and
the orchestras who will

hire them. As a result, institutions often seem to turn to tried methods, standard
repertoire for assessing

quality and progress, and limited but unambiguous theories. This canon affects
almost every aspect of the

institution, and harbours the risk of harming other important dimensions of

conservatoire training:

creativity, flexibility and powers of communication.

At the same time, it can be argued that every graduate of tertiary music education
should be at home with

the music he or she plays, but also be able to form his or her own musical identity.
By introducing

students to new ways of creating and enjoying music, and by making them feel at
home with it (and this is

possible at various levels), we provide them with new tools to do this. Although
little formal research has

been conducted in this area to date, the outcomes of Sound Links suggest that their
flexibility in terms of

creation and communication with an audience or in a teaching situation will be

strengthened.Sound Links ± Full Report

64

Cultural diversity as the basis for a new monoculture

Many, or indeed most of the institutions for higher music education in Europe were
built and structured

around a 19th century model for music teaching, with an emphasis on master-
apprentice, analytical, one
way didactical teaching. In many cases this model is still regarded as suitable for
tuition in European

classical music, but the complexity of the situation increases when a more diverse
perception of music is

introduced into the curriculum.

It is sometimes argued that the discrepancy between teaching and learning methods
of different musical

traditions is a sign that cultural diversity does not belong in these institutions.
However, if we see

conservatoires as the breeding ground for contemporary musical practice at large,

it can be argued that

with high quality teachers, the presence of students from various countries and
backgrounds, and

opportunities for practice and recording, the conservatoire should be a place to

learn any kind of music.

Culturally diverse practices are often expected to break the rigidity of the 19th
century model of teaching

and learning in an institution. But especially in the case of tradition specific

teaching, the opposite can

happen. Instead of the institution developing its flexibility and curiosity that would
benefit all musical

traditions, the new musical tradition is fitted into the µstraight-jacket¶ of the
institutional structure, or,

alternatively, it isolates itself. In both cases, there is the risk of forming a new
µmonoculture¶.

By the very nature and history of conservatoires, this has happened to many
classical music departments.
But this tendency can also be observed in pop and particularly jazz departments. In
order to strengthen

their position, musicians of a certain tradition take on a defensive role and

concentrate exclusively on their

own field. They close themselves off from the rest of the institution, rather than
looking for connections

and contacts. This may not be what an institution wanted to achieve by including
cultural diversity in the

first place, but treating a world music tradition the same as western classical music
or as an emphatically

distinct tradition, although valid in its own right, may lead to great opportunities
for cross-fertilisation

being lost.

Cultural diversity and quality assessment

Assessment of quality is always an issue of some complexity, in every discipline of

the arts ± including

music. In higher music education, the question remains: how do we define quality.
Although opinions

amongst experts in any particular field of music are mostly surprisingly similar,
there are no fixed criteria

and many aspects in students¶ performances are implicit and not measurable, for
example stage presence

or interpretation. From the description and analysis of the Sound Links pilot
projects, the same

conclusion can be drawn. Although the analyses are often clear, criteria are seldom
uniform or specifically

articulated.
But even if the criteria were standardised, they could not always be universally
applicable: on purely

musical grounds, (as a product) many of the Sound Links pilot projects were below
higher music

education standards. This is because they were outside the field of genre-specific
training, and the music

was applied in an educational or community setting. This requires systems of

evaluation in relation to

process and context.

Specific traditions of world music make the situation even less uniform. The areas
and criteria that were

always the same in western musical traditions, are not always applicable in others,
or in a different way.

The main point is that the issue of quality is given more than slight consideration,
and attention is spent

on asking the right questions as well as getting the right answers.

A new, flexible set of criteria needs to be developed for every situation. Quality is
therefore based on the

expectations and requirements concerning all parties involved: students, staff,

institution, etc. Every aspect

should be considered in the assessment: process, product and project. In this way,
not only success can be

rewarded, but also intelligent failure.Sound Links ± Full Report

65

On an institutional and funding level, intelligent (or successful) failure is often an

important stumblingblock in the case of successful drop-outs: students who leave
the institution to pursue a successful career
cost the institution a large amount of government funding. Sometimes this can be
resolved by proving

employment of the student, but in the predominantly free-lance world of many

(pop and world)

musicians, that is very difficult as they do not appear on the pay lists of symphony
orchestras.

Cultural diversity and internationalisation

As obvious as it may seem, multiple influences are needed to achieve cultural

diversity. Openness,

curiosity and willingness to exchange experiences and ideas are important stimuli ±
and in most cases even

conditions ± for the success of cultural diversity in (higher) music education.

Student and staff mobility is

a growing practice in Europe, and around the world, as can be seen in part III of
this report.

Not only has the number of mobile students increased over the years, more and
more facilitatory

mechanisms have been put into place to secure its continuation. In many cases the
(national) funding

structures are shifting towards a model in which money is channelled through

individual students instead

of institutions, giving students the opportunity to µbuy¶ their education where they
need it ± in one or

more institutions, in one or more countries. Systems for credit transfer and
transferability of qualifications

make study abroad even more attractive.

Several funding bodies now exist to improve mobility of undergraduate students,
but also for

postgraduates and teachers to conduct further research or pursue continuing

professional development.

These structures work particularly well within and between Europe and the United
States. Funding for

students from developing areas of the world, like Latin America or Africa, is less
abundantly available.

Cultural diversity, community and employability

The rise of world music in the music industry over the last decade is striking. At
the beginning of the

1980s it was still largely the territory of alternative world travellers and
ethnomusicologists, but in the

1990s it has become a mainstream phenomenon. Sales figures and number of

concert-goers and festivals

indicate that the growth of world music¶s market share has not subsided. It is this
work field that we train

our students for, particularly those who concentrate on becoming a performing

musician. Multiple skills

and knowledge of several musical genres or traditions are more and more valued.

The same goes for students focusing on a career as a instrumental or classroom

teacher. Particularly in a

field that perhaps combines the performance and teaching side to its fullest,
community music, multimusicality is an important quality. Community music is a
wide field of musical practice in which the

aspirations and abilities of the participants in the community take a central role. In
order to facilitate this
creative musical process, a community musician needs to be flexible, creative, and
able to deal with

cultural diversity in an ethnic as well as social sense.

All in all, it seems that artistic, demographic and market considerations are
creating a situation in which all

institutions have to formulate an intelligent response to the phenomenon of cultural

diversity, and

consider the implications of their choices for their modus operandi and
organisation at large.Sound Links ± Full Report

66

The Higher Education

Climate

Developments and mechanisms

ß Higher (music) education in the EU

ß Credit systems

ß Transfer of degrees and qualifications

ß Professional development

Funding mobility

ß Student mobility

ß Mobility programmes

World music & the market

n Economic scope & employment possibilities

Part IIISound Links ± Full Report

67
Introduction

In this section, we have attempted to paint the backdrop for present and
international initiatives and cooperation in the field of cultural diversity in higher
music education. This part of the study makes no

claims at being comprehensive, as such an effort is beyond the scope of Sound

Links. The challenges are

substantial. To begin with, the amount of source material is staggering. For

example, the UNESCO

databases on higher education alone list 23,800 titles. In addition, the information
available is often

contradictory, poorly structured and/or outdated. Finally, in most sources no

distinction is made between

the various areas of study, so that significant deviations in the field of studying
music are not readily

identified.

What the reader will find presented below, then, is an overview of the major
strands of development in

higher education over the past decades, demonstrating an environment that is

complex, but quite

conducive to international co-operation in cultural diversity initiatives. In order to

accommodate those

requiring more in-depth information on specific subjects or countries, extensive

references to websites

and publications have been included under each heading.

This part consists of three chapters:

Developments and mechanisms describes the history of international co-operation

in higher education
over the past fifty years, with emphasis on relevant EU initiatives since the 1990s.
It then proceeds to look

at credit transfer systems, with a focus on ECTS (European Credit Transfer

System). In the next chapter,

the maze of degrees and qualifications is explored, and their (in)compatibility on

the international market.

Finally, we look at the developments around life-long learning and professional

development, for which

recent information in the specific area of music is available thanks to a recent

project of the European

Association of European Conservatoires (AEC).

In Funding Mobility, student mobility between EU countries across all disciplines

is first explored

quantitatively and qualitatively. Then, some attention is given to Semester Abroad

studies. Next, (EU)

government programmes to stimulate student (and staff) mobility are described.

Finally, a first exploration

of the wealth and complexity of funding programmes for international student

mobility is presented.

The final chapter, World music and the market, seeks to fathom the labour market
for graduates of

music degree programmes featuring aspects cultural diversity. Although it is

difficult to give an exact

picture of the economic implications of an artistic area that is relatively new and as
yet unstructured in

terms of long-term employment possibilities (such as orchestras in classical

music), information from
sources in the market indicate a vast turnover in recordings and performances,
supported by an audience

of millions, as well as substantial employment opportunities in education at various

levels.Sound Links ± Full Report

68

DEVELOPMENTS AND MECHANISMS

History

From shortly after the Second World War, there has been an immense movement
towards

internationalisation of education. From the 1950s, efforts have been undertaken to

create greater

coherence. In 1953, European countries decided that diplomas leading to

admission to universities had to

be accepted as equivalent. UNESCO also played an active part in the process of

bringing higher education

systems together.

With the institution of the European Union a new phase began. In the late 1980s, a
new system of

credit transfer amongst institutions for higher education was devised: ECTS. Other
measures include

the institution of NARICs (National Information Centres on the Recognition of

Diplomas) and ENICs

(European National Information Centres on Recognition and Mobility). The

Lisbon Convention

(effective as of Feb 1st, 1999) signified a further step towards the recognition of
higher education
qualifications. An abundance of websites illustrates the amount of activity and the
importance the EU

attaches to this field. Meanwhile, institutional cooperation has been facilitated

greatly with the

ERASMUS/ SOCRATES programmes and the establishment of institutional

contracts with the EU.

The rest of the world has been actively included in this process. In
September/October 1998,

representatives of six areas met in Paris: Latin America and the Caribbean, the
Mediterranean, Arab

countries, Asia and the Pacific, and Europe (including Israel, the United States,
Canada and Australia),

with the purpose of linking networks so that they will have the same impact on the
recognition of

diplomas as the European network.

A very important development with regards to the viability of international

initiatives in higher music

education is the recognition of the Anglo-Saxon BA/MA model as the European

reference. This

movement was strengthened by the outcome of the Bologna treaty, June 1999 (see
appendix 5 for full

text). The main objectives are:

· adoption of a system of easily readable and comparable degrees in European

higher education

· adoption of a system based on undergraduate and graduate cycles; with an

undergraduate
programmefocusing on vocational skills relevant to the European labour market,
and a more

academically oriented graduate programme

· establishment of a system of credits such as ECTS

· promotion of student and teacher mobility

· promotion of European Dimensions in curricular development, inter-institutional

co-operation,

mobility schemes and integrated programmes of study, training and research

In many European countries, there is still a rigid division between vocational and
academic training,

which means that music was either studied practically at a conservatoire, or

theoretically at a university.

At government level, most have now decided to abandon the influential ideas that
caused this

separation, formulated in 1810 by Wilhelm van Humboldt. They are now moving
towards a structure

that corresponds to a Bachelor of Arts degree of 3 to 4 years with relatively little

research, followed by

the option for a 1 to 2 year Master of Arts programme with a stronger academic
focus.

At curriculum level, we see a move towards competency based programmes that

are defined

increasingly in terms of modules, which makes it possible to create more

individual learning paths, in

which different parts of the study can be clearly identified and assessed separately.
This, in combination
with the European Credit Transfer System, greatly facilitates students to follow
part of their studies at

an institution abroad. A gradual shift towards funding models that are more student
centred (i.e. the

student decides where he/she µbuys¶ ± parts of ± his or her education) will
strengthen this development.

At the same time, we witness the rise of continuing education, professional

development, and in-service

training. Although only limited information is readily available about this

relatively new area, we see that

especially amongst highly qualified professionals, awareness of the need for

upgrading skills throughoutSound Links ± Full Report

69

their professional career has grown exponentially. In a 1997 survey by AEC

(European Association of

Conservatoires), half of the conservatoires of Europe already expressed activities

in this field.

These developments all point towards a model for higher education of the future,
where students from

a wide variety of backgrounds become clients who sign a contract for an individual
learning path

ranging from a few weeks to a number of years. Institutions that are quick to
position themselves on

the European market with unique products in the field of education and training are
likely to benefit

from this movement.

In the next pages, the background to these views is sketched with extensive
reference to policies and

practice in Europe and beyond. Issues that are addressed are general policies,
student numbers, costing

structures, credit systems, degrees and equivalence of qualifications, and

professional development.

Each chapter is divided in a general introduction, paragraphs on specific subjects,

and a section

referring to specialised information, sources and references.

General developments in higher (music) education

Policies at international, European and national scale

In a turbulent history that spans many centuries, higher education has developed
into a rich diversity of

systems all over the world. However appropriate this may be in the light of the
individuality of different

nations, it is highly impractical to accommodate the increasing transnational traffic

of students and

qualified professionals. For instance: there are currently no diplomas that are
recognised at European

level. As we have seen from the introduction, concerted efforts to improve the
situation have been

developed for a number of decades at the highest level. The UNESCO World
Declaration on Higher

Education (1998) contains a number of relevant quotes:

· ³The core missions of higher education systems (...) should be preserved,

reinforced and further
expanded, namely to educate highly qualified graduates and responsible citizens
and to provide

opportunities («) for higher learning and for learning throughout life.´

· ³Institutions and systems, in particular in their reinforced relations with the world
of work, should

base their long-term orientations on societal aims and needs, including the respect
of cultures and

environment protection. Developing entrepreneurial skills and initiatives should

become major

concerns of higher education.´

· ³Higher education is part of a seamless system. (...) The contribution of higher

education to the

development of the whole education system and the recording of its links with all
levels of education,

in particular with secondary education, should be a priority.´

· ³Diversifying higher education models and recruitment methods and criteria is

essential. (...) Learners

(...) should be viewed in a lifelong perspective, based on flexible entry and exit
points within the

system.´

· ³There is a perceived need for a new vision and paradigm of higher education,
which should be

student-oriented. To achieve this goal, curricula need to be recast so as to go

beyond simple cognitive

mastery of disciplines and include the acquisition of skills, competencies and

abilities for
communication, creative and critical analysis, independent thinking and team work
in multicultural

contexts.´

· ³A vigorous policy of staff development is an essential element for higher

education institutions. Clear

policies should be established concerning higher education teachers, so as to

update and improve their

skills, with stimulus for constant innovation in curriculum, teaching and learning
methods, and with

an appropriate professional and financial status, and for excellence in research and
teaching.´

· ³Higher education should be considered as a public service. (...) This requires the
development of

appropriate planning and policy ± analysis capacities and strategies, based on

partnerships between

higher education institutions and responsible state authorities.´

· ³Regional and international normative instruments for the recognition of studies

and diplomas should

be ratified and implemented.´

· ³Close partnership amongst all stakeholders ± national and institutional policy-

makers, governments

and parliaments, the media, teaching and related staff, researchers, students and
their families, theSound Links ± Full Report

70

world of work, community groups ± is required in order to set in train a movement

for the in-depth

reform and renewal of higher education.´

The words of Unesco herald the Bologna treaty in many ways. But the practice in
Europe is still far

removed from this ideal: descriptions of educational systems in the EU countries

are included in appendix

6 as an indication of this diversity. But at the same time, a number of policies at

national and institutional

levels forebode a new order, particularly in the European academic space.

Student numbers

The Statistical Yearbook Education and Literacy 1999 of Unesco gives details up
to 1997. The yearbook

contains information on national education systems, but it appears to refer to

primary and secondary

education only. Enrolment figures include tertiary education, as do teaching staff

numbers. Relevant for

this research:

· The world¶s total enrolment in tertiary education amounted to 88,156,000

students in 1997. Note: in

the actual charts on file, figures are split up for different continents.

Comparable statistics for the EU quote 11 million students, 119 million young
people (under 25), 35

million students at secondary schools, and 4 million teachers.

Additional relevant information on participation and attainment can be obtained

from Education at a Glance

2000, the online database of OECD (Organisation for Economic Co-operation and
Development):

· ³To meet rising demand, education systems are rapidly expanding to allow more
people to study
longer and to obtain higher qualifications.´ For example:

³Adults participate, on average, for more than one year full-time equivalent in
continuing education

and training during the ages of 25 and 64.´

· ³The number of students enrolled in tertiary programmes grew by more than 20

per cent between

1990 and 1997 in all but five OECD countries, and in eight countries by more than
50 per cent.´

· ³Today, an average of four out of ten young people are likely, during the course
of their lives, to enter

tertiary programmes which lead to the equivalent of a Bachelor¶s degree or above.´

Costs

Education at a glance 2000, the OECD online database, gives global figures on
government and private

spending on higher education:

· ³More is being invested in education¶, µmainly from public sources but with
significant, and increasing,

private contributions.´

ÿ ³In 16 out of 18 countries, public expenditure on education grew faster than

GDP, with average

educational spending as a percentage of GDP rising from 5.2 per cent in 1990 tot
5.8 per cent in

1997.´

ÿ ³Although education remains predominantly publicly funded, private spending is

becoming more
important and accounts, on average, for 10 per cent of initial educational funds.
Overall, this

spending appears to supplement rather than displace public expenditure.´

ÿ ³For every dollar spent by tertiary institutions, about 77 per cent of final
educational funds

originate, on average, in public sources and about 23 per cent in private sources.´

ÿ ³In all countries except Finland and Sweden, at least some students are enrolled
in every country

in tertiary institutions that charge tuition and other fees.´

· ³The higher the level of education, the more is spent per student.´

· ³Spending on tertiary education has grown fastest, but enrolment even more so.¶
µAt the tertiary level,

spending over the period 1990-1996 increased on average by 28 per cent, driven
mainly by enrolment

growth of 40 per cent over the same period.´

An article in The Chronicle (26 May 2000) on the OECD report includes a list of
1997 Spending per

Student on Higher Education in 32 countries from the report. Roughly, we can say
that:

· The US and (a number of) Latin American countries spend relatively much,
followed by countries

from northern and western Europe and Asia in the middle section.Sound Links ±
Full Report

71

· The south and East of Europe, other Latin American countries and the Philippines
are low in the list.
· Spending varies from $19,271 (¼ 22,341) per student in Paraguay and $17,466 (¼
19,787) in the US to

$2,170 (¼ 2,458) in the Philippines and $ 2,394 (¼ 2,712) in Uruguay.

A Newsweek Special 2000 International student edition: ³How to get into

American universities´ has the

following comments on degree course fees: in most EU countries, student fees are
low (around ¼ 1000, as

in the Netherlands) very low (around ¼ 100, in Portugal and Scandinavia) or absent
(Germany).

Institutions for music education are generally directly funded by the government.
Typical yearly

contributions in Northern Europe range from ¼ 5,000 to ¼ 10,000.

In American higher education, the costs are considerably higher. A survey that was
conducted of

undergraduate study programmes at 1024 US colleges and universities (with a total

of nearly 6 million

students), points at the following averages for the year 1999/2000: tuition and fees:
¼ 12,000; room and

board: ¼ 5,000; total costs of study: ¼ 17,000. For full survey see appendix 7.

A vast majority of these institutions have financial aid packages. More than 50% of
the students at these

colleges profit from these arrangements, at an average value of some ¼ 10,000. As

these programmes

apply mostly to the more expensive colleges, the remaining costs are still ¼ 10,000.
The fact that around

3% of the students (166,349) at these undergraduate programmes are foreigners

indicates that there is a
fairly affluent mobile student population. (Source: Special 2000 International
Student Edition of

Newsweek: µHow to get into American Universities¶).

Specialised information, sources, and references

The following sources provide in-depth background and information, and are
structured according to

source.

International

Academic Co-operation Association (ACA) (www.aca-secretariat.be)

Activities of this European organisation include research and evaluation of

international higher education

co-operation. The website contains a list of national member organisations, namely

umbrella organisations

like Nuffic (in the Netherlands) in the field of (co-operation in) higher education,
mobility and exchange,

in about 15 European countries (incl. web sites and short description, sometimes
also numbers of mobility

programmes and scholarships these institutions offer). Recent evaluation reports by

ACA are about

µNational Policies for the Internationalisation of Higher Education¶ and

µInternationalisation of NonUniversity Higher Education in Europe¶.

· µInternationalisation in Non-University Higher Education in Europe¶ (via ACA

website, see above,

under µManaging Programmes and Conducting Projects¶)

³This project investigated the current state of international co-operation of higher

education
institutions such as the German Fachhochschulen, the Dutch and Flemish
hogescholen, the

Scandinavian college sector. Started in late 1998, the two-stage project comprises
18 countries in the

western and eastern parts of Europe. The aim was to produce more reliable
information on the extent

of international co-operation in the sector, the preferred and neglected international

activities, and the

particular opportunities and constraints for internationalisation in this type of

institution.

In a first stage, reports from each of the 18 countries were produced. Based on
these findings, ACA

held an international expert seminar in Bonn in May of 1999, which took a cross-
country thematic

approach, focusing on such issues as mobility, curriculum reform, continuing

education and

institutionalisation. The papers from both phases of the project have now come out
with the title

Bernd Wächter (ed.), Internationalisation in European Non-University Education,

Bonn: Lemmens,

1999 (ISBN 3-932306-35-X).´ Note: publication appears to be out of print.

· µInternationalisation in Higher Education¶ (via ACA site, see above)

³Research into higher education is still in its infancy. However, detailed studies are
by now available

on particular issues, such as mobility or international curricula. But there was up to

now no single
document, which brought together and assessed the findings in the various sub-
areas ofSound Links ± Full Report

72

internationalisation. In late 1998 and early 1999, ACA produced a synthesis

document on the whole

range of issues and activities in higher education co-operation on a world-wide

scale. The study gives

a comprehensive overview of the motivations for international co-operation, the

different cooperation activities, the policies of the introduction and implementation
of internationalisation, and it

contains an analysis of the history of the European Union's involvement in

educational collaboration,

from the first action programme in 1974 to the Sorbonne Declaration. The study,
which developed

out of an earlier work that ACA conducted for the International Association of
University Presidents

(IAUP), was produced by ACA Director Bernd Wächter, in collaboration with

Aaro Ollikainen, ACA

Research Co-ordinator and Deputy Director Brigitte Hasewend.

The study is complemented by essays on five individual areas of

internationalisation in higher

education. The themes of these essays are µThe role of the rector in the
internationalisation of a

university¶ (Professor John Kelly, University College, Dublin/Ireland and

Professor Lauri Lajunen

and Terhi Törmänen, University of Oulu/Finland), µThe export of higher

education¶ (Jon Hagen,
NUFFIC, Den Haag/Netherlands and Djakarta/Indonesia), µThe marketing of
higher education in

New Zealand and Australia¶ (Professor Peter Oettli, University of Waikato,

Hamilton/New Zealand),

µFit for the global job market?¶, Professor Volker Gehmlich, Fachhochschule
Osnabrück/Germany)

and µAssessing the Quality of Internationalisation¶ (Bernd Wächter, Director ACA,

Bruxelles/Belgium). Both parts of the work have now been published under the
title Bernd Wächter

(ed.), Internationalisation of Higher Education, Bonn: Lemmens, 1999 (ISBN 3-

932306-33-3).´ Note:

publication appears to be out of print.

· Handbook on European Associations in Higher Education (information via

website ACA ± see

above):

³This project focuses on the growing number of higher education federations in

Europe, and beyond.

The core of the book will consist of some 30 to 40 portraits of the most relevant
European

associations (...). A second section will consist of shorter profiles of up to 100

education organisations

from other continents or of global membership. In the form of an analytical

introduction, a third

section will trace the main milestones of the history of Europe¶s higher education
associations and will

attempt to develop, for the first time ever, a typology of the diverse field.´ Note:
publication appears to be
out of print.

OECD: Education, Employment, Labour and Social Policy Directorate

(http://www.oecd.org)

Education at a Glance, OECD Database, 1999, available on-line: print of highlights

and of a summary of

chapters. Highlights give index numbers over

· participation and attainment (µto meet rising demand, education systems are
rapidly expanding to allow

more people to study longer¶, µand to obtain higher qualifications¶),

· study patterns (µnot all students who are enrolled always attend school¶, µwhile
tertiary participation rates

have risen steeply in many OECD countries, not all who participate complete a
degree¶, µsignificant

numbers are studying abroad¶, µbetter educated adults are more likely to benefit
from continuing

education and training¶, µthe transition from education to work is far from easy¶),

· paying for education (µmore is being invested in education¶, mainly from public
sources but with

significant, and increasing, private contribution¶, µthe higher the level of education,
the more is spent

per student¶, µspending on tertiary education has grown fastest, but enrolment even
more so¶),

· the organisation of schools (µin most countries, teachers are well paid in relation
to average wages, but their

salaries often lag behind those of university graduates¶, µteachers are now mainly
graduates¶, µeducation
faces difficulties in keeping up with the development of information
technologies¶),

· outcomes of education (µwide variations in student achievement feed into unequal

prospects in adulthood¶,

µwhile successful in raising levels of science achievement, education systems find

it more difficult to

sustain the strong positive views that young children display towards science¶,
µbetter education brings

significant rewards, in terms of employment and pay prospects¶).

The summary of chapters deals with the chapters about Context of Education;
Financial and Human

Resources Invested in Education; Access to Education, Participation and

Progression; The Learning

Environment and Organisation of Schools; Individual, Social and Labour Market

Outcomes of Education;

Student Achievements. There are also links to tables and indicators (figures) that
were included in the

report. The tables can also be viewed on-line.

Relevant tables and figures:Sound Links ± Full Report

73

Results in tables are split up into national results (OECD countries) and
totals/averages, from 1997,

usually with reference figures from 1990; otherwise year mentioned. See appendix
8 for Expected hours of

training over the life cycle. Percentage of 25 to 64-year-olds participating in

continuing education and training and average
number of hours of participation in the previous year, by intensity of training,
gender and age group (1994-95) (Table

C1.4)

Other relevant graphs from the same source include:

· Table C3.4: Expected years of tertiary education for all 17-year-olds, based on
head counts and index

of change

· Table C4.2: Graduation rates in tertiary education by type of programme (length

and first or second

degree)

· Table C4.3a: Percentage distribution of tertiary-type A qualifications between

subject categories (1998)

· Table C4.3b: percentage distribution of tertiary-type B qualifications between

subject categories (1998)

A new edition of the OECD Education at a glance has become available in 2002.
Sound Links has been

unable to integrate the results into this report. The 2002 edition of Education at a
glance is divided into

four chapters:

Chapter A examines the outcomes of education and learning in terms of: current
output of educational

institutions and educational attainment of the adult population, the quality of

learning outcomes and how

this varies between schools and students, equity in educational opportunities and
outcomes, and the

returns to education for individuals and society.

Chapter B considers the financial and human resources invested in education, in
terms of: the resources

that each country invests in education relative to its number of students enrolled
and relative to national

income and size of public budgets, the ways in which education systems are
financed and the sources of

the funds, different financing instruments, and how the money is invested and
apportioned among

different resource categories.

Chapter C looks at access to education, participation and progression, in terms of:

the expected duration

of schooling, overall and at the different levels of education, entry to and

participation in different types of

educational programmes and institutions, learning beyond initial education, and

cross-border movements

of students.

Chapter D examines the learning environment and organisation of schools, in

terms of: student learning

conditions, the availability and use of information technology at school and at

home, classroom and

school climate, and teachers¶ working conditions.

UN/Unesco: International Association of Universities (via Unesco site:

www.unesco.org/iau)

Issues in higher education series. Print of the recent titles in these series with short
descriptions and tables

of content. A.o.: Local knowledge and wisdom in higher education (2000),

Challenges facing higher
education at the millennium (1999), Distance and campus universities: tensions
and interactions: a

comparative study of five countries (1999), Organising Innovative Research: the

Inner Life of University

Departments (1997), The Mockers and Mocked: Comparative Perspectives on

Differentiation,

Convergence and Diversity in Higher Education (1996). Other titles, without

description: East Asian

Higher Education: Traditions and Transformations (1995)

UN/Unesco: Higher Education Policy (www.unesco.org/iau/hep.html), the

quarterly Journal of the

International Association of Universities, to be viewed on-line. (Issues from 1996).

³Higher Education Policy is an international journal for advancing scholarly

understanding of the policy

process applied to higher education through the publication of original analyses,

both theoretical and

practice-based, the focus of which may range from case studies of developments in
individual institutions

to policy making at systems and at national level. Through this journal the
International Association of

Universities wishes to strengthen the exchange between scholarship and issues of

practical administrative

concern within the perspective of the disciplines that contribute to the study of this
field - anthropology,

history, economics, public administration, political science, government, law,

sociology, philosophy,
psychology, policy analysis and the sociology of organisations. The editorial board
will give every

encouragement to original contributions, whether theoretical, conceptual or

empirical in nature, which

involve explicit inter-system and cross-national comparisons. Articles devoted to

less reported systems of

higher education and their evolution, are particularly welcome. The major criteria
retained in the process

of review and selection are the significance of the submission to decision-making

and policy developmentSound Links ± Full Report

74

in higher education as well as its intrinsic quality. Since the study of policy in
higher education draws upon

a broad range of disciplines, a cross-disciplinary methodology will have equal

consideration. The aim of

Higher Education Policy is to provide a peer-reviewed vehicle of the highest

quality for institutional

leadership, scholars, practitioners and administrators at all levels of higher

education to have access to,

keep abreast of, and contribute to, the most advanced analyses available in this
domain.´

Unesco databases

³UNESCO produces about 90 bibliographic, referral (directories, projects, etc.)

and factual databases in

its domains of competence (education, sciences, culture and communication). This

directory is also

available in the UNESCO Databases Cd-rom.´ Relevant databases are:

· ENIC: references to national information bodies dealing with academic
recognition and mobility in

Europe, North America, Israel and Turkey (www.cepes.ro/)

· HEDBIB (Higher Education Bibliography): ³World-wide bibliography on higher

education including

references since 1988 on higher education systems, administration, planning and

policy, costs and

finances, evaluation of higher education, issues relative to academic staff and

students, academic

cooperation, academic mobility and equivalencies of degrees, higher education

trends, curriculum,

teaching methods and learning processes. HEDBIB is co-produced by : the

International Association

of Universities (IAU); the Educational Resources Information Center (ERIC); the

Association of

Commonwealth Universities (ACU); the Association of African Universities

(AAU); the International

Centre for Distance Learning (ICDL) and UNESCO (Headquarters, specialised

institutions, Regional

Centres and Offices). The IAU/UNESCO Information Centre on Higher Education

co-ordinates the

integration of the references from the different centres into the HEDBIB database.´
Internet:

www.unesco.org/iau.

Updated database (World Higher Education Database 2000) appears to be

available on cd-rom only;

there is a list of national addresses/umbrella organisations in the field of education.

· HEED (Higher Education in Europe): references to Unesco publications and
documents, journal

articles, reports, books and manuscripts published since 1986 on higher education
in Europe.

Distribution: printout, e-mail; 6,800 records.

· IBEDOCS: world-wide references to Unesco documents etc. on the organisation

and development of

education. Distribution: CD-Rom. 17,000 records

· PROAPL: references to Unesco documents an publications etc. published since

1986, in the field of

education, social sciences, culture and communication in Asia and the Pacific

· QUITO: references to Unesco documents, publications etc. on education,

published in Latin America

and especially Ecuador

· ROSTSCADOC: references to Unesco New Delhi Library acquisitions:

documents, publications etc.

on a.o. education, culture in South and Central Asia.

· SIBID: reference with analytical abstracts to documents and publications of

Government educational

bodies of Central America and Panama, on education in Central America en

Panama since 1980.

· Study Abroad: Information on international and national scholarships and courses

offered concerning

post-secondary education and training in all academic and professional fields in

120 countries.

Distribution: printout, diskette, CD-ROM, online. No site, just addresses/e-mails.

· UNDOC: reference, since 1990, to Unesco documents etc. published world-wide
and especially in

Africa and southern Africa on a.o. education and culture.

· UNESCO statistical Data Bank: ³Statistical data on approximately 200 countries

and territories on

population, education at all levels, expenditure for education, scientific and

technical manpower,

research and development, culture and communication (libraries, book production,

translations,

newspapers and periodicals, museums, archives, cinema, radio and television).´

Data cover years 1960,

1965, 1970 and all years since 1970. (http://unescostat.unesco.org)

· World Academic Database: ³Data on : * Higher education systems of over 175

countries worldwide

(structure of educational system, admission to higher education and recognition of

foreign credentials,

student life, international co-operation and exchanges, statistics). * Detailed

information on individual

institutions (general information, admissions, student life, academic divisions,

courses etc.). * Major

higher education qualifications and credentials (fields of study in which they are
awarded, admission

requirements, length of programme etc.) awarded over 175 countries.´Sound Links

± Full Report

75

Other relevant sources:

· Summary and complete text World Declaration on Higher Education (Unesco
site)

· Nuffic Gateway to« Higher Education World Wide (www.nuffic.nl/gateway):

includes list of

relevant institutions + links: IAU (Association of European Universities), Datalake

(to search for

universities and colleges world-wide), eLib Electronic Libraries Programme,

Galaxy, Grants and loans

from the European Union, HEIR (The Higher Education Institution Registry,
addresses to more than

7.000 education institutions world wide), InterEdu (International Education

Information Centre, a

portal to higher education in Europe aimed at non-Europeans), OCLC (Online

Computer Library

Centre), ORTELIUS (The Data Base on Higher Education in Europe, system of

databases), Unesco,

Yahoo! (Universities and colleges throughout the world listed by country).

· The site also contains a list and links of institutions in the field of
Internationalisation of Higher

Education: AEGEE (largest European Students Association, network of more than

200 locals in over

30 countries); British Columbia Centre for International Education, CIMO (Centre

for International

Mobility in Finland), Council on International Educational Exchange (CIIE),

DAAD etc. Notably,

there are a number of national umbrella organisations/contacts among these, that

may be able to
provide further information by country.

European

Large variety of EC websites, particularly DG Education.

Key data on education in Europe, fourth edition. Published by European

Commission DG Education and

Culture, Eurostat. Sets out the main features of the education system of 29
European countries, and

provides recent national and occasional regional indicators covering population

and employment, levels of

study, teachers, their salaries and qualifications, educational establishments and

their degree of autonomy.

The 292 page report (1999, ISBN 92 828 8538 0) is currently available in English
and French for 28 euro

from the office for Official Publications of the European Communities.

Handbook on European Associations in Higher Education. Not yet available, but in

preparation. Information on

website ACA (www.aca-secretariat.be Á µManaging programmes and conducting

projects¶)

National

· Web sites and reports European Union on higher education systems, academic
and professional

recognition of qualifications and diplomas in several EU countries. Excerpts in

appendix 6.

· Articles on national developments in higher education systems. As the articles

come from a Dutch

newsletter on higher education (published by Nuffic) many refer to the situation in

the Netherlands
and Dutch speaking Belgium. However, some articles on developments in
Anglophone and German

speaking countries and South Africa are included too. In European countries
(especially the

Netherlands) sources often refer to the European introduction of the Anglo-Saxon

model (bachelormaster system), and to mobility questions.

· Africa: Guide to Higher Education in Africa. London, Macmillan Reference; New

York, Grove¶s

Dictionaries. ISBN: 0-333-75052-7 (Macmillan); 92-9002-164-0 (IAU). First

Edition, 1999, 420 p.

The Guide contains details on the educational system of 46 African countries, their
institutions of

higher education and, for each country, the national bodies concerned with higher
education. This

volume is the result of a new partnership established between the Association of

African Universities

(AAU) and the International Association of Universities (IAU) to jointly collect

and disseminate

information on higher education in the continent.

PUBLISHED BY: Macmillan Reference Limited, 25 Eccleston Place, London

SW1W 9NF, England,

and Basingstoke: www.macmillan-reference.co.uk/Academic/

· Incidental copies of articles from e.g. the Nieuwsbulletin for higher education and
other dispersed

info about developments in higher education and maybe mobility, and

addresses/umbrella

organisations in certain countries.Sound Links ± Full Report

76

Costs

From OECD: Education, Employment, Labour and Social Policy Directorate

(http://www.oecd.org)

Relevant tables and figures:

Results in tables are split up into national results (OECD countries) and
totals/averages, from 1997,

usually with reference figures from 1990; otherwise year mentioned.

· Table B1.1c: Educational expenditure as a percentage of GDP for tertiary

education, by source of

funds (appendix 9)

· Table B1.1d: Educational expenditure from public and private sources for
educational institutions as a

percentage of GDP by level of education.

· Table B1.2: index of the change in public and private expenditure on education
between 1990 and

1996, by level of education

· Table B2.1: Distribution of public and private sources of funds for educational
institutions before

(initial funds) and after (final funds) transfers from public sources, by level of
education. (different

types of education, including tertiary)

· Table B2.2: Percentage of students in institutions that charge tuition fees at the
tertiary level of

education.
· Table B3.1b: Direct expenditure for institutions and transfers to the private sector
as a percentage of

total government expenditure (for tertiary education): split up into direct

expenditure for institutions,

financial aid to students (scholarships, student loans, child allowances, specific

subsidies), transfer and

payments to other private entities.

Arts / Music

· List of Culture Contact Points en links to Ministries of Culture in Europe

(http://europa.eu.int/comm/culture/contact-point).

· Situation in the Netherlands:

ÿ Beroepsprofielen Startkwalificaties, projectgroep Kunstvakonderwijs. Also:

Zicht op kwaliteit,

ontwikkeling van artistiek talent in het kunstonderwijs (Ministerie OCW 1999) +

Plan van Aanpak

Herstructurering Kunstvakonderwijs (OCW 1997)

ÿ Copies of chapters book Selectie in het kunstonderwijs (OCW 1999).

ÿ Kunstenmonitor ± De arbeidsmarktpositie van afgestudeerden van het

Kunstvakonderwijs 1996,

Voorlichtingsdienst HBO-Raad, juni 1998, Den Haag (not in possession, request?)

· Links on ELIA site (www.elia.ahk.nl/links/index..html) to websites of ELIA

member institutions in

about 25 countries, Arts Education & Training, Arts/Cultural Networks,

Arts/Culture European,

Arts/Culture International and Non-European, Education (general), Europe,

Events, Funding,
Governments, Research.

· Music co-operation between Norway and the South (Oslo 1999);

Essays/lectures/reports, subjects: globality

and dialogues across borders, politics and aesthetics, music and development.

· Articles about European cultural policy, networking and lobbying in SICA

Magazine

Credit systems

Introduction

Until the late eighties, credit transfer between institutions was possible only on the
basis of individual

institutional negotiations. From 1988, the EU has actively developed policies and
mechanisms to improve

this situation.

An inquiry into the transfer of credit for study abroad (1994, Nuffic, the
Netherlands Organisation for

International Co-operation), distinguishes three different approaches of complete

recognition of credits

earned abroad. Approaches differ from institution to institution:

· Complete recognition occurs when the student suffers no delaySound Links ± Full
Report

77

· Complete recognition occurs when all the credits obtained abroad are converted
into credits by the

home institution

· Complete recognition occurs when all the credits obtained for components that fit
into the home
institution¶s curriculum are converted into credits at the home institution.

The same survey mentions the following factors as main obstacles to recognition:

Insufficient information. Departments and faculties should give their students more
and better

information about study components available at foreign institutions.

· Lack of clear agreements and rules.

· Differences in content, level and structures between programmes of the home and
host institutions;

also differences in academic calendars.

· Insufficient study planning.

· Poor contact between the home and host institution.

Moreover, the inquiry shows that a number of process elements and conditions
expedite full recognition:

· A clear study plan drawn up by the students before departure. The plan could be
the basis for a

recognition agreement that is drafted in advance of the study abroad period.

· Agreements about recognition made with a staff member of the home institution
before departure.

· Good personal contact between the pertinent staff members of the two
institutions. This contact

should be intensified as part of improved agreements for co-operation between the

home and host

institutions. Network meetings and bilateral visits should be used more effectively
for learning about

the programmes, methods and approaches of the partner institution.

· Agreements for structural co-operation with the foreign institution.

· Guidance of foreign students at the host institution: one staff member should be
designated for this

purpose.

· Existence of a credit system at the host institution.

Europe

The European Community Network of National Academic Recognition

Information Centres (NARIC) is

an initiative of the Commission of the European Communities and was created in

1984. The network

aims at improving academic recognition of diplomas and periods of study in the

Member States of the

European Community and other participating countries: EEA, associated countries

of Central and

Eastern Europe, Cyprus and Malta. The network is part of the Community¶s
ERASMUS programme,

which stimulates the mobility of students and staff between higher education
institutions in these

countries.

All participating states have designated national centres, the purpose of which is to
assist in promoting the

mobility of students, teachers and researchers by providing authoritative advice

and information

concerning the academic recognition of diplomas and periods of study undertaken

in other states.

United States
It increasingly matters to students that they earn maximum credit for an overseas
experience as the costs

of a college education increase. Unless students enrol a programme run by their

own university, credit will

mainly be earned by transfer. The home university evaluates the courses taken and
decides whether to

accept them and let them attribute to students¶ degrees, and how to put them on
students¶ transcripts.

Depending on the home university, credits can be earned in general education

courses, electives, major

and minor subjects and foreign languages. Many universities require a process of
prior approval and will

not accept any credit earned abroad that was not authorised beforehand. Factors
taken into consideration

are among other things number of contact hours, format of the course (lecture,
seminar, lab, field study),

level of the course, course outlines and reading lists, obtained grade.Sound Links ±
Full Report

78

Different universities in the U.S. handle the acceptance of transfer of credit in

different ways. Some have

already set up exact matches or direct equivalents, which pair foreign university
courses with courses at

home institutions. More commonly, though, the home university will receive the
overseas courses as

substitutes for some of the required courses or as electives that can still fulfil
degree requirements.
Some colleges offer credit for experiential education, sometimes for work
experience, for public service

projects, and sometimes for travel abroad. More and more U.S. universities
encourage internships and

may give credit for them alone or in combination with course work taken abroad.
Many U.S. schools give

credit by exam (as soon as the student has returned), especially in foreign
languages but also in other

subjects.

Independent study provides another avenue for credit. An independent study or

readings course is an

individualised course for credit agreed upon between a student and a professor, one
that usually allows the

student to pursue some special research topic or do selected work in depth in a

specialised area, usually in

the student¶s major field of study.

Some graduate schools in the U.S. allow thesis or dissertation credit for research
done abroad by graduate

students. In fact, some universities will enrol graduate students for credit
concurrently with the foreign

experience, and indeed this may be a requirement for maintaining fellowships or

other awards from the

home school.

ECTS

To help students make the most from their study abroad, a European Credit
Transfer System (ECTS) was
developed within the Erasmus programme of the European Commission. ECTS
provides a way of

measuring and comparing learning achievements, and transferring them from one
institution to another.

ECTS helps higher education institutions to enhance their co-operation with other
institutions by

improving access to information on foreign curricula, and providing common

procedures for academic

recognition. ECTS can also be used within one institution or between institutions
within one country.

Developments in ECTS

ECTS, the European Credit Transfer System, was initially established under the
Erasmus programme

(1988-1995) and has been tested over a period of 6 years in a pilot scheme
involving 145 higher education

institutions in all EU Member States and EEA countries, operating in five subject
areas: Business

Administration, Chemistry, History, Mechanical Engineering and Medicine (the

so-called "inner circle"

institutions). In the next phase, the ECTS pilot scheme was broadened so that the
participating

institutions could introduce the system to a wider range of subject areas, partner
institutions and networks

over the period January 95/ May 96.

In a further step, in autumn 1995, the Commission invited institutions working as

co-operation partners
with the "inner circle" institutions to present their plans concerning the
introduction of ECTS in one or

more disciplines. Special emphasis was given to the use of the ECTS system
within the non-university

higher education sector. As a result of this second extension of ECTS, a total of 38

new universities with

348 departments and 36 non-university institutions including 206 departments

implemented the ECTS

system during 1996-1997.

Based on the results of the pilot scheme, the ECTS system has proved to be an
effective instrument for

creating curricular transparency and facilitating academic recognition and, as a

consequence, the European

Credit Transfer System has been included within the higher education component ±
Erasmus ± of the

Socrates Programme. Its promotion within higher education institutions has taken
place within the

framework of the Institutional Contracts drawn up between the Commission and

the institutions.

In 1997-1998, 772 new institutions applied for the introduction of ECTS. This
exponential increase in the

number of ECTS users was a real challenge for the Commission: following up the
implementation of the

system and ensuring its quality. 48 workshops were organised in all countries
participating in the SocratesSound Links ± Full Report

79
programme from September 1997 to January 1998. These workshops were
organised in co-operation with

the ECTS counsellors, the Socrates/Erasmus National Agencies and host

universities that had already had

a great deal of experience with the ECTS system.

In early 1998, as a follow-up of these workshops, a network of ECTS-Helplines

has been set up. The task

of the resource persons involved is to answer questions related to the

implementation of ECTS, to help

resolve practical problems, using examples of good practice gathered so far in the
Member States. ECTS

site visits are also organised under the Institutional Contract to allow the more
experienced ECTS

institutions to receive a visit by two international ECTS experts who take stock of
what has been

achieved, give advice, identify good practice and ensure that ECTS practice
develops in a consistent

manner in all EU institutions.

In the framework of the Institutional Contract 1998-1999, 290 more institutions

have requested a grant

for the introduction of ECTS, of which 63 applications were from the associated
countries.

What does ECTS offer to students?

· ECTS guarantees academic recognition of studies abroad.

· ECTS enables access to regular courses alongside local students, with the benefit
of full participation
in the academic life of the host institution. This characteristic of ECTS
distinguishes it from many

other student mobility programmes.

· ECTS enables further studies abroad. A student may prefer not to go back to the
home institution

after the study period abroad, but rather to stay at the host institution -- possibly to
gain a degree -- or

to move to a third institution. The institutions themselves decide whether or not

this is acceptable and

what conditions the student must fulfil in order to get a diploma or transfer
registration.

What does ECTS offer to higher education institutions?

· ECTS creates curriculum transparency by providing detailed information on the

curricula and their

relevance towards a degree.

· ECTS helps academics to make academic recognition decisions thanks to prior

agreement on the

content of study programmes abroad between students and their home and host
institutions.

· The use of ECTS can also be a catalyst for reflection on course curriculum
structures, student

workload and learning outcomes.

· With ECTS, higher education institutions preserve their autonomy and

responsibility for all decisions

concerning students' achievements, without amending existing course structures

and assessment
methods: all courses and assessments are those which are normally taken by
regular students at the

host institution.

ECTS credits

ECTS credits are a value allocated to course units to describe the student workload
required to complete

them. They reflect the quantity of work each course requires in relation to the total
quantity of work

required to complete a full year of academic study at the institution, that is,
lectures, practical work,

seminars, private work -- in the laboratory, library or at home -- and examinations

or other assessment

activities.

In ECTS, 60 credits represent one year of study (in terms of workload); normally
30 credits are given for

six months (a semester) and 20 credits for a term (a trimester). ECTS credits are
also allocated to practical

placements and to thesis preparation when these activities form part of the regular
programme of study at

both the home and host institutions. ECTS credits are allocated to courses and are
awarded to students

who successfully complete those courses by passing the examinations or other

assessments.Sound Links ± Full Report

80

The ECTS grading scale

Examination and assessment results are usually expressed in grades. There are
many different grading
systems in Europe. To help institutions translate the grades awarded by host
institutions to ECTS

students, the ECTS grading scale has been developed. This provides additional
information on the

student's performance to that provided by the institution's grade, but does not
replace the local grade.

Higher education institutions make their own decisions on how to apply the ECTS
grading scale to their

own system.

How ECTS is used by students and institutions

· Ensuring full academic recognition

An ECTS study programme must be approved by both the home and the host
institutions before the

student leaves for the study period abroad. If the programme of study described in
the learning agreement

is completed satisfactorily by the student, it is fully recognised by the home

institution. This means that

the volume of study abroad, measured in terms of numbers of ECTS credits

achieved, will replace an

equivalent volume of study and assessment which would otherwise have been
undertaken at the home

institution.

· Further studies abroad

An ECTS student might wish to stay at the host institution - perhaps to get a degree
or move to a third

institution. This is possible provided that the institutions involved agree and that
the student accepts the
conditions to be fulfilled to get a diploma or to transfer registration. By providing a
history of the

students' academic achievements, the transcript of records is a particularly useful

means of helping

institutions to make these decisions further opening up Europe to student mobility.

Higher education

institutions are encouraged to introduce ECTS within the framework of their

institutional contract with

the Commission.

Other credit systems

Some institutions in Europe (mainly UK) use a similar credit transfer system,
called CATS (Credit

Accumulation and Transfer System). Like ECTS, it is based on yearly study load.
But there are some

differences. Unlike ECTS, CATS reflects also the accumulation of credits that
were earned outside higher

education. Therefore, it can also be used in the professional field for in-house
training programmes. From

Crediting the Learning Company by Stan Lester:

³[CATS] has developed from being simply a µcurrency¶ for course-based learning
to include any form of learning

that is of higher education standard ± so project work, action research, independent

study and learning from

experience can all be accredited on an individual basis. In addition, short courses

and development programmes run

by employers can be CATS rated to enable them to contribute to a qualification at

degree or postgraduate level.´
CATS includes a rating system of 120 points per fulltime study load of an
academic year (normally 8-9

months), in four levels to indicate the accumulation of learning and experience.

However, these levels do

not necessarily correspond with degrees given out by institutions for higher
education.

³(«) CATS credits are not qualifications in themselves and have to be credited in
to an award such as a degree,

Certificate of Higher Education or Postgraduate Diploma in order to have full

validity.´

(Crediting the Learning Company. Stain Lester, Training and Development,

January 1994)

Specialised information, sources, and references

· Overview of about 780 European institutions for higher education that officially
use ECTS (incl.

contact persons, addresses, e-mail, etc.). How many of these are conservatories can
not be determined

easily.

· If correct, the directorate Education of the European Commission is working on a

³feasibility study

on the development of the existing European Credit Transfer System into a

European credit

accumulation system to encompass different types of learning.´ This is mentioned

on a site about the

new programs education, training and employment.

(europa.eu.int/comm/education/newprogr/index.html)Sound Links ± Full Report

81
· List of ECTS helplines in countries involved
(europa.eu.int/comm/education/socrates/helpline.html)

· List of ECTS Counsellors countries involved

(europa.eu.int/comm/education/socrates/ectsnapt.html)

· europa.eu.int/comm/education/socrates/ectswww.html: about the expected

availability of ECTS

Information Packages on world-wide web. The packages are meant for students,
co-ordinators, funds,

employers, partner institutions.

· Brief description of CATS, use thereof and history: www.seec-

office.org.uk/credit.html.

Degrees & Transferability of qualifications

Merits of music education degrees in different European countries and US

A concerted international effort is taking place to lay the basis for free traffic of
qualified professionals.

Most usual traffic takes place within Europe and between Europe and the United
States. This chapter

examines the developments in status and equivalence in degrees in Europe and the
US.

Europe

Nuffic, the Netherlands organisation for international co-operation in higher

education writes about

equivalence, recognition and acceptance of qualifications in Higher education in

Europe: comparative

studies on the recognition of degrees and diplomas

1
:

³The post-war period can be divided into two main periods concerning the
treatment of non-national

educational qualifications in Europe: one typified by the word µequivalence¶ and

one by the word

µrecognition¶. The µera of equivalence¶ runs roughly from the post-war period to
the end of the sixties or

mid-seventies. The objective of international policy was to ensure the foreign

degrees which were

considered equivalent, i.e. in all respects (almost) identical to home degrees, would
not be rejected simply

because they were foreign. The early conventions of the Council of Europe are the
products of this era.´

The early convention most relevant for the topic of status and equivalence of music
education degrees is

The European Convention on the Equivalence of Diplomas leading to Admission

to Universities (Paris,

1953). The EU considers this convention the most important one in force at the
moment. It establishes

the principle of admitting students to universities in the receiving country on the

basis of credentials that

give admission to universities in the home country. In general, this principle is

accepted by contracting

parties. The countries that have acceded to this convention are: Austria, Belgium,
Bosnia-Herzegovina,

Croatia, Cyprus, Czech Republic, Denmark, France, Finland, Germany, Great

Britain - Northern Ireland,
Greece, Iceland, Ireland, Israel, Italy, Liechtenstein, Luxembourg, Macedonia,
Malta, the Netherlands,

New Zealand, Norway, Poland, Portugal, Slovakia, Slovenia, Spain, Sweden,

Switzerland and Turkey.

The Nuffic study continues: ³µThe µera of equivalence¶ was followed by the µera of
recognition¶, which is

still in effect today. There was a consensus that international educational exchange
needed a more flexible

and liberal approach to foreign degrees: the concept of µrecognition¶ advocates that
a foreign degree need

not be (almost) identical to be recognised. It may be sufficient for the foreign

degree to be of a

comparable level, purpose and prestige even if it differs in details. Recognition is

possible whenever the

general level of the qualifications is the same. Recognition in Europe should now
move on into another

era: the µera of acceptance¶. µAcceptance¶ means granting comparable rights to a

foreign degree, even if

that degree is perceived to be of slightly lesser level, length or quality than the
national qualifications.

µAcceptance¶ must not be at odds with the maintenance of quality standards, and
the extent to which

³acceptance´ of a degree is possible remains up to the responsible authority. The

Council directive of 21

December 1988 (89/48/EEC) implicitly takes µacceptance¶ as its key principle for
the recognition of

professional qualifications for regulated professions.¶

In appendix 6 of this research more detailed information is given on status and
equivalence of degrees in

the most relevant European countries. This appendix consists of excerpts of the
guide to higher education

Drs C.T.M. Kouwenaar, Nuffic, The Hague, 1994Sound Links ± Full Report

82

systems and qualifications in the EU and EEA countries, published by the

European Commission. The

guide is meant to serve educational institutions and also students and graduates
who wish to study in

another EU Member State or in an EEA country.

In this appendix, the first part of each file describes systems and institutions of
higher education,

organisation of courses of study in the countries concerned. The second part deals
with the issue of

qualifications and diplomas, more specifically qualifications for admission to

university and non-university

higher education, final qualifications/degrees in university and non-university

higher education and the

academic value of university qualifications.

United States

The US do not have a federal Ministry of Education; education is considered a

matter of individual states.
Content, level and character of study programmes are determined by institutions
and/or the state or

districts within the state. In practice, the variety of diplomas is limited (High
School diploma, B.A./B.S.,

M.A./M.S. are the most common), but level and content of equal diplomas can
differ considerably.

Recognition of institutions for (higher) education is not granted by government,

but by a system of

accreditation, which compares level and quality to minimum demands. In the US

higher education no

distinction is made between university and vocational programs. Institutions offer

both, sometimes mixed.

As a result of the lack of federal legislation on education and a strong institutional

autonomy, standard

entry and exit demands do not exist and a diploma is hardly informative on
students¶ exit level. The

µtranscripts¶ (compare EU diploma supplement) explain specific content of study

programmes.

Over 3,000 institutions offer higher education programmes. Most common are:
community or junior

colleges, colleges and universities. The terms µcollege¶ and µuniversity¶ are used
almost at random and do

not necessarily imply differences in programme, level or general prestige.

Formally a college does not have

graduate programmes; nevertheless, many colleges grant Master¶s degrees. A

µschool¶, finally, is a university

department or faculty offering specific vocational programmes with both a

scientific and a practical
character.

Admission to an undergraduate programme requires a High School diploma (12

years of primary and

secondary education). Possible additional demands are different in each institution.

The credit system used

in the United States is different from the European ECTS, but compatible.
Undergraduate programmes

leading to a Bachelor or Arts (B.A), or Bachelor of Science (B.S.) degree take four
years, requiring

approximately 120 semester credits or 180 quarter credits. A semester credit is

awarded to one contact

hour or three practical hours per week during 15 or 16 weeks. A quarter credit is
awarded to one contact

hour or three practical hours per week during 10 to 12 weeks.

Admission to a post-bachelor¶s programme (graduate phase) requires a bachelor¶s

degree and additional

demands like specific results at admission tests, certain grade point averages and
letters of

recommendation. Education to a Master of Arts or Master of Science degree is a

highly specialised

programme of one or two years, requiring 30 to 60 semester credits or 45 to 90

quarter credits. The

Master¶s programme is finished by exams and/or writing a thesis.

Ph.D. programmes take three to four years.

The level of transferability of music qualifications and employment mobility

Generally speaking, several types of professional musicians can be distinguished:

performing musicians,
private music teachers, teachers at public music schools, community music
teachers, music teachers in

primary and secondary education, and teachers at conservatoires. Private teachers

and performing

musicians usually face few problems if they want to work in another country than
where they obtained

their degree. More or less the same goes for teachers at conservatoires, public
music schools and in

community projects (although differences between countries exist). In these fields,

practical skills are

usually esteemed higher than formal diplomas; an official degree is considered a

recommendation at most.Sound Links ± Full Report

83

However, primary and secondary schools tend to pose much more official demands
on their music

teachers. Quite often, teaching professions belong to the so-called µregulated

professions¶, for which a

specific national diploma is required and binding formal regulations exist for
granting recognition. Even if

teaching music at primary and secondary schools is not regulated, schools usually
demand a nationally

recognised music teacher¶s degree. A general music teacher¶s degree (suitable for
teaching privately or at

music schools) is not always sufficient; an education for classroom teaching

specifically may be required.

Until international agreement in this field has been reached, individual institutions
have to aim at custommade agreements with other institutions and/or governments
in those countries. Initial discussions on the
subject seem to indicate there are openings for such arrangements.

Europe

In order better to understand the Community rules on the recognition of diplomas,

a distinction must first

be made between recognition for academic purposes and recognition for

professional purposes.

Europe: academic recognition

First, as regards academic recognition of a title or a period of study abroad in order

to continue studying

in the country of origin, each Member State is responsible under the Maastricht
Treaty for its own

educational content and organisation. Second, there are no Community provisions

imposing mutual

recognition of diplomas (except for certain regulated occupations). That is why

there are currently no

diplomas that are recognised at European level. Universities, which are

autonomous institutions, are

entirely responsible for the content of their curricula and for awarding diplomas
and certificates to

students. The diplomas and certificates are recognised by the authorities of the
Member State concerned.

In some countries it is possible to use the national academic title of the host
country on basis of an

academic degree earned abroad. Recognition procedures will be described if

applicable. There are also

various countries where it is not possible to validate an academic title. These

countries recognise the
diploma and degree earned without conferring a national title.

However, the mutual academic recognition of qualifications between countries is

promoted by the

Council of Europe, the European Union, and UNESCO in several ways: by means
of multilateral

international conventions, by encouraging bilateral agreements, and increasingly

by supporting their

follow-up. The unavoidably general and political nature of these conventions often
leads to multiple

interpretations, and their application is not always straightforward.

Nevertheless, Community programmes like Erasmus (in which participation is

voluntarily) have greatly

contributed to an understanding and recognition of education systems that are often

very different. A

tangible result of the effort to promote understanding of the academic recognition

of qualifications, under

the Erasmus programme, is the network of national information centres for the
recognition of diplomas

(NARIC).

Besides, UNESCO/CEPES and the Council of Europe have in recent years been
working on a new

convention, which will finally replace all the others: the Convention on the
Recognition of Qualifications

concerning Higher Education in the Europe Region. The problem with the
conventions, especially with

the older ones, is that they were drawn up at a time when the educational systems
of the signatory
countries were quite comparable. But growing diversification between countries
and the growing number

of signatories in recent years has decreased the practical usefulness of the existing
conventions.

Together with the drawing up of a draft Convention, a Working Party has worked
out the general

procedures and criteria for the evaluation of foreign qualifications. The core of the
new Convention is to

emphasise the principle of fair recognition procedures, and the acknowledgement

of differences, which

should be accepted unless substantial differences in the courses are detected. The
burden of proof has

been laid upon the host country. Transparency of the criteria used and procedures
followed are the

backbone of the Convention.Sound Links ± Full Report

84

The new Convention has been signed by many states belonging to the Cultural
Convention of the Council

of Europe and the Europe Region of the UNESCO at a diplomatic conference in

Lisbon in May 1997.

The required ratification by at least 5 countries became a fact in February 1999,

after which the

Convention has come into effect. µRegional committees¶ are responsible for
carrying out the Convention

and accessory agreements. Six regions have been allocated: Latin America and the
Caribbean, the
Mediterranean, Arab countries, Africa, Asia and the Pacific, and finally Europe.
The UNESCO European

region does not correspond with the geographical area, as some non-European
countries are part of it:

Austria, Canada, Israel and the United States.

Another effective instrument for improving both academic and professional

recognition is the Diploma

Supplement. The Diploma Supplement was introduced in 1988. It is intended as an

addition to the

original credential and aims to provide a clear description of the nature, level,
content and status of the

study that was pursued and successfully completed by the holder of accompanying
qualification. The

supplement, in combination with the credential itself, should enable the reader to
make a judgement about

the qualification. This can either be a higher educational institution that has to
decide whether the

credential is appropriate for admission to a study programme, or for exemption

from part of a

programme, or an employer who needs to judge whether the credential is a good

preparation for a specific

job.

Europe: professional recognition:

Professional recognition concerns recognition of educational qualifications for the

purpose of

employment as a qualified worker. It is necessary to make a distinction between:

· Authorisation to work in a regulated profession.

For these professions a specific national diploma is required. The professions,
which are regulated,

vary among the member states of the EU and EEA. There are binding formal
regulations for granting

professional recognition for regulated professions.

· Authorisation to work in a non-regulated profession. For these professions there

are no binding

formal regulations

Several legal instruments concerning the recognition of diplomas, applicable solely

to the regulated

professions, were adopted at European level.

One of two General Directives will be applicable, depending on the level of studies
recognized by the

diploma: either Directive 89/48/EEC on a general system for the recognition of

higher-education

diplomas awarded on completion of professional education and training of at least

three years¶ duration

(A-levels or equivalent + three years), or Directive 92/51/EEC on a second general

system which covers

diplomas, certificates and other vocational training titles (including short

programmes of higher education)

at a lower level than those covered by Directive 89/48/EEC. Both directives are
valid in the countries of

the European Union.

The directives apply only to nationals of EU Members States plus Iceland,

Liechtenstein and Norway,

including people with a dual nationality,

· who are fully qualified to practice a profession in one of these countries. (In other
words, who have

obtained the necessary papers to work in the specific profession in one of these
countries, the home

Member State), and

· who wish to practice that profession in another Member State (the host Member
State)

It is important to note that the above-mentioned Directives did not set up a system
of automatic

equivalence between diplomas. There is no such thing as a list of diplomas that are
automatically

recognised at European level, since a diploma is not recognised for its intrinsic
value but according to the

profession to which it gives access in the country that awarded it. It is for the
person concerned to submit

an individual application specifying clearly which occupation they wish to pursue.

Under the Directives, even if someone does not hold the appropriate national
diploma, the authorities of

the host Member State must authorise him to pursue a profession on its territory, if
he has the diplomaSound Links ± Full Report

85

required in his country of origin in order to pursue that profession. The recognition
thus granted therefore

constitutes the right to pursue a specific regulated profession under the same
conditions as the holders of

national diplomas, but does not mean that a diploma is regarded as equivalent to a
national diploma for
other purposes. The competent authority to deal with applications for academic
recognition, submitted in

accordance with the above-mentioned Directives, varies from one profession to

another.

If difference between study programmes in terms of duration or content are found

to be significant, a

person who requests recognition might be asked to either provide proof of

experience in the practice of

the profession concerned in the home country, or to complete an adaptation period

or aptitude test in the

host country. Only one of these three requirements may be imposed.

In principle, proof of additional professional experience may be required if

professional education and

training was at least one year shorter than that required in the host Member State.
A person may be

required to complete an adaptation period or an aptitude test if there are significant

differences between

the content of the professional training followed and required in the host country,
or in terms of the range

of activities covered by the profession in the home and host Member State.

The earlier mentioned µguide to higher education systems and qualifications in the
EU and EEA countries¶

is partly designed to be used by employers wishing to assess the qualifications of

prospective employees

who are eager to take advantage of the freedom of movement that is available to
them because of the
single European market. It should therefore assist in the implementation of the
directive for a general

system of recognition of diplomas (89/48/EEC), which came into force on 4

January 1991 and applies to

regulated activities which require higher education and training of at least three
years and the

complimentary general system which covers short courses (less than three years)
and vocational training at

secondary level. Employers require insight into the wide variety of certificates,
diplomas and degrees with

which they are likely to be confronted. They also need to know how to assess
credentials issued within the

context of an education system that can be very different from their own. In
appendix 6, regulated

professions as far as relevant for music students, graduates and staff are mentioned
at the end of the

excerpts per country.

Specialised information, sources, and references

· Academic Recognition of Higher Education Qualifications in the European Union

(online:

www.nuffic.nl/bigbook/narics.html. Addresses of all NARICS)

· To work in the European Union: the recognition of my qualifications and Werken

in de Europese Unie: de erkenning

van mijn diploma. (Nuffic) Although somewhat dated, this brochure contains
information about the

recognition of professional qualifications in the member states of the EU,

Liechtenstein, Norway and
Iceland. Including list of regulated professions in the Netherlands, and list of
contact points in other

EU countries. Gives no additional information on professional recognition to what

is already

mentioned in this report.

· Eu sites about Narics and about academic and professional recognition in the EU
and EEA.

· Guide for users of the general system for the recognition of professional
qualifications, edition from European

Commission. The guide does not add anything to the general information on
professional recognition

already included in this report. It is primarily useful in case of concrete

applications for recognition of

a qualification or diploma.

Professional development

General situation

Although it is high on the agenda in politics, business and institutions for arts
education, life long learning,

continuing education and professional development are considerably less well-

documented then the other

subjects addressed in this study. Education at a glance 2000, the OECD online
database, has a number of

relevant entries on the subject:

· ³Better educated adults are more likely to benefit from continuing education and
training.´Sound Links ± Full Report

86
· ³Annual hours of training invested per employee range from 20 in Poland to over
53 in the

Netherlands, New Zealand and the United Kingdom.´

· ³Workers with higher levels of educational attainment are also the most likely to
participate in jobrelated education and training. Three times as many hours of
training are invested in employees with a

tertiary qualification as in those with less than an upper-secondary qualification.´

· ³Lack of interest remains the biggest obstacle to increasing participation of

workers in job-related

training.´

· ³The transition from education to work is far from easy.´

· ³Young people are experiencing growing difficulties in gaining a firm foothold in

the world of work.

The transition, even for successful graduates, tends to take place later than it used
to, and it is often

fragile and uncertain.´

Life-long learning in music

Paradoxically, life-long learning is one of the few areas on which recent, specific
information regarding

music education is available. The European Association of Conservatoires

published a final report of a

working group on this subject in 2000: Lifelong Learning: Final report of the AEC
working group on continuing

professional development for musicians in the framework of the Socrates Thematic

Network¶s Project (TNP) for music. This

report analyses the situation as follows:

Continuing education (of (former) students):

· ³Institutions which provide some sort of continuing education framework at the

time of this

questionnaire (1997) included the Sibelius Academy, whose Continuing Education

Centre is

considered a model of its kind, with some 2000 students taking long or short term
courses every year.

Less formalised systems exist in Rostock, Groningen, Bucharest, and Geneva. In

Lisbon, Madrid,

Paris, and at London¶s Guildhall continuing education was not yet a formal aspect
of institutional

offerings.´

· ³The status of the institution often has an impact on its ability to offer continuing
education: as such,

Rostock offers continuing education in didactics and research for violin teachers,
who are considered

to have the same status as university professors. In Groningen, individual

discussions and evaluations

of Conservatoire teachers provide opportunities to discuss and then provide a

means to meet

individual needs.¶ Bucharest focuses on instrumental skills ánd learning new

aspects of performance.

Geneva offers a course for teachers in non-professional sections. Helsinki sees

continuing education

as the maintenance of professional skills in teaching.´

· ³For those schools where continuing education as such does not yet exist, the
responses showed how
very real this need is perceived to be, with a number of key elements underlined´:
pedagogical

training, performance skills, life skills, information exchange with colleagues. 93%
of the institutions

that replied are of the opinion that those five aspects match the continuing
education needs of both

staff and present and former students.

· 28 % of the institutions that responded have no intention to introduce the

continuing education

priorities they perceive to be important into their programme; 23 % (9 institutions)

intend to

introduce them as soon as possible; 23 % have them already in operation; 8 %

responded µwithin one

year¶; 13 % µwithin two years¶; for 5 % it was still vague.

· ³Responses from former students and final year students were revealing: the
professional experience

of former students gave them a paradoxically broader view while also insisting on
perceived personal

needs and desires.¶ Specific needs in the field of continuing education vary from
institution to

institution and from European region to region. (Needs mentioned: knowledge of

instrumental

technique and repertoire, approaches to specialised repertoire, ensemble work, life

skills, knowledge

of physical awareness and ergonomics, management and public relations skills,

computer skills,
pedagogical skills (methods, repertoire, working with young children),
improvisation, working in

interdisciplinary settings, preparation for orchestra auditions, recording techniques,

and skills to deal

with stress reduction.)

³The emphasis put on µlife skills¶ ± be they related to management, stress

reduction, and also

ergonomics, shows how for these former students the issue of being a good
musician teacher requires

much broader skills than those they had been taught.´Sound Links ± Full Report

87

· µFinal year students expressed greater concern overall for maintaining links with
their professors and

having the opportunity to ask for advice receiving guidance in all aspects of
musicianship, from

pedagogy to performance.¶ (They expressed similar postgraduate training wishes

as the former

students ± see above).

· µThere would seem to be a need to assure some form of performance and

pedagogical practice

through individual and group guidance during the first years following graduation;
beyond that, the

need to provide a broad range of skills from management to ergonomics, from

computers to

improvisation. Development of repertoire and knowledge of new instrumental

techniques (especially

as it applies to pedagogy) are universally requested.¶

· µAs to specific geographic differences, it is striking that responses from Bucharest
and Madrid focus

primarily on expanding repertoire, specialised approaches to specific periods,

ensemble practice

(chamber and orchestra), and technique. No mention was made of life skills,
management,

ergonomics, and the role of the Conservatoire in helping graduates enter the
market. Clearly, the

Conservatoire¶s role is perceived differently in Eastern and Southern Europe than it

is in Northern

Europe. This would seem to confirm the results of µEurope¶s Caprices¶, a study of
violin curricula

among European institutions of higher education (1997): while the North and
Centre often took a

more µglobal¶ approach to training musicians, the East and South were often much
more instrument

specific. Likewise, fewer opportunities for orchestral practice existed in Eastern

Europe.¶

· µWhat is clear, overall, is the overwhelming desire expressed by former students

and final year

students alike to maintain a professional network and to constantly be given

opportunities to broaden

horizons, expand knowledge and technique (instrumental and pedagogical), and to

stay connected to

the broader European musical world. The conservatoires¶ role is seen as going far
beyond that of

simply training musicians at the highest artistic and technical level: it is a role in
which they are now
being asked to see in a context that views learning as a life-long exercise.¶

Staff development:

· Out of 51 responses to questions on budgets for staff development, 25 have a

budget available; 24

don¶t and at one institution it¶s still in progress. Among those 24 µdon¶ts¶ are 6
institutions that

apparently get their money for staff development from the Centre National de la
Fonction Publique

Territorial. Among the institutions with budget, three have a µvery small/limited¶
budget, three a

changing budget, and at other institutions the budget varies from ¼ 2,045 to ¼
62,112, and µ1% from

budget of each department + ¼ 50,420 for CE centre¶. The percentage of (teaching

and/or

administrative) staff involved in staff development in the last five years varies
highly, from less than

5% to 80-90%.

· Many institutions define staff development needs by individual discussions (12

out of 51 institutions),

individual initiatives (13 out of 51) questionnaires (8) or recommendation by

management (7),

appraisal system (6, mainly UK) and staff meetings (6). A variety of other methods
is mentioned, with

results changing from 1 tot 3 institutions.

· Out of 51 replies, 9 institutions offer no continuing education at all to staff

development; 44 do; 9
don¶t, but stimulate individual initiatives either by own budgets or financial
support from

European/national government or other external sources. Individual (specific,

tailored) courses are

relatively popular, followed by common educational courses/periods/seminars and

guest

speakers/teachers (absolute numbers however are not very high, because answers
vary enormously

and, as a result, many forms are mentioned with only one or two replies.) More or
less the same

counts for future needs of teaching staff, though this gives a bit clearer image: 14
replies to technology

(including general, It and multimedia), 11 to pedagogical skills, 7 adjusting to new

methods (e.g.

coaching) and/or new curricula, 6 to specialist fields/individual professional skills.

Only 3 refer to

adjusting to a new type of students (different background/working field), 3 to

further education

abroad and 3 to further education elsewhere (other conservatoire). NB: replies are
not based on

multiple choice lists (open questions).

The report itself forms an important sign of growing interest in professional

development amongst

European conservatoires and the Association Européenne des Conservatoires,

Académies de Musique et

Musikhochschulen (AEC). In a more recent plan for the project Music education in
a multicultural society it
argues: ³Not only questions connected to higher education itself will be necessary,
but also questionsSound Links ± Full Report

88

regarding the road before and after higher education should be raised. Why is it
still so uncommon for

professional musicians to be involved in further (µlife-long¶, post-graduate)

training?´

Specialised information, sources, and references

· Relevant tables and figures (from OECD website):

Participation in job-related continuing education and training in the previous year

by employed adults,

by age and gender (table C7.1, appendix 10)

Results in tables are split up into national results (OECD countries) and
totals/averages, from 1997,

usually with reference figures from 1990; otherwise year mentioned.

Other relevant figures:

Table C7.2: Percentage of job-related continuing education and training courses...

that were financially

supported, by sources (employer-/government-supported; mean number of hours

per course)

Table C7.3: Mean number of course hours per employee in job-related continuing
education and

training in the previous year, by industry, occupation, and firm size (1994-95)

Table C7.4: Participation in job-related continuing education and training in the

previous year by

employed adults by highest level of educational attainment (94-95)

Table C7.5: Extent of use at work of job-related education and training taken by
employed adults, by

source of financial support

Table C7.6: Source of suggestion for participation in training or education that was
taken by employed

adults, by source of support (94-95)

Table C7.7: Perceived barriers to participation in job- or career-related continuing

education and

training among employed adults, by gender.

· ECC: In-Service Training Programme for Teachers

(http://culture.coe.fr/teachertraining). Searching

on key µmusic¶ gives a rather undefined and vast list consisting of links to
homepages Culture of the

Europe of Cultural Co-Operation (ECC) in a large number of European countries,

and references to

documents and publications. Only links to concrete In Service Training

Programmes in different

countries are relevant. For the most recent programmes (from the summer of 2000
onwards), the site

gives a chronological list including all countries. This has been scanned on
multicultural/intercultural

/cultural diversity programmes, music programmes and programmes on coaching

skills and similar

relevant new teaching approaches. For the programmes of the former year, such a
list is not available

and prints have been made for each country.

· From sites ECC In-Service Training Programme for Teachers:

The chronological list of courses and seminars from the summer of 2000 to the
summer of 2001

consists of about 40 programmes. Only five of them have any relation to cultural
diversity, music,

and/or new approaches to teaching like coaching. Target groups vary from teachers
and school

principals to school psychologists and school pedagogical advisers.

The number of bursaries varies highly: usually places are available for a fixed
number of CDCC

Member States and participants from the host country, but the balance between the
two changes, as

well as the total number (from 5 to 40).

Host institutions are usually institutions for higher education, but the programmes
can also be (co-

)organised by ministries, national educational umbrella organisations and

international bodies like

UNESCO.

· ELIA report (Socrates Thematic Network Higher Arts Education in Europe):

Employability Skills for

Arts Graduates, a pilot study (1999) focuses on dance, theatre, fine arts and design
only (music not

included). Subjects: progress of graduates, skills requirements and gaps, delivery

mechanisms. Also

bibliography + summary of other research and reports, among which several

national studies on

employability and job choices of graduates in the fields mentioned, skills and
training needs. Many
referring to UK situation, but other countries included as well (especially Ireland
and the

Netherlands).Sound Links ± Full Report

89

FUNDING MOBILITY

Introduction

Student mobility (and to some extent staff mobility) has been a major issue in the
thinking on the

development of the European µAcademic Space¶ and beyond. While its importance
for most subjects of

study is already evident, in the case of cultural diversity the need for international
exchange is even

stronger. Firstly, it is a relatively new subject, with the danger of every country
reinventing the wheel.

Secondly, often the scale of activity in any one country is too limited to address the
full width of the

subject.

Both aspects have become abundantly clear during meetings and discussions of
directors, co-ordinators

and curriculum planners in the framework of this survey or through networks such
as ISME and Cultural

Diversity in Music Education. Many institutions for higher music education

indicate interest in sending

out students on semester/year abroad programmes, and in a growing number of

cases finding or making

available funds to do so.

Funding is obviously an issue in what can be an intensely valuable but also
relatively expensive part of a

young person¶s education. For that reason, after painting a picture of student
mobility in general, this

survey briefly examines the most important student exchange programmes. Within
the EU, these already

function quite well. But they only work if mutually beneficial student exchange is
possible. In all other

cases, µone way traffic¶ is more likely. This, however, often raises problems in
funding. The last chapter of

the survey provides concrete indications of how that challenge is and can be
answered in various

countries.

Although it is a newer field than tertiary education and consequently less

documented, the survey ± as well

as an earlier one by AEC ± suggests a growing demand for professional

development courses and life-long

learning as well, which may also be tackled on an international scale.

On the following pages we sketch a picture of the state of student mobility at the
turn of the century:

numbers, directions of traffic, focus, and the scope and criteria of grants, funds and
mobility programmes.

The data lead to a number of important indications for the role of student mobility
in culturally diverse

music education for the future:

· Student mobility, particularly in Europe, involves substantial numbers of

students, and represents vast
amounts of money. It is growing rapidly. Figures from the 1990s suggest a growth
of 10% per annum.

· Student mobility occurs both at graduate and undergraduate level, and shows
promise for new, rapidly

developing areas such as continuing education.

· Language or geographical location is of secondary importance. Students travel to

countries or

institutions that have something to offer in terms of content.

· There are various systems of student mobility. In case of student exchange

between countries or

institutions, usually no fees are paid. In case of one-way traffic, the student brings
in fees, travel, and

subsistence costs. Often, some or all of these costs are covered by grants at
international, national or

institutional level.

· Possibilities for funding study abroad vary greatly from country to country, or
even from institution to

institution. Only a limited number of relevant international funds exist. At a

national scale, there may

be a wealth of programmes (such as in the US, the Netherlands or Scandinavian

countries) or hardly

at all (such as in Portugal or the UK). Often, funds are attached to a particular
institution.Sound Links ± Full Report

90

· Although student mobility and study abroad are being accommodated

increasingly by new approaches
to curriculum and (inter)national agreements, it is still vital to invest in
negotiations with individual

home institutions.

Most information for this part of the survey has been gathered through numerous
websites, and much less

through physical publications. Well over a thousand websites were visited, several
hundred were analysed,

dozens are referred to in this survey. This gravitation towards digital sources has
obvious limitations, but

stands to reason as particularly international traffic in education is highly

digitalised. An added advantage

is the possibility to refer to sources that are regularly updated, so that new
information on specific subjects

is easily accessible.

Student mobilility

It is not easy to present a objective picture of student mobility. Most previous

studies on the subject were

based on foreign student statistics and consider that all foreign students are mobile.
They therefore tend to

overestimate true student mobility, because a variable proportion of these

foreigners are residents in the

host country. The present report attempts, on the contrary, to make a distinction
between ³residing

foreign students´ and ³mobile foreign students´. Only the latter are counted as
mobile. Another

complicating factor is that recent data on many aspects of student mobility are not
available. Many results
are based on data from the academic year 1994-1995 and occasionally even 1992-
93.

An analysis of web pages of individual countries on the EC website presents an

image of lively

interchange between various EU countries. Initial research shows that this is

substantial, partly under

influence of EU-programmes such as Socrates (budget ¼ 950 million in the second

phase, ¼ 750 of which

for student grants) and Leonardo (budget ¼ 620 million in the first phase). In
countries that are prominent

in the international the field of higher education, around 5% of the total student
population comes from

abroad, as is indicated by the chart below:

nr. students nr. foreign stud % foreign stud nr. from

Europe

% foreign

from EU

Austria 209,290 22,738 10,9

Belgium 120,840 22,339 18,5

Denmark 166,053 9,730 5,9 2,899 29,8

Finland 189,389 4,556 2,4 1,348 29,6

France 2,170,300 129,761 5,9 35,944 27,7

Greece 116,938 956 0,8

Iceland 7,408 160 2,2

Italy 1,601,873 21,859 1,4 13,930 63,7

Netherlands 422,152 7,586 1,8 3,864 50,9

Norway 169,306 8,274 4,9 2,170 26,2

Spain 1,194,189 24,883 2,1 4,435 17,8

Sweden 270,000 11,100 4,1

UK 934,000 92,900 9,9

Total 7,571,738 356,842 4,7 64,590 29,2

EU only Empty cells indicate that data is not available.

For this report we make a distinction between two basic types of student mobility:

1. ³Spontaneous mobility´: Mobility of students registered under standard

procedures. Within this group

we distinguish µMobility of new entrants¶, and µMobility of postgraduate students¶

2. ³Organised mobility´: Mobility during a course of studies, including mobility

that is supported by the

European Community programmes ERASMUS and LINGUA.

This distinction is also made in the Erasmus Statistical Report on higher education
(2000). Both categories

are described in some detail. Below are some outcomes and excerpts from this
report.Sound Links ± Full Report

91

´Spontaneous mobility´

· In 1993-94, the total population of foreign students registered under standard

procedures in higher

education in the fifteen Member States of the EU amounted to approximately

475,000 students. 35%

of these foreign students, i.e. 165,000 come from Western Europe.

· ³73 % of foreign students residing in the countries of the EU can be considered
³mobile´, that is to

say they have crossed a frontier for higher education purposes; the others have
resided for a long time

in the host country.´

· ³The total number of mobile foreign students from Western Europe registered
under standard

procedures in the higher education systems of EU countries was approximately

120,000 in 1993-

1994.´

· ³In all member States (except Austria, Denmark, Ireland and Italy), there is a
larger proportion of

foreign students from the rest of the world than from Western Europe. The
difference is greatest in

Portugal (one European student for five students from other countries).´

· The UK, France, Austria, Belgium and Sweden are µnet importers¶ of mobile
students (in decreasing

order); the others are µnet exporters¶ of students.

· ³Spontaneous mobility increased by 33% between 1990-91 and 1993-94, an

increase of some 10% a

year.´

· ³Spontaneous mobility concerns all fields of study in proportions that vary

according to the host and

home countries of the students. Strictly speaking, there is no specialisation of the

host countries in

such a field of study. But in each country there are favourite subjects chosen by a
large number of
mobile students.´ («) ³It must be borne in mind that learning the language of the
country is rarely

the main motivation for spontaneous mobility.´

Spontaneous mobility: Mobility of new entrants

· ³The total number of mobile new-entrants in higher education in the countries of

the EU is about

28,000 (excluding Spain, Ireland and Sweden), that is to say almost a quarter (23
%) of the total

number of spontaneous mobile students.´

· The UK, Belgium, Germany and Austria are µnet importers¶ of new entrants; the
others are µnet

exporters¶ of new entrants.

· ³It is very likely that the main motivation for mobile new-entrants to go to certain
countries lies in the

wish to circumvent restrictive admission conditions in the home country.´ This

may be particularly

relevant to arts and music education, where entrance examinations are always
applied.

Spontaneous mobility: Mobility of postgraduate students, or ³specialist mobility´

· ³Producing a precise statistical survey of specialist mobility poses major

problems, the first of which is

the actual definition of postgraduate level which varies according to the higher
education structures of

the Member State.´

· Apart from that first difficulty, ³it is impossible to provide exhaustive statistics on
postgraduate
student mobility in the EU, since only eleven Member States out of fifteen can
provide statistics. But

the number of postgraduate mobile students in the EU is estimated at 19,500 for

these eleven

Member States, that is to say slightly less than a quarter (22%) of the total number
of spontaneous

mobile students. According to various estimates concerning the missing data for
four Member States,

it is likely that there are now some 25,000 mobile postgraduate students in the
EU.´

· ³Finally, the idea of mobility for postgraduate students can be interpreted in

various ways.¶ For

practical reasons in this report mobile postgraduate students are µforeign students
who are enrolled in

postgraduate studies and who hold a secondary education qualification from

another country or

whose main place of residence is abroad.´

· ³The balance of ³incoming/outgoing´ mobile postgraduates could be very useful

to implement a high

level human resource policy and to develop scientific research in each Member
State. At present, it is

impossible to calculate, due to a lack of statistical data.´Sound Links ± Full Report

92

· The number of spontaneously mobile postgraduate students is very low in French-

speaking Belgium,

Denmark and Portugal; much higher than average in English-speaking countries.

· µIn 1993-94, the EU countries hosted a total of 20,000 mobile postgraduate
students, 8% of whom

come from non-EU countries.¶

³Organised mobility´

· ³The mobility of students during the course of their studies, as analysed in this
report, is µorganised¶.

Students who wish to study abroad but not within existing exchange programmes
are certainly free to

do so, but normal registration in the host country during the course of studies is
certain to cause

problems. They have no chance of being accepted unless they are going to follow a
complete course

of studies (in countries where university courses are not divided into modules) or a
complete module

in countries where these exist. In the last two cases, they are included in the
statistics of spontaneous

mobility of students registered under standard procedures.´

· ³The total number of mobile students registered in an ERASMUS and LINGUA

II programme was

estimated at 64,000 in 1993/94.´

· The UK, France and Ireland are net importers of students; the others net
exporters.

· ³Generally speaking, the µincoming/outgoing¶ balance of organised student

mobility in each Member

State is more equal than for spontaneous mobility.´

· ³Organised mobility is centred on five main fields of study which attract 70% of
mobile students´:
management, foreign languages, engineering, social sciences and law. ³The
distribution varies greatly

according to the host country.´ Humanities attract 4%, art and design 3%. Popular
destinations for

arts students are Greece, Ireland, Italy and the Netherlands.' (Note: the report
makes no distinction

between different art disciplines)

Total student mobility

· ³In 1993-94, total student mobility ± which includes spontaneous mobility and
mobility organised in

the framework of ERASMUS and LINGUA II ± is estimated at some 184,000

people (some 2% of

the total student population of the EU). Mobile students represent approximately
2% of the total EU

student population, a total estimated at 9 million people in 1993/94. But this

proportion varies from

less than 1% in Mediterranean countries and Finland to 5.6% in Austria, 4% in the

UK and 3.6% in

Belgium.´

· ³Converted into annual flows, total mobility represented some 94,000 people in
1993/94, of which

30,000 were spontaneously mobile students and 64,000 were organised mobility
students.´

The information above is supported by a number of tables in the report. Table 18:
Total spontaneous and

organised mobility from the EU and other Western European countries is attached
to this report as an appendix (11).
Other relevant tables that can be accessed through the Erasmus website include:

· Table 1: foreign students registered under standard procedures in higher

education, for each host

country a specification of student numbers from EU and other countries

· Table 11: Mobile postgraduates from the European Union and other Western
European countries, for

each host country split up into mobile postgraduates, mobile foreign students and
postgraduate

mobility as a % of total mobility.

· Table 12: flows of mobile postgraduates within the EU (host and home countries)

· Table 13: Students from EU countries mobile during the course of their studies
(Erasmus/Lingua

programmes)

· Table16: Flows of students who are mobile during the course of their studies
through the

Erasmus/Lingua programmesSound Links ± Full Report

93

Study abroad beyond Europe

Student mobility is by no means limited to the EU. Many sites, lists and on-line
search programmes on

what is generally referred to as Study Abroad are available, but information is

badly organised, incomplete,

arbitrary and overlapping. Most of it is directed at US students from US

universities. Centrally organised

online search programmes do not exist for European, African or Asian students.
Besides, the information
hardly gives any insight into content and organisation of concrete programmes, but
usually refers to host

institutions only.

From the sources available, it can be concluded that there are roughly three ways
of organising study

abroad programmes:

1. By the home institution

2. By the host institution

3. By institutions/mediators specialised in organising/offering study abroad

programmes, or at least

mediate between host institutions and students. These institutions often function at
national level.

(e.g. Australia has a strong, well organised mediating structure of this kind).

Education at a glance 2000, the online database of the globally oriented OECD
(Organisation for Economic

Co-operation and Development), states about the world student population that
µsignificant numbers are

studying abroad¶, and gives the following figures:

· ³The percentage of foreign students at tertiary level enrolled in OECD countries

ranges from below

1 to around 16 per cent.´ (Please note: not all foreign students are considered
mobile.)

· ³Australia, France, Germany, the United Kingdom and the United States attract
more than eight out
of ten foreign students studying in the OECD area.´

· ³In proportion to their size, Australia, Austria, Switzerland and the United
Kingdom have the largest

net inflows of foreign students.´

· ³Greek, Japanese and Korean students account for the largest proportions of
foreign students from

OECD countries, while students from China and Southeast Asia comprise the
largest proportions of

foreign students from non-EU countries.´

The Chronicle (May 2000) published an article on the OECD report, and quotes
the 1997 percentages of

foreign students in higher education (students enrolled who were not citizens of the
country where they

studied): ranging from between 10 and 16 % per cent in Britain, Austria, Australia
and Switzerland to less

than 1 % in Japan, Poland en South Korea. English speaking countries are

relatively popular, as well as

Scandinavia and western Europe.

Much of the information on study abroad has not been specified in disciplines, so
that it is difficult to

gauge the percentages of music students and courses involved. Peterson¶s Study
Abroad guide mentions

nearly 1,800 semester and year abroad academic programmes throughout the
world, developed for U.S.

students in higher education. 21 countries offer official music programmes for

American students. The list
below shows 191 study abroad music programmes (general, performance, hitory,
education and theory)

which is 10.5% of the total number of courses listed in Peterson¶s.

In addition to this first list, a random selection of 30 programmes has been made
(at least one in each

country where music programmes are offered). See appendix 12.

Country No of Music programmes

General Performance History Education Theory

International 2 1 1

Argentina 2 2 2

OECD countries: Australia, Austria, Belgium, Canada, Czech Republic, Denmark,

Finland, France, Germany,

Greece, Hungary, Iceland, Ireland, Italy, Japan, Korea, Luxembourg, Mexico,

Netherlands, New Zealand,

Norway, Poland, Portugal, Slovak Republic, Spain, Sweden, Switzerland, Turkey,

United Kingdom, United

States.Sound Links ± Full Report

94

Australia 7 1 1

Austria 7 6 4 2

Brazil 2

Canada 4
China 2 3 1

Cuba 1 1 1

Czech Rep. 1 2 2

England 33 3 4 3

Finland 1

France 13 2 5 1

Germany 6 2 2 1 1

Hungary 2 2 1 1 1

India 2

Indonesia 2

Ireland 3

Italy 11 3 3

Netherlands 1

Poland 1 1 1

Senegal 1

South Africa 6 1 1

Spain 6 2

Sweden 1

Thailand 1 1 1

116 31 32 3 9

Total: 191

(From: Peterson's Study Abroad guide 2002)

Information of the courses above on prices for one term and one year, price
composition, typical day

schedule and availability of financial aid has been analysed. This leads to the
following results:

· The average price for a one-term programme (usually fall, spring or winter) is ¼
9,146.79. The

average price with exclusion of 25% of the extremes is similar: ¼ 9,062.43. It must
be noticed that the

exact duration of programmes varies and that these variations have not been taken
into account in the

average price. The same counts for the average price of year courses, which is ¼
16,755.41. Excluding

25% of the extremes the average year price is ¼ 16,779.89.

· Closer study of 30 representative examples demonstrates that the composition of

prices varies as

well:

ß prices always include tuition (100%)

ß in 25 out of 30 programmes housing is included in prices (83%)

ß insurance included in 20 programmes (67%)

ß meals included in 20 programmes (67%)

ß international student ID in 15 programmes (50%)

ß student support services in 23 programmes (77%)

ß excursions in 23 programmes (77%)

ß international airfare in 5 programmes (17%)

ß computer access in 7 programmes (23%)

ß transcript in 7 programmes (23%)

ß books and class materials in 8 programmes (27%)

ß other components of prices, more occasionally mentioned, are: private lessons,

discounts,

local transportation, library, visa/immigration processing, student card and passes,

and

internship placement.

· 27 out of 30 institutions have some kind of financial aid available for all or
specific groups of

students.Sound Links ± Full Report

95

· Typical day schedules vary highly in number of hours. However, they usually
consist of at least

three of the following four issues: class hours, out-of-class work, language study,
and other

programme activities. Not surprisingly, class and out-of-class hours form the main
part of the

programme. Class hours vary from 2 to 10 per day, out-of class from 2 to 9,
language study from 1 to

5, other activities also from 1 to 5. Results on this subject are too diverse to draw
any general

conclusions.

Studying abroad for shorter periods can be considered a growth market,

increasingly encouraged by

governments. Programmes, funds and credit transfer systems aimed at degree

students and graduates,
simplify both international student exchange and one-way academic travelling.
Besides, institutions for

higher education mention a growing demand for professional development like in-
service training,

continuing education and performer-as-teacher diploma courses, organised in the

same format as study

abroad.

However, the exact dimensions of these areas are not yet clear. Up to this point of
research, only initial

insight into mainly semester and year abroad programmes has been gained. These
longer degree-related

courses are closely connected to institutions for higher education and often
regulated in official

programmes. Information on this subject is therefore easier to get hold of than the
more diffuse area of

not degree-related courses and academic summer and winter courses.

Specialised information, sources, and references

References to study abroad guides on the internet:

IIE Passport (ww.iiepassport.org) is mentioned as the best, but gives little specific
information in the field

of music. It seems that there are large blind spots in the database and/or that it is so
all-encompassing that

from all disciplines and countries, only part can be searched.

On www.usc.edu/globaled the search keys µstudy abroad¶ and µsummer abroad¶

lead (back) to

studyabroad.com (see below) and goabroad.com (see below).

For www.goabroad.com the same remarks apply as for studyabroad.com and
gradschools.com (see

below). Searching by search key µmusic¶ and search key µeducation¶ leads to much
general information on

institutions world-wide, offering any kind of (cultural/art/humanities) study abroad

programme. There are

many similar links to the same institutions, giving hardly any useful information on
organisation, content,

price etc. of specific programmes for music students.

www.studyabroad.com is an on-line resource with listings for thousands of

programmes in more than 100

countries throughout the world. It is targeted entirely on American students from

American universities.

There are search keys for Academic year and Semester programs by country;
summer programs by

country, Winter/spring inter-session programs; Academic programs by subject. A

search by music gives

lists in Africa/Middle East, Americas, Asia and Oceania, and Europe. The lists
contain much general

information on institutions in the areas mentioned, offering any kind of study

abroad programmes. There

are many similar links to the same institutions, giving hardly any useful
information on organisation,

content, price etc. of specific programmes. Occasionally there is a reference to a

programme with signs of

world music.
This list is not useful for statistics, but it can possibly serve as a starting point for a
search for so far

undiscovered examples of good practice.

Gradschools.com is an online source of graduate school information. It contains

about 50,000

programmes in Australia/New Zealand, Canada, Europe, Japan, UK& Ireland,

elsewhere outside USA,

and USA (by state). Searching by keys Music, Teaching Music and Music
Education leads to lists of

institutions instead of the promised lists of programmes. The files are therefore not
very informative for

the subject µstudy abroad for music students and graduates¶. Nevertheless the list
can be useful as a

starting point for further negotiations with institutions. Apart from that, the lists
indicate that within the

Anglo-Saxon higher education model there are MA and M.Mus programmes in

Music Performance, whichSound Links ± Full Report

96

is not the case in other regions. It also shows a specialist market for Master degrees
in Thai and Korean

music.

Sources

OECD: Education, Employment, Labour and Social Policy Directorate

(http://www.oecd.org). The

Organisation for Economic Co-operation and Development is an international

organisation helping
governments tackle the economic social and governance challenges of a globalised
economy. Its report,

Education at a glance 2000, contains the following relevant tables and figures:

· Table C5.1: Foreign students enrolled as a percentage of all students, and

exchange of students

within the OECD countries as a percentage of total enrolment, tertiary education.

· Table C5.2: Number of foreign students enrolled in tertiary education as a

percentage of students

in the country of destination (split up into countries of origin and destination)

Site Socrates-Erasmus (europa.eu.int/comm/education/erasmus) contain full lists of

projects and

statistics, including:

· Statistics of 1999/2000 and 2000/2001 Socrates/Erasmus activities

· Student mobility within the EU: a statistical analysis. Online:

europa.eu.int/comm/education/erasmus/statisti/index.html. Also contains statistics

of separate

countries.

Leonardo da Vinci, European Training Statistics

(europa.eu.int/comm/education/leonardo/leonardoold/stat/trainingstatis/) contains
publications and

on-line results. There are key data on a.o. vocational training in the European
Union (general issue, young

people¶s training); Vocational education and training (VET) systems descriptions;

continuing training in

enterprises; and transition of young people from education to working life.

Mobility programmes

Socrates, Leonardo da Vinci and Tempus are the main EU DG Education

programmes that encourage

study abroad. The first phase took place from 1995 to 1999. For the second phase
of these programmes

(2000-2006) funds have been increased by 30 % overall. Activities to be financed

have been re-grouped in

a limited number of actions, and more possibilities for joint actions and more
flexibility in selection

criteria have been created. More emphasis will be placed on a.o. life-long learning
and the dissemination of

good practice.

³The European Commission pays grants direct to beneficiaries (public or private

bodies ± universities,

businesses, interest groups, NGOs, and in some cases individuals) in pursuance of

other common policies

in such fields as research and development, education, training (...).´

³All EU funding is channelled towards precise objectives and priorities under the
various common

policies, which, in turn, are based on provisions of the Treaties. A comprehensive

description of EU

funding can be found in µGrants and loans from the European Union:

http://europa.int/comm/secretariat_general/sgc/info_subv/index_en.htm´

Further information can be found on the home pages of DG Education/Culture (see

below)

Socrates: Erasmus
Most relevant of the Socrates programmes is Erasmus, which focuses on higher
education. µIt is open to

the participation of 28 countries: the 15 Member States of the European Union; the
three EEA countries

(Iceland, Liechtenstein and Norway) and ten associated countries: Hungary,

Romania, the Czech Republic,

the Slovak Republic, Poland, Bulgaria, Estonia, Latvia, Lithuania, Slovenia.¶ Three
more countries (Malta,

Cyprus and Turkey) are currently negotiating their position. Erasmus is open to all
types of higher

education institutions, all academic disciplines and all levels of higher education
study up to and including

the doctorate. µWhile student mobility retains a position of central importance

within the programme,

stronger incentives will now be available to encourage universities to add a

European perspective to theSound Links ± Full Report

97

courses followed by students who do not participate directly in mobility. More

emphasis is consequently

placed on teaching staff exchanges and transnational curriculum development.¶

Erasmus also supports

open and distance learning. The Scope of Erasmus:

Students (mobility grants)

µThis Action provides direct financial aid to students carrying out a period of study
of between 3 months

and a full academic year in another participating country in the framework of

agreed arrangements
between universities. The grants are designed to help offset the 'mobility costs' of
studying in another

country, such as travel, language preparation and differences in the cost of living.
Their award depends on

the students' home universities giving proper assurances concerning such aspects
as full academic

recognition for the study carried out abroad, and the host universities' waiving of
tuition fees. The grants

are administered through a network of national agencies. To facilitate the

recognition of study periods

undertaken abroad, ECTS (European Credit Transfer System) has been developed
and is now being

adopted by around 1000 Higher Education Institutions.¶

Teachers (mobility grants)

µThis Action provides direct financial support to teaching staff to spend a short
period of fully integrated

teaching assignments in a partner University. (1 to 8 weeks ± ed.) («) The grants

are administered

through a network of national agencies.¶

Universities & other higher education institutions (grants for activities within an
Institutional

Contract)

Applications may include organisation of students and teachers mobility,

introduction of ECTS (now

being implemented by more than 1,000 institutions), µintensive programmes¶,

preparatory visits, and

curriculum development activities. (see Erasmus site)

The students¶ and teachers¶ support are most relevant as funding possibilities
(degree and degree-related

courses, and professional development), although grants do not cover tuition and
fees, but µmobility costs¶

only: for Dutch students a contribution to travel and accommodation expenses of at

least ¼ 300 and

average monthly bursary of ¼ 125 (depending on study programme and country).

Erasmus students do not

pay tuition and fees to host institutions.

Leonardo da Vinci

Two relevant objectives are:

1) ³to improve the quality of, and access to, continuing vocational training and the
lifelong acquisition of

skills and competencies´

2) ³to promote an reinforce the contribution of vocational training to the process of

innovation, with a

view to improving competitiveness and entrepreneurship, also in view of new

employment

possibilities.´

Relevant priorities are: 1) employability; 2) partnership; 3) transparency (of

qualifications).

The µmobility measure¶ of the Leonardo programme includes three types of action.
Details on who can go,

where, how long , financial contribution and criteria for applications: see copies
from Leonardo da Vinci Mobility,

guide for promoters (p.6-9).

· Placements: µA period of training and/or work experience spent by a beneficiary
in a host organisation

in another country under co-operation arrangements involving training

organisations (including

universities) and undertakings. It aims at improving the skills and employability of

the beneficiaries.¶

There are different types of placements according to target groups and receiving
organisations, a.o.

students registered in higher education institutions and recent graduates. Duration:

3-12 months.

Maximum grant: ¼ 5000 (for 12 months).Sound Links ± Full Report

98

· Exchanges: µTransfer of competencies, and/or innovative methods and practices

in vocational training

(...), within a co-operation framework involving training organisations (including

universities) and

undertakings.¶ Exchanges are intended for a.o. vocational training programme

planners and managers,

particularly trainers, and occupational guidance specialists.

· Study visits: µBrings together persons responsible for vocational training,

focusing on subjects proposed

by the Commission, and with a view to stimulating the exchange of experience and
promoting mutual

understanding of how systems and vocational training mechanisms work.¶ Study

visits may be

organised by CEDEFOP (European centre for the development of vocational

training)
From 2000, Leonardo has entered its second phase: ³While mobility and pilot
projects will continue to

take the lion¶s share of the budget, the second phase of Leonardo da Vinci also
includes a new measure

(transnational networks) as well as measures to support language skills and to

facilitate Europe-wide

comparative analyses and studies of vocational education and training (reference

material).´

Tempus III

µInstitution-building projects in the non-candidate countries, formerly restricted to

university reform, will

be possible for non-academic institutions, such as ministries, chambers of

commerce, firms and NGOs.¶

The target group consists only of countries that are eligible for economic aid under
Tacis and Phare

programmes (mainly Central and Eastern Europe, 12 independent republics of the

former USSR and

Mongolia. There are references to mobility and individual grants. It is not clear if
grants are only for

mobility towards Central/Eastern Europe or for students from Central/Eastern

Europe studying in other

countries as well. Website: www.etf.eu.int/tempus.nsf

Other programmes:

Youth

³The Youth programme gives young people from the age of 15 upwards the chance
to broaden their
horizons and develop their sense of initiative through projects at home or abroad. It
provides structures

European co-operation between youth organisations, youth workers, project

organisers, and all other

actors involved in the youth field. And, above all, the programme provides
opportunities for mobility and

non-formal education for young people themselves.´

³The Youth programme is the EU¶s mobility and non-formal education programme
targeting young

people aged between 15 and 25 years. The programme is open to youth in 30

European countries. The

Youth programme offers possibilities to young people in the form of both group
exchanges and individual

voluntary work, as well as support activities. The Youth programme started in

spring 2000 but

incorporates, and is based on, the experiences faced by the former Youth for
Europe and European

Voluntary Service programmes.´

³The new programme brings greater coherence to the Community¶s action in this
field, not only by

combining two previously separate programmes, but also by offering more

possibilities for supporting

cooperation in this area and by opening these possibilities to third countries.´

Forthcoming initiatives

³European Pathways for training («) refer to any period of vocational training
completed by a person
undergoing work-linked training as part of their training in another Member State,
complying with a

number of quality criteria. This involves, in particular, forming a partnership

between the establishment

where the person completes his training and the host body abroad. Within the
framework of the

partnership, both partners agree on the contents, objectives, duration, methods and
monitoring of the

European Pathway.´

³In order to testify such a European pathway for training and to provide better
transparency and greater

visibility to these training periods abroad, a standard Community information

document has been created:

the Europass Training. The Europass Training, whose contents and presentation
are defined atSound Links ± Full Report

99

Community level, is established by the body responsible for organising the training
in the Member State of

provenance. This document provides the personal details of the trainee,

information of the concerned

training initiative ± which includes the European pathway, and details of training
periods abroad (host

partner, mentor, etc.).´

Grants & Funds

International

The number of µfinancial aid information¶ websites and µgrant getting pages¶
aiming at individual students
is considerable and they provide numerous links to undergraduate, graduate and
professional development

bursaries, both private and public, and exchange programmes. Most of these
funding possibilities

however, are nationally oriented, i.e. relevant for students from one specific
country only (mainly US).

Particularly private funding possibilities for US students seem to be endless,

though a rather inaccessible

wilderness as well.

Cultural diversity and exchange, and innovation in higher (arts) education are often
formulated as part of

the objectives of foundations, but many internationally operating funds do not give
grants to individual

students and usually support only organisations and projects. In some cases
individual

scholarships/fellowships are awarded through grants to universities/organisations.

Cultural treaties:

Many European countries have bilateral treaties with other European countries in
order to improve

cultural, educational and scientific co-operation. These treaties often include

agreements on exchange in

the field of scientific education and research. Target groups and countries, duration
and volume of

bursaries vary from treaty to treaty.

International: global

UNESCO fellowships, study and travel grants

1. Individual Fellowships Scheme

Sort term duration (max. 6 months), for specialised training at the postgraduate
level. Priority targets

are promising and qualified specialists who seek to undertake advanced research or
to upgrade their

skills and knowledge of state-of-the-art developments in their field of study or

work. The principles

and conditions are spelt out in a circular letter sent to National Commissions at the
beginning of each

biennial exercise.

2. The UNESCO Co-sponsored Fellowships Scheme

Under this scheme Member States, foundations, institutions and private donors
may offer fellowships

(contributions-in-kind) or may finance fellowships (cash contributions) in fields

within Unesco¶s

competence. The Republic of Korea, China, Czech Republic, Poland, Israel, USA,
the European

Union, INCORVUZ, Netherlands and Japan are some of the countries/bodies

which have made

contributions under this scheme.

3. Other fellowships programmes

Relevant is only UNESCO-Aschberg bursaries for artists, see below.

All applications must be channelled through the National Commission for

UNESCO of the candidate¶s

country. The UNESCO Secretariat does not entertain requests from individuals.
The fields of study within
UNESCO¶s competence include education, culture and humanities.

(www.unesco.org/general/eng/about/fellowship.shtml)

UNESCO-ASCHBERG International Fund for the Promotion of Culture Bursaries

for Artists

programme

Bursaries for individual art students (yearly 5 for music and 14 for dance) are
connected to selected host

institutions (institutions for higher arts education, but orchestras etc. as well).
World dance and world

music is included is some of the programmes offered. Periods vary from 1 month
to 2 years (though

mostly 1-3 months). Bursaries cover residency and training.Sound Links ± Full
Report

100

Nato Fellowships

These bursaries are for the promotion of world peace, for the purpose of research,
on areas yearly

determined by Nato. Research has to lead to publication. The target group consists
of graduates and

researchers. All types of education all eligible. Candidates need to be graduated or

working as a researcher

and have sufficient knowledge of language of country of research. Maximum

period: 2 years. Scope of

grants per student per year (or other designated period) is ¼ 5950. Information
found is relevant for Dutch

students only; additional research may be necessary for students with other
backgrounds.
Aga Khan Foundation: International Scholarship Programme (www.AKDN.org)

The Aga Khan Foundation provides a limited number of scholarships each year for
postgraduate studies

to outstanding students from developing countries who have no other means of

financing their studies.

Scholarships are awarded on a 50% grant ± 50% loan basis through a competitive
application process

once a year in June. Priority is given to requests for Master¶s level courses but is
also willing to consider

applications for PhD programmes, when doctoral degrees are necessary for the
career objectives of the

student. Applications for short-term courses are not considered.

Applications are accepted from countries where the Foundation has branches or
agencies. At present

these are: Bangladesh, India, Pakistan, Tajikistan, Kenya, Tanzania, Uganda,

Madagascar, Syria, Iran, the

Gulf countries, France, Portugal, UK, US and Canada. Criteria are: excellent
academic records, genuine

financial need, admission to a reputable institution of higher learning, and

thoughtful and coherent

educational and career plans. Grants cover tuition fees and living expenses only,
travel expenses are not

included.

In-Service Training Programme for Educational Staff

(http://culture.coe.fr/teachertraining)

The programme is managed by the Council of Europe¶s Education Policies and

European Dimension
Division and administered by the member states by a network of national Liaison
Officers). It enables

teachers, head teachers, school inspectors/pedagogical advisors and teacher trainers

to take part in short

national in-service training courses (3 to 5 days), for instance held in one of the
CDCC (Council for

Cultural Co-operation) Member States. Overall aim of the programme is the

promotion of the European

dimension in school education and teacher training throughout the CDCC Member
States. The

programme allows and encourages teachers to µbecome aware of the educational

needs of an increasingly

multicultural and multilingual Europe and to learn how to deal with them in school
life¶, and to µfind out

about the education systems, curricula and teaching methods used in other
countries¶.

Courses contribute to creating networks, school links and exchanges. There are up
to 1000 scholarships

awarded to educational staff every year. µNationally prepared courses often

concentrate on specific aspects

of particular subjects¶ (a.o. arts); µEuropean courses tend to treat topics which are
closely related to the

Council of Europe¶s work and favour a cross-cultural, project-oriented approach.¶

Target group consists of graduated teachers and other educational staff. Bursaries
cover travel and

accommodation expenses for one week at the most.

Western Europe:
European Cultural Foundation (www.eurocult.org.)

The European Cultural Foundation is an independent non-profit organisation that

promotes cultural cooperation in Europe. It is constantly seeking ways to let
diversity flourish while fostering a sense of

belonging for all European people. The newsletter of the European Cultural
Foundation gives

background information on mobility of citizens in general (not specifically

students), legal implications et

cetera. Culture is understood in a broad sense.

The Foundation has three priority areas:

· Priority 1: Encouraging intercultural dialogue (walking the fine line between

diversity and integration)

Grants are available for travel and projects.

· Priority 2: Stimulating participation through artistic and cultural activities

(involving people in the arts to

create positive change in the community)

One of the programmes is Art for social change: supporting professional artists
working orSound Links ± Full Report

101

interested in working with young people. Grants are available for job-shadowing,
study, projects,

and evaluation and communication.

· Priority 3: Strengthening the cultural sector (building skills to create a climate in

which cultural activities

can flourish)
Programmes are aimed primarily at Eastern Europe. Grants are available for travel,
projects, and

evaluation and communication.

Compagnia di San Paolo (www. Compagnia. Torino.it/inglese/default.html)

The goal is µto provide far-reaching initiatives that ar innovative in that they can
anticipate the emerging

needs of civil society.¶ The Compagnia has a number of acitivity areas, the relevant
of which are:

¸ Education: The Compagnia µcollaborates in the field of education with

international institutions present

in the Turin area and supports numerous scholarships and fellowships offered by
other institutions,

for studies in keeping with its policy.¶

¸ Arts: The Compagnia µpromotes initiatives that favour the return of works of
artistic and cultural

heritage to the benefit of citizens. Programmes are only about visual arts.

¸ Culture: Here the areas of theatre, dance and music are involved. The Compagnia
promotes artistic

activity and training.

Grants are only given to non-profit organisations.

Asia, Australia etc.:

Arts Tas (www.arts.tas.gov.au)

This is an arts grants and loans programmes for students from Tasmania

Music Fund (www.ozco.gov.au)

This fund is for professional development of Australian musicians. The fund
encourages applications

which reflect the creativity and cultural diversity of Australian music artists.

The Foundation for Young Australians (www.ayf.org.au)

Funds are available for young indigenous Australians. Education is an area of

interest. 20 to 30 Minerals

Council Scholarships are awarded annually to young indigenous people up to the

age of 25 to pursue their

secondary or tertiary education in any field of study. Up to ¼ 5606 is awarded for

each tertiary student.

Canada:

Alberta Foundation for the Arts (www.cd.gov.ab.ca)

This foundation works only for Albertians. Funding is available for individuals and
organisations, a.o. for

study costs for graduates and undergraduates, up to MA. The foundation also
develops career

development projects.

The Canada Council for the Arts (www.canadacouncil.ca)

The council is useful for Canadians. Classical music grants are available, and cover
subsistence, project and

transportation costs related to a programme of work lasting from a few weeks to

one year. Non-classical

music grants also cover subsistence, project and transportation costs related to a
programme of work

lasting from a few weeks to one year. And there are travel grants to professional
musicians, which give an
individual musician an opportunity to travel on occasions important to his or her
career.

Grants amounts range from ¼ 1888 to ¼ 12588. Travel grants provide fixed
amounts of ¼ 314, ¼ 628,

¼ 944, and ¼ 1258. World music is specifically mentioned.

Mexico, Latin America, Caribbean

Fundacion Antorchas (www.fundantorchas.retina.ar)

The foundation is located in Argentina. Its aim is to promote activities that help
improve the well-being of

the community. There are three major areas: education and scientific research,
culture, and community

development. Priority is given to higher education, academic life and original

scientific research. The

Foundation¶s main function is to assist the work of other bodies and individuals.
Scholarships and grantsSound Links ± Full Report

102

are for specific purposes, most of them awarded on competitive basis, and
normally to individuals but

occasionally given to institutions. Collaborates with similarly constituted bodies in

Brazil and Chile: Vitae,

Apoio à Cultura, Educaçao e Promoçao Social (Sao Paulo) and the Fundación
Andes (Santiago).

Awards in the cultural field (all by competition):

· Scholarships for a.o. leading figures in the Arts (Atorchas fellowships), advanced
art studies abroad,

and art workshops.

· Grants for artistic creation in all art disciplines.

Awards for education and scientific research:

· By competition: scholarships and fellowships are awarded for a.o. doctoral

studies abroad in the

humanities and social sciences, and postdoctoral research in any discipline either in
Argentina or

abroad. Grants are awarded for a.o. research projects.

· Not by competition: awards for a.o. academic travel.

National grants & funds

Priority has been given to international, European, and Dutch funds. Portuguese
funds are added as an

indication of the Southern European situation. National funding possibilities in

other regions and

countries are not included in this report. However, while looking for international
and European funding

possibilities, a large number of funds for US students were found. International

sources referring to

funding possibilities in other countries are mentioned above at µInternational

funds¶.

Netherlands

The Nuffic µBeursopener¶ (www.beursopener) lists funding possibilities for

students and graduates, who

wish to go abroad for study, research, traineeship, teaching or as a group. Nuffic is

a well organised

institution of good reputation, and the online searching system appears to be

reliable and complete.
A list of bursaries for Dutch music and musicology students and graduates who
want to study abroad in

any country, can be found in appendix 13. The chart includes information on target
group,

conditions/specifications, grants per student per year (minimum-maximum), type

of support (gift/loan),

costs covered, duration (minimum-maximum, once-only or repeatable), percentage

of applications

awarded.

· 18 out of 51 bursaries are for students, 27 for graduates and 6 for both.

· 5 bursaries are meant for specific target groups and require other than
academic/artistic and age

conditions (such as: women, Frysian ancestry, children of freemasons). Good

results, conservatoire

education or a university degree are often required.

· Information on grants per student per year is not available for all bursaries. Grants
change from ¼45

minimum to ¼18,152 maximum.

· 48 bursaries are gifts, 3 are loans

· 28 cover tuition/fees, 14 cover costs of lodging, 20 cover travel expenses.

· Information on duration is not available for all bursaries. The four minimum
terms mentioned cover

three months, the maximum varies from 3 to 60.

· Information on % awarded is incomplete too; range: 10 tot 90 %, 100% in case of

awards.

Portugal
Calouste Gulbenkian Foundation (www.gulbenkian.pt)

The foundation has a competition for scholarships attribution for Portuguese

nationality students, who

want to attend 2nd and 3rd grades (university level) in Portugal. Types of
scholarships and subsidies that

appear to be relevant:

Attributed by the Education and Scholarships Service:

· Long term and short term scholarships, for finance research and postgraduate
activities. Candidates

must have the Portuguese nationality. For foreigners, if outside the African
PALOP¶s, scholarshipsSound Links ± Full Report

103

for research projects and specialisations in fields of the Portuguese cultural

knowledge, are made

available by the International Service.

· Long term scholarships: investigation with a duration over 3 months, in foreign

centres, annual

competition;

· Short term scholarships: post-graduate, 1-3 months, in foreign centres, 5 annual

competitions

Subsidies: for participants at international congresses (presentation, short term

training up to 1 month,

5 annual competition)

· Students scholarships: for secondary and superior levels (selection based on

academic quality and
economic condition, polytechnic institutions and Portuguese universities, annual
competition)

Attributed by the Fine Arts Service:

· Scholarships in the fields of scenic and visual arts, architecture, urbanism,

archaeology and patrimony.

Does not seem relevant.

Attributed by the Co-operation for the Development Service:

· Scholarships for national students from Portuguese speaking African countries,

who intent to

continue their higher education studies in Portugal. They are also addressed to
graduates, in the same

nationality conditions, that intent to obtain a post-graduation or carry out

improvements in the fields

they already master.

Attributed by the Armenian Communities Service:

· Limited number of scholarships to Armenian origin students, born at the

Diaspora, that continue

their higher education training and don¶t have the necessary financial means for
that. Following the

Service reorganisation, candidates may be students that continue their studies in

the Middle East

countries, Europe, Latin America, Canada and Australia. Priority is given to

candidates without

university training and to those who want to follow a teaching career in an

Armenian school

institution at the Diaspora.

Attributed by the Music Service:

· Scholarships for candidates with the Portuguese nationality and performing and
erudite musical

activity, who want to graduate or perfect themselves in the fields they choose.
Open to candidates

with official diplomas or performing a professional activity in the correspondent

sector. Priority to

previous requests of orchestra instrumentalists. Specialities: chant, composition,

harpsichord,

orchestra maestros, musicology, organ and piano.

Scholastic Social Action in Higher Education (www.desup.min-edu.pt/fae.htm)

This national programme stimulates access and attendance to higher education,

through direct social

support (scholarships and emergency aids), and indirect social support (access to
feeding, lodging, health

and education services at social prices). More detailed information was not
available.

The education savings plan (PPE) and the education reform plans (PRE)

(canais.sapo.pt/financas/finances/fbA/7314.html)

³The Ministry of Education in co-partnership with the Ministry of Finances,

launches two new financial

products for the younger, with the objective of paying the expenses connected with
higher education or

technical education.´ The available information does not give insight into how
these funds work.

Reimbursement may take place in several circumstances, e.g. five years after the
delivery year of the
Education expenses:

¼ 2495 for students attending an education institution close to their residential area

¼ 3740 for students coming from the Azores and Madeira who study at the main
land or vice versa.

¼ 4990 for students studying abroad

FAE Student Support Fund (also found on: www.desup.min-edu.pt/fae.htm)

FAE is an organisation of the Ministry of Education, endowed with juridical

personality, administrative

and financial autonomy and its own property. The FAE attribution aims at the
entire higher education

system, covering public, private, co-operative and of concordance right education.

The information gives

no actual insight into volume in students and money, target groups etc, but consists
basically of legal

implications and objectives.

Fundação Oriente (www.foriente.pt)Sound Links ± Full Report

104

³The Fundação Oriente scholarships programme is one of the essential elements of

the Fundação's

activities in training. Its main goals are to motivate research into social science and
literature related to the

Far East; to promote scientific exchanges between Portuguese and Oriental

universities and scientific

groups; to motivate the knowledge of and improvement in knowledge of the

languages and cultures of
Portugal and the Orient; to stimulate artistic improvement; to encourage training of
management staff

through scholarships which will allow Oriental students who show great potential
but have limited

financial means to attend degree courses; to grant access to vocational intermediate

training courses for

Oriental students of limited financial means, specifically to students from Malacca,

Timor, Macao and the

Macanese communities world-wide.´

³The Fundação Oriente's scholarships are granted through competitions which are
held three times a year:

in January, for the granting of long term scholarships, and in June and December
for short term

scholarships. The latter are granted for periods ranging from 15 to 90 days.´

Types of scholarships:

· for artistic improvement

· short term

· for doctorates and masters degrees

· for research

· to attend long courses to improve Portuguese language and Culture and Oriental
Languages and

Cultures.

United States

Bill & Melissa Gates Foundation (www.glf.org) ± The Gates Millennium Scholars
(www.gmsp.org)
The Gates Millennium Scholars Program ³is aimed at expanding access and
opportunity to higher

education to those citizens who will help reflect the diverse society in which we
live. The Foundation

seeks to increase the number of African-Americans, American Indians / Alaska

Natives, Asian Pacific

Americans, and Hispanic Americans enrolling in and completing undergraduate

and graduate degree

programs.´ Target groups entail American citizens only. From the information
available it is not clear if

grants are awarded for programmes at accredited institutions in the US only, or

abroad as well.

The programme has been established ³to encourage and support students in
completing college and in

continuing on to earn masters and doctorate degrees in disciplines where ethnic

and racial groups are

currently underrepresented.´ It will enable 20,000 young Americans to attend

undergraduate and graduate

institutions of their choice. At undergraduate level, individuals enrolling for any

discipline or area of study

are eligible. At graduate level individuals applying to or already enrolled in

science, maths, engineering,

education or library science degree programs are eligible. Required are academic
promise, unmet financial

need, demonstrated leadership and application to or enrollment in an accredited

college or university or a

graduate degree programme.

Fulbright Fellowships

For US citizens to study in other countries. Administration: council for

International Exchange of

Scholars (CIES). (Accessed through www.FinAid.org)

Fulbright Teacher and Administrator Exchange Program

(www.grad.usda.gov/International)

The programme provides arrangements with participating countries for American

teachers and

administrators wishing to teach abroad. The majority directly exchanges positions

with foreign teachers,

some go abroad on one-way assignments.

In general, exchange teachers are granted a leave of absence with pay and use their
regular salary to cover

daily expenses while abroad. Foreign teachers are also paid by their home schools,
and replace their U.S.

counterparts at no additional cost to the hosting school. In the case of one-way

assignments, teachers are

required to obtain a leave of absence without pay, and a stipend is provided by the
United States

Department of State to cover living expenses while abroad.Sound Links ± Full

Report

105

Exchange countries are throughout Europe, Africa, the Middle East and Americas.
Subjects of current

programmes vary from language training, math and science to art, music and
education.

The Ford Foundation (www.fordfound.org; office in US)

The Education, Knowledge and Religion Unit works in three fields: 1) education
reform, 2) higher

education and scholarship and 3) religion, society and culture. In higher education
and scholarship the

foundation helps ³build fields of knowledge that deepen scholarly and public
understanding of pluralism

and the human condition.´ It also focuses ³on social science training as a means of
educating a new

generation of leaders and scholars who can be more effective in their civic roles,
helping to chart the

future of their respective societies.´

Goal of the field arts and culture of the Media, Arts and Culture Unit is ³to
strengthen opportunities for

artistic creativity and cultural expression that will generate the hope, understanding
courage and

confidence needed for societies to address their problems and encourage all
citizens to fulfil their

potential.´

³Most of the Foundation¶s grant funds are given to organisations. Although it also
makes grants to

individuals, they are few in number relative to demand and are limited to research,
training and other

activities related to it program interests. The Foundation does not award

undergraduate scholarships or

make grants for purely personal needs. Support for graduate fellowships is
generally provided through
grants to universities and other organisations, which are responsible for the
selection of recipients. Most

Foundation grants to individuals are awarded either through publicly announced

competitions or on the

basis of nominations from universities and other non-profit institutions.´

Funds are limited in relation to the number of worthwhile proposals received (e.g.
in 1998 35,700 grant

requests and 2,007 grants, of which 20% first-time grant recipients). There are no
deadlines; organisations

may apply at any time by sending a letter (see information from website), after
which they may be asked to

send a formal proposal.

Specialised information, sources and references

TGCI, The Grantsmanship Center (www.tgci.com)

µThe world¶s leader in grants information and grantsmanship training¶ lists federal
funding sources in the

US (federal government, state government and community foundations), as well as

international funders

active in the following regions: Asia, Australia, New Zealand, Pacific Islands;
Africa; Middle East;

Central/Eastern Europe; Western Europe; Mexico, Latin America, Caribbean;

Canada.

All kinds of academic and professional subjects are included. Links to websites of
funders covering

relevant subjects have been checked for each region.

www.studyabroad.com
This database lists study abroad programs from more than 800 institutions in 100
countries (specific

academic year & semester abroad programs, summer, winter, spring programs)

InternationalYehudi Menuhin Foundation (www.menuhin-foundation.com)

The goal of this foundation is to: ³co-ordinate and implement cultural and
humanitarian actions initiated

by Lord Menuhin and spread them in the whole of Europe: improve the
environment of the child by

music, arts and all the disciplines necessary to its entire fulfilment (MUS-E
Program); encourage the

expression and the protection of cultural identities, by the creation of a forum

(Assembly of Cultures of

Europe ± ACE); promote musical expressions and encounters of different cultures

through the

organisation of specific events (IYMF-EVENTS).´

There are no grants or mobility programmes. MUS-E might be indirectly relevant,

though its objectives

are primarily therapeutic and social. Its mission is ³to introduce art at school as a
tool to prevent violence

and racism, with a view to fostering greater tolerance.´ 5000 children from 80
different schools are

participating in the programme.Sound Links ± Full Report

106

The website of Funders Online (www.fundersonline.org/:) gives information to

both funds/funders and

grant seekers. Only information for grant seekers is relevant here. There is a list of
Funding Information
Resources (also libraries an publications, not included here, see files Ivb EU.)

Online resources:

Foundations and Corporate Funders:

· Foundation Centre Grantmaker Info: see above (international funds)

· CCINet (Corporate Community Involvement net, hosted by Charities Aid

Foundation). Lists of grant

giving companies in several countries in and outside Europe. All private funding;
wide range of

subjects (though search on key µculture¶ is possible). Not particularly useful for
this research.

· Council on Foundations: aims at foundations instead of grant seekers; grant

seekers linked back to site

Foundation Centre (see above).

· FundsNet: see international funds above

· Grantsmanship Center: see international funds above

· Polaris Grants Central

Sites on Fundraising:

· International Fundraising Group

· UK Fundraising

· Grant Guides Plus, Inc

· Funding Digest, UK

From FinAid! The SmartStudent Guide to Financial Aid (www.FinAid.org): µother

types of aid¶, Student

study abroad; domestic exchange and study abroad programs:

- Directories of International Exchange Programs:

Rock Bottom Study Abroad: online database of more than 200 scholarships for US
students looking to

study abroad.

- AIFS International scholarships: American Institute for Foreign Study OSAD

Scholarship

Database: low-cost foreign study programs, also includes an online database of

more than 200

scholarships for US students looking to study abroad.

- Council for International Exchange of Scholars (CIES) = Fulbright program;

Assists in

administration of the graduate Fulbright Fellowships for US citizens to study in

other countries and for

international students tot study in the US. So in this research relevant for US
students only

- Institute of International Education (IIE), compare CIES = Fulbright. Guide for

US nationals

listing more than 650 awards.

From FundsNet (www.fundsnetservices.com)

Foundations and funders online (links) in US and Canada; areas of emphasis a.o.
art initiatives, culture,

education. Only relevant for US and Canadian students.

There are many books about financial aid for (post)graduates and student exchange
programs found, but

all are exclusively relevant for US citizens.

Also from Funders Online (www.fundersonline.org/): an initiative of the European
Foundation Centre

(EFC: http://www.efc.be/) Orpheus Programme: µThe mission of the EFC is to

promote and underpin

the work of foundations and corporate funders in teh New Europe. Orpheus, the
information and

communications programme of the EFC, provides a public record and a public

information service on

foundations and corporate funders active in Europe. Funders Online is also part of
ARIES, the European

telematic network for the social economy.¶ The European Foundation Centre site is
not relevant for grant

seekers. One possibly relevant publication is:

· European Foundation Fundamentals: overview of Europe¶s national-level

independent funding

community through a series of country reports; section giving advice on

grantseeking in general.

Eurodesk (www.eurodesk.org)

Eurodesk is µa European network for the dissemination of European information

and for the provision of

telephone enquiry answering services at national or regional level for young people
and those who work

with them.¶ It is concerned µwith information relevant to the education, training

and youth fields, and theSound Links ± Full Report

107

involvement of young people in European activities¶, which covers funding

information, contacts and
resources (documents/publications etc.). It µcan provide both European information
from the European

Commission and other European level agencies together with other relevant
information from a national

level in the participating countries.¶

The Eurodesk Network has partners and information services in 23 countries. All
partners can share and

exchange information electronically.

Eurodesk also has an online database for EU and national data.

From FinAid! The SmartStudent Guide to Financial Aid (www.FinAid.org): µother

types of aid¶, Student

study abroad; domestic exchange and study abroad programs:

· Partly domestic exchange within US (not relevant)

· Partly study abroad and foreign exchange programs for US students: relevant
programs for US

students: American Institute for Foreign Study

Gradschools.com Financial Aid Information (www.gradschools.com)

This site contains sources for information about obtaining financial Aid.

From Foundation Centre Grantmaker Info (http://fdncenter.org/grantmaker):

There are links to numerous grantmaker web sites (private, corporate, public,
community foundations) in

a variety of countries in and outside Europe (e.g. also South-America). It has a

wide range of search keys,

a.o. music.

From Grantsmanship Center (www.tgci.com):

The site lists funding sources in Canada, Mexico, Latin America & Caribbean,
Western Europe,

Central&Eastern Europe, the Middle East, Africa, Asia, Australia, New Zealand &
Pacific Islands.

The Grantsmanship Center leads to the following programmes:

Western Europe:

· Evens Foundation (www.evensfoundation.be)

Focuses on intercultural education: European, Arts. Mainly about solving

intercultural education

problems. Funding possibilities for individuals unclear.

· IBM grant programmes (www.ibm.com/ibm/)

Mainly technology. No scholarships and not for individuals.

· Limmat Stiftung (www.limmat.org)

Training of trainers. Uncertain if this is a fund. Seems to be an organisation

coordinating local centres and

helping people/organisations to find money.

· Royal Bank of Scotland Group (www.natwestgroup.com).

UK, profit, business. Priority to high-profile events and projects.

Central /Eastern Europe

· Batory Foundation (www.batory.org.pl/english/)

(Founder is George Soros, see SOROS Foundation elsewhere in this report).

Relevant aims are: increasing

cooperation between nations, and advancing educational development (equal

access to education,
stimulating quality of teaching, increase access to knowledge). The foundation¶s
activity includes giving

grants and awarding scholarships for study and for internships. Applications for
grants and scholarships

are considered on a competitive basis with the participation of specialised

committees and experts in

relevant fields.

· DAAD (www.daad.de and www.daad.org , the latter only for exchange with US
and Canada)

DAAD a.o. promotes international academic exchanges, and is the German

national agency for the EU

programmes Socrates, Leonardo and Tempus, and the IAESTE International

Committee for the exchange

of student trainees. It provides information on a.o. higher education and degree

courses abroad, funding

programmes and scholarships (also published). DAAD sponsors undergraduates,

postgraduates and

academics grom Germany and abroad in over 100 different programmes. It funds
one-year and short-term

scholarships for individuals, group programmes (study visits, university

seminars/practicals), the exchange

of academics, guest lectureships and project-linked academic co-operation between

institutions of higherSound Links ± Full Report

108

education in Germany and abroad. It operates mainly on the basis of public

funding provided by different
ministries, principally by the Federal Ministry of Foreign Affairs. The website
gives a link to the

organisation¶s µStipendiendatenbank¶.

United States

· GE Fund (General Electric) www.ge.com/community/fund

Dedicated to developing and supporting programmes that are making a difference

around the world.

Areas a.o. Higher Education (helps talented students to go to college and ensures
they have access to

quality education once they get there); Arts & Culture (hands-on participation in
the arts develop creative,

disciplined and resourceful leaders); International (supports quality education

programmes around the

world; e.g. student exchange, scholarships)

Asia, Australia etc.:

· www.globalfundforwomen.org

Supporting women to transform the world. Not relevant yet, but potentially. Grants
up to $15,000 to

women¶s groups outside the US.

· Ian Potter Foundation (www.ianpotter.org.au/ipct.htm)

The foundation itself does not support research or travel funds for undergraduate,
masters or doctorate

students, but individual students may obtain grants from the Ian Potter Cultural
Trust.

· MacArthur (www.macfdn.org/programs).
Unclear what restrictions are: for individuals or not, scholarships etc. Programme
themes and goals seem

relevant.

· Shell Australia (www.shell.com/au-en)

Education: engineering. Arts: remarkable projects.

Canada:

· Bombardier (www.bombardier.com)

Limited information available: funding education in the form of student bursaries

and donations to

colleges and universities.

Mexico, Latin America, Caribbean

· TELACU Scholarships (www.telacu.com).

Provides international assistance to qualified latino students to obtain their college

degree. With a network

of Los Angeles-area high schools and major colleges and universities participating
in their programs, they

have awarded millions of dollars in scholarships. A list of participating colleges /

universities is included

(among which UCLA in Los Angeles). Eligible for the TELACU Arts Award are
students majoring in fine

arts, music, dance, drama or theatre. Can be applied at any post-secondary

institution.

· Ford Foundation (www.fordfound.org): see above

Africa:

· Carnegie Corporation of New York (www.carnegie.org)

Interesting to keep an eye on:

· International development program: themes include µstrengthening African

universities¶ and µenhancing

women¶s opportunities in higher education¶ (intend to establish a scholarship

programmefor

African women undergraduates in order to facilitate their access to university

education).

Geographic focus is restricted to African countries that are or have been members
of the British

Commonwealth as of 1947.

· Education program, higher education: µTeacher education¶ (wider adoption of

models , promotion of

more widespread change, promotion of broader public understanding of

importance of teaching

quality) and µLiberal Arts Education¶ (how the undergraduate experience should be
redefined to

help prepare students for success in the contemporary economic and social
context).

· The Rockefeller Foundation (www.rockfound.org)

Overall goal could be relevant: µTo preserve and renew the cultural heritage of
people who have been

excluded from the benefits of a globalising world, to promote the free flow of ideas
in the public sphere

and to support diverse creative expression in the arts and humanities¶, especially
since the FoundationSound Links ± Full Report

109
attributes an important role in the realisation in this to arts and humanities.
Relevant themes are:

µKnowledge and Freedom in the Public Sphere: Artists and humanists, through
social critique, play a key

role in creating democratic, inclusive civil societies¶ and µCreativity and

Innovation in a Global Age: The

voices and vision of artists and humanists can help us envision reality and clarify
our understanding of

ourselves an others.¶

The Arts and Humanities Division µmakes grants to organisations and projects that
advance the guiding

strategy Understanding and Engaging Difference Across Changing Societies

through the Arts and

Humanities.¶ Most of the resources are committed to a set of programmes, of

which only the following

could have been relevant:

Humanities Fellowships: for scholars and writers whose work furthers the
understanding of contemporary

social and cultural issues and extends international or intercultural scholarships.

Grants however are made

only to host institutions in the United States and Latin America.

Apart from that, the Arts and Humanities Division does not fund: undergraduate-
or graduate-level study,

general operating expenses, travel-related expenses, arts-in-education projects,

curriculum development

projects and collegiate or pre-collegiate programmes.

TGCI, The Grantsmanship Center (www.tgci.com) also leads to a number of
mostly irrelevant

programmes:

Western Europe:

· Abbott Labs (other regions as well): not relevant. Mainly focused on health,
welfare and communities.

Education mainly for own employees. Meaning of art programmes is entirely

unclear.

· American Express (other regions as well): not for students; for

institutions/organisations and

culturally specific. Probably not relevant.

· Arts council funding: structural/long term subsidies for UK institutions and

residents.

· AT&T Foundation (other regions as well): Mainly US grants, not to individuals.

No scholarships to

students. Stress on technology and communication

· The Baring Foundation: Institutions based within England and Wales, but not
colleges and

universities. No individuals.

· Music Projects overseas: Support British artists. Unclear what policies are
towards students and

postgraduates.

· Du Pont Philantropy: not for individuals. Mainly focused on companies and their
surroundings.

· Nuffield Foundation: not for individuals; only UK organisations. µWomen¶

seemed interesting, but
turned out to be not for performing artists.

Asia, Australia, New Zealand, Pacific Islands:

· Abu Dhabi fund for Development: IMF money for economic development

· ACLS International activities: not for graduate and undergraduate students

· American Jewish World Service: not relevant.

· Australian Regional Development scholarships: only for students in partner

countries: pacific, Asia

· The Commonwealth Foundation: only for projects/mobility within the

Commonwealth.

· International Renaissance Foundation: no grants/loans to individuals. Maybe for

organising

workshops?

· Myer Foundation and The Sidney Myer Fund: no scholarships

· Sasakawa Peace Foundation. (www.spf.org/spf_e/englishpage.html). Maybe

Pacific Island part

interesting.

· www.usaid.gov/educ_training: No grants and scholarships.

Mexico, Latin America, Caribbean

· Kodak Community Relations and Contributions: mainly supports other funds, like
TELACU

ScholarshipsSound Links ± Full Report

110

Market and employment

However conducive the developments in higher music education in general, a key

factor to the long-term
success of cultural diversity in music education is the economic impact. Is there
enough interest in world

music in general to generate employability for (future) professionals in this field?

Although specific data

on economical effects of world music do not seem to be available in any country,

the indications of total

volume of concert and festival goers, CD-buyers and music students in this chapter
bear witness to a

substantial interest in all fields of the world music market. We will try to give an
impression of the

development and scale of world music at the turn of the century through data from
the record trade,

festivals and concerts, the press, and education.

The rise of world music in the last decade is one of the most striking recent
developments in the world of

music. At the beginning of the 1980s, it was still largely the territory of alternative
world travellers and

ethnomusicologists. In the 1990s, it has become a main stream phenomenon. In the

authoritative 1997

publication Global Pop: World Music, World Markets, T. D. Taylor writes:

One of the most notable trends in the music industry since the 1980s has been the
rise in

popularity of new music genres: world music, world beat, world fusion; in
Germany, Weltbeat and

Weltmusik; in other parts of the world, ethnopop, Afropop, Afrobeat. Offshoots of

these genres
include: tribal, techno-tribal, and cybertribal, as well as ambient, trance and new
age. All of these

categories overlap to some degree and with other categories I haven¶t mentioned.
In 1988, Tower

Record¶s international buyer told Newsweek that this section was ³definitely the
fastest growing

part of the store´, more than tripling in the previous three years. By 1991 the
market share of

world music was equal to classical and jazz. («) According to the Recording
Industry Association

of America, in 1995, the market share of classical music was 2.9 % and for jazz 3.0
%. («) A

report in Forbes says that only about 2% of Tower Records¶ sales are of ³foreign
music´

Record Trade

Observers from the record trade estimate that the global turnover of the record
trade (including royalties,

etc) approaches ¼ 500 million a year. Although hard figures seem to be missing
and labels are reticent to

give sensitive market information, corroborative evidence seems to support this

figure. The International

Federation for the Phonographic Industry (IFPI) has figures of world and folk
record sales in the

Netherlands and Germany. In both countries about 2% of all record sales was taken
up by world music in

1998, making a turnover of almost 11 million euro in the Netherlands and 54.2
million euro in Germany.
In 1997 the percentage in the Netherlands was still only one percent.

In the past ten years, dozens of specialist world music CD-labels have come into
existence, and most

major record labels have developed world music subdivisions. Initial research at
the trade fair WOMEX

99 indicates that small independent labels each tend to sell 20 to 60,000 items a
year (representing a retail

value of about 400,000 to 1,2 million euros a year), while large companies seem to
move about 300,000

items (¼ 5 million). A few examples of world music sales:

The small record label Piranha (GE) sells about 60,000 CD¶s a year, representing
about ¼ 1.2 million euros

retail value. Paradox (NL) moves 50,000 items. Triple Earth (UK) 20,000.

Stern¶s distribution (UK) has about 10 releases a year, selling about 10,000 of each
release. On top of that,

they do the distribution of one to two million CD¶s each year.

The CD of the Buena Vista Social Club (Cuban music) sold over 2 million copies,
making it one of the

most successful world music CD¶s ever, and creating a turnover of around ¼ 40
million euros on a single

title.

One of the main attractions of recent world music sales has been compilation
CD¶s, with which people

could be introduced to different kinds of music from different parts of the world.
Global Pop records:

µAnother trend worth noting is the rise of collections; there were none on the charts
until early 1993, when Ellipsis Arts¶ 4-
CD Global Meditation arrived, where it stayed for 33 weeks. This success,
combined with the lesser success of their

Global Celebration helped make Ellipsis Arts¶ a player in the world music market,
for it appeared on Billboard¶s list of

the top-five world music labels in 1993; they are also expecting to increase their
annual earnings by about 25% from 1995 to

1996.¶Sound Links ± Full Report

111

Further proof of the increased world music sales is the fact that virtually all major
record stores now have

special world music departments that take up a large part of the selling space.
Examples can be found at

Virgin Megastores, Tower Records and His Master¶s Voice, not only in major
multicultural cities like

Amsterdam and London, but also in Lisbon and Rome.

In 1990, the leading trade magazine Billboard started a new chart for world music:
µBased on reports from a

panel of 40 dealers, the World Music chart lists the top 15 best-selling albums in
this growing genre («)¶.

In the first 6 years, 42 artists from 20 different countries topped the chart: Cape
Verde, Benin, SouthAfrica, Canada, Senegal, Mali, England, India, France, Spain,
Ireland, Haiti, N-America, Israel, Zimbabwe,

Brazil, Scotland, Bulgaria, Australia and Tahiti.

Since 1991, there is a Grammy Award for the best World Music Album of the
year. The Grammy awards

in World Music thus far have gone to:

Year Artist Album

2001 Ravi Shankar Full Circle / Carnegie Hall

2000 João Gilberto João Voz e Violão

1999 Caetano Veloso Livro

1998 Gilberto Gil Quanta Live

1997 Milton nascimento Nascimento

1996 Chieftains Santiago

1995 Deep Forest Boheme

1994 Ali Farka Toure and Ry Cooder Talking Timbuktu

1993 V.M. Bhatt and Ry Cooder A Meeting by the River

1992 Sergio Mendes Brasileiro

1991 Mickey Hart and guests Planet Drum

The creation of charts and awards does not mean that world music was previously
ignored: it appeared in

other categories. However, by stating the choice for best world music album
separately, the Grammy¶s

committee acknowledges the rise and growth of this genre.

Around 2,000 groups of artists, agencies, media and record companies from all
over the world are

participating every year in a trade fair, seminars, and showcases on world music:
WOMEX is the largest

professional conference, trade fair and showcase event exclusively dedicated to all
kinds of world, roots,

folk, ethnic, traditional and local music. Besides a conference, there is also a
µVirtual Womex¶; an online list
of contacts and presentations. Womex Online, a virtual marketplace for world
music CD¶s, has attracted

5000 paying subscribers (professional CD-companies) in the first 14 months. Over

the years, WOMEX

festival has grown rapidly:

1995 1997 1999 2001

Participants 900+ from 41

countries

(including 125

journalists)

1000+ from 45

countries

(including 137

journalists)

1200+ from 65

countries

(including 160

journalists)

1800+ from 80+

countries (including

200+ journalists)

Tradefair 35 stands

60 exhibitors
from 18

countries

64 stands

98 exhibitors

from 23 countries

99 stands

150 exhibitors

(information not

yet available)

174 stands

250+ exhibitors

(information not

available)

Conference 16 sessions

70 panellists

from 23

countries

23 sessions

104 panellists

from 29 countries

31 sessions

74 panellists

from 21 countries
26 sessions

30+ speakers

(information not

available)

During WOMEX2001, 350 artists performed in 40 showcases on 4 stages.

Meanwhile, a competing trade

fair has emerged: Strictly Mundial, which also draws hundreds of participants each
edition.Sound Links ± Full Report

112

Festivals & Concerts

World music festivals have been appearing and growing over the past few years.
Apart from specialist

festivals and meetings for people with interest in a particular style or genre, there is
a great number of

world music festivals with a broad range in programming. Most of these aim at
reaching a wider audience,

while keeping a high level of quality and supporting new artists. To this end, they
invite famous guests,

already established in the world music scene, as well as new talents and fusion
groups. Some festivals offer

not only concerts, but also workshops, music and dance sessions and special
children¶s programmes.

The five largest world music festivals are profiled below: International Africa
festival (Germany) Karnaval

der Kulturen (Germany), Dunya (Netherlands), Mundial (Netherlands) and Womad

(international, based
in UK). Between them, these festivals together drew an audience of about 1.12
million in 2002. More

recent figures from a number of European world music festivals are included in
appendix 14.

· International Africa Festival in Würzburg, Germany, programmes µblack¶ music,

i.e. music from subSaharan Africa and African Diaspora. In 2002, there were
122,000 paying visitors in three festival

days. The festival draw a great response from the media: in 1999 about 100
journalists from television,

radio and newspapers attended the festival. 150 people work for this festival.

· Karnaval der Kulturen in Berlin is a large street festival that lasts four days. On
the first day, a street

parade is held. In 1999, about 400,000 people from 70 nationalities participated in

the festivities. On

the days after the parade, dance parties are held in the streets, drawing 300,000
enthusiasts. During the

festival, the multicultural character of the city is made apparent when the ethnic
minority groups

present themselves and their cultures. No statistical data about this festival is
available for 2002.

· Dunya in Rotterdam (the Netherlands) is one the best known world music
festivals in the Benelux. Its

slogan is: ³Journey around the world in 12 hours´. These 12 hours are spread over
two days and are

held in a park. The park is divided into a number of µvillages¶ (e.g. Cape Verdian
village, Moroccan

village, Surinam village) ± where concerts, dance presentations storytelling

sessions are held on eleven
stages ± as well as two large stages for the feature artists. The programming is very
wide, ranging from

pop fusion styles to traditional folk dancing. The entrance to the festival is free. In
recent years, an

average of 200,000 people a year come to the festival grounds.

· Festival Mundial in Tilburg, the Netherlands, had 245,000 visitors in 2002. The
youth programme

alone drew more than 110.000 people. Despite the pouring rain, the finale event
had 140,000 visitors.

Other programmes (including educational programmes) in schools and cities et

cetera had 70.000

visitors and participants, 15,000 of which were children who participated in the
special µMundial in the

classroom¶ programme. There was a lot of attention from the media, including
radio, television and

the written press.

· Womad (World Of Music, Arts, Dance) is an international festival, linked to the

label Real World. This

organisation, responsible for the festivals as well as a world music record label,
was initiated by Peter

Gabriel. Since the first festival in 1982, Womad has presented more than 90 events
in 20 different

countries and islands. In 1999 Womad included 8 different world music festivals
all over the world:

London (UK), Reading (UK), Washington State (US), Palermo (Sicily), Athens
(Greece), Singapore,
Dubrovnik (Croatia), Canarias (Spain). Together they drew about 150,000 visitors.
The Womad

festivals include not only concerts, but also participatory workshops and musical
and dance sessions

hosted by many of the visiting artists.

The most important network in this field is the European Forum for World Music
Festivals (EFWMF).

The EFWMF has 47 members, responsible for festivals all through the year, spread
over 20 different

countries. The music staged on these festivals is highly varied. The last years have
shown a vast increase in

the number of festival visitors. Couleur Cafe in Belgium has seen the number of
visitors increase from 5,300

in 1990 to 56,000 in 2002, while Forde Folk Music Festival in Norway had 6,000
visitors in 1990 and 29,000

in 2002.

29 of the EFWMF festivals together report drawing an audience of 1,433,000

people in 2002. Most of the

festivals have wide range programming, usually combined with special attention
paid to a particular

tradition or musical culture (e.g. folklore, or Brazilian music). In Germany, the

annual festival Stimmen,Sound Links ± Full Report

113

Voices, Voix is held, concentrating on vocal music. Here, world music is

combined with western music in

the programming and workshops. One of the goals of the festival is for the
participants to learn to use
different sounds and techniques with their voices. In this respect, little distinction
is made between the

places of origin of the music.

The prestigious Holland Festival in the Netherlands has followed a similar policy.
Since the 1960s, they

have included world music in the programme. For the past few years, they have
linked up with

Amsterdam Roots Festival, which in 2002 attracted an audience of 54,000 people:

three quarters of the

total amount of visitors of the festival. The Festival for Ancient Music in Utrecht
also organically includes

world music in its programme.

Apart from the festivals, there is an extensive programming of world music

concerts in most European

countries. In the 1998/1999 season, the world music critic of the Volkskrant
counted 1074 world music

concerts in mainstream concert venues in the Netherlands, with varying musical

styles (in percentages):

Europe & North America (23) Spain (flamenco) (6), Gypsy music (5),

Yiddish music (4), Other (8)

Asia (22) India & Pakistan (7), Tibet (5), Eastern Asia (4),

Other (6)

South & Central America (24) Cuba (6), Argentina (tango) (5), Brazil (5),

Surinam (3), Other (5)

Africa (18) West-Africa (9), Southern Africa (4), East Africa (3),
Central Africa (2)

Near & Middle East (14) Turkey (5), Marocco & Algeria (4), Other (5)

A single venue, the theatre of the Royal Tropical Institute in Amsterdam

programmed about 160 concerts

in the 98/99 season, and reports a total audience of 26,490. RASA in Utrecht
reaches similar numbers.

Apart from the stages that have always programmed primarily world music, halls
and stages that never had

world music before are now programming high quality series of world music.
Examples can be found in

the Netherlands, where De Doelen (Rotterdam), Vredenburg (Utrecht) and the

prestigious

Concertgebouw (Amsterdam) are organising world music concerts and series. Very
often, they co-operate

with experts in this field using the same professional standards as for their regular
western concerts. The

first two world music concerts in the Concertgebouw in Amsterdam were sold out
within the first month

of the season. World music series are now a regular feature in the programming.

On the other side of the scale, there are probably as many concerts of world music
organised on a smaller

scale, mostly targeted at a specific ethnic group. The performances take place in
rented halls or

community centres, and further increase the volume of the practice of world music
in the Netherlands, as

well as other countries.

Press
In the eighties, a few major newspapers started employing world music critics on a
free lance basis. Now,

in a number of countries, world music reviews appear weekly. Regular magazines -

like Time Out

magazine and Billboard - and newspapers in several countries have special world
music listings, festival

announcements and CD-reviews. In English, there are at least four magazines of

some stature dedicated

to world music: Rhythm, fRoots, Songlines and Djembe. There are several others
in other languages, such

as Folker, Oye Listen!, Muska, Voice, Mancs, World Music (two!), Lira and Trad
Magazine.Sound Links ± Full Report

114

Education

The rise of world music is also evident in education. In 1999, eight leading
specialist journals concerning

music education have published 37 articles on the subject of world music

education:

Times a year World music articles All articles Percentage

Musik und Unterricht 6 13 80 16.3

Council for Research in ME 4 2 8 25.0

Musik in der Schule 6 2 45 4.4

Music Educators Journal 6 1 26 3.8

British Journal of ME 3 6 35 17.1

Muziek & Onderwijs 6 12 91 13.2

International Journal for ME (1996) 1 2 4 50.0

Total 38 289 13.1

The International Society for Music Education (ISME), founded by UNESCO in

1953, advocates all kinds

of music education. In the past few years, one of the focus points has become
cultural diversity. It

instituted a special working group on µMusics of the Worlds Cultures¶, which

published a policy statement

in 1996. At the 23rd ISME world conference in the Netherlands, (1998), 45 out of
156 lectures and

workshops were about culturally diverse music education: almost 30%!

A Cultural Diversity in Music Education (CDIME) network was founded to

specifically meet the

challenges cultural diversity in music education creates for music educators world-
wide. The members of

CDIME exchange their views and experiences through conferences and a quarterly
newsletter. The 2001

CDIME conference in London had about 150 participants and showed a great
variety in presentations

concerning projects in the field, but also an expression of the need for co-operation
in for example

curriculum development, exchanging students and teachers and the development of

classroom material.

In the field of practical activity, the UK, Switzerland, Scandinavia and the
Netherlands are forerunners.

Figures only seem to be available for the Netherlands, where since 1990, about 50
public music schools
have included intercultural music education in their regular programmes. The total
number of amateur

courses, ranging from Turkish saz to black gospel choir, is about 100, with about
2500 participants,

representing about 30 fte divided over 100 part time teachers. This figure excludes
activities in other areas

of education, such as higher education and community arts.

Conclusions

On the basis of the data above, we can conclude that cultural diversity has
generated a substantial market

for world musicians in performance, the recording industry and education, with a
total turnover that is

estimated to exceed 1000 million euro per annum. Because the information is
disjointed and the field is

relatively young, it is too early to draw any conclusions about the exact relation
between world music

graduates and the market. The first data suggest, however, that professionally
trained world musicians

develop a mixed job profile, combining performance, recording work and

teaching.Sound Links ± Full Report

115

By Peter Renshaw

EpilogueSound Links ± Full Report

116

EPILOGUE

By Peter Renshaw, project moderator

The main architects of this Sound Links Report, Huib Schippers (Project
Supervisor) and Ninja Kors

(Researcher and Project Manager), are to be congratulated on presenting a clear

analysis of the central

issues connected with cultural diversity in institutions for higher music education
across Europe. Drawing

on the work of the Sound Links partners, the Report provides a clear framework
that invites institutions to

reappraise the ways in which they are responding to the challenges of cultural
diversity. The accompanying

guide µFrom Policy to Practice¶ especially offers a practical guide for translating
principles of policy into

action. The issues raised in the Report are complex, but they demonstrate that there
is an urgency for

institutions to address cultural diversity with an informed understanding and a clear

resolve.

Several key questions arise from the main conclusions at the end of Part II of the
Report. For example, it

cannot be assumed that the inclusion of world music in the curriculum necessarily
implies a commitment

to cultural diversity. The two are not synonymous. Any such commitment will be
realized only through

the openness and sensibility of the culture of the whole institution. A fundamental
shift in mindset can

lead to new structures, different forms of artistic practice and innovative

approaches to learning and

teaching. By widening opportunities and opening up access to musicians from

many varied backgrounds,
an institution can find a creative energy and vitality through its growing diversity.

The Report highlights the closed nature of some institutions for higher music
education. It emphasizes

that in a world characterized by the homogeneity of globalisation, it is essential for

institutions to be open

and receptive to the many different ways in which musicians can be encouraged to
develop their creativity

and find their own individual voice. By fostering a climate that respects cultural
diversity, staff and

students can be given opportunities to strengthen their sense of musical identity.

One perceptive observation arises from a discussion of the danger of creating a

new monoculture

masquerading as cultural diversity. Evidence is shown where some cases of

tradition-specific teaching in

different music genres have become trapped in a single-minded tunnel vision

which totally negates the

open principles underpinning cultural diversity. This is a lost opportunity for both
the institution and

individual musicians.

Perhaps one of the most fundamental points in the Report is the recognition that in
a world which

respects cultural diversity, excellence and quality are defined in relation to fitness
for purpose and

relevance to context. Increasingly, it seems that there is an urgent need to produce

a common framework

for evaluating and assessing quality in accordance with diversity of need and
purpose across all music
genres. To achieve this, institutions for higher music education need to engage in a
collaborative mapping

exercise which brings together appropriate criteria for making judgments within
the diverse range of music

activities.

Finally, the Report draws attention to the widening employment possibilities

arising from the growing

diversity of the music industry. Musical practice is now embedded in much wider
social and cultural

contexts than what is restricted to traditional music venues and recording studios.
Being a musician today

involves having the opportunity to take on a series of roles ± those of composer,

performer, leader and

teacher ± in different genres, cultures and traditions. These changing roles have
enormous implications for

the future of institutions for higher music education.

In conclusion, it is pertinent to draw on a recent research project in England, which

investigated the work,

education and training of professional musicians in the 21st

century. Emphasising the importance of

cultural diversity and of widening participation in music provision, the Report

asserts that:

The development within the higher education sector of a wider range of musical
genres and cultural traditions in

music depends, in part, on increasing the proportion of trained musicians and

teachers coming from («) those
genres and traditions. («) Such genres cover western as well as minority ethnic
and world music traditions. In

addition, the culture and ethos of many higher education institutions will have to
change in order to absorb and do

justice to this development. There is, too, a priority to retain quality and excellence
at the highest international levelSound Links ± Full Report

117

if the music industry is to operate effectively on this global stage. No single

institution can offer the diversity of genres

that we have today. This suggests that a collaborative strategy between the
conservatoires and other higher education

institutions would enable the sector to diversify more and to extend the range of
opportunities for excellence in

different genres. (Youth Music, Creating a Land with Music. Commissioned by the
Higher Education Funding

Council for England. 2002, pp.19-20)

Sound Links not only illuminates these views, but it also presents coherent insights
into the complexity of

cultural diversity and provides practical guidelines for future action. It is to be

hoped that the observations

and principles outlined in the Sound Links Report will inform the thinking and
strategic planning of

institutions for higher music education across Europe.

Peter Renshaw

Project Moderator

Former Head of Research and Development

Guildhall School of Music & DramaSound Links ± Full Report

118

1. Survey stage 1: Brochures and websites (world-wide)

2. Questionnaire 1 (stage 2 of research)

3. Questionnaire 2 (stage 3 of research)

4. Questionnaire participants pilot (model)

5. Bologna Agreement (1999)

6. Descriptions national education systems EU countries

7. Analysis students and costs US colleges

8. Table: Expected hours of training over the life cycle

9. Table: Educational expenditure for tertiary education

10. Table: Participation in job-related continuing

education and training

11. Table: Total mobility from the EU and other Western

European countries

12. Prices of degree-related courses abroad for US students

13. Bursaries available to Dutch students for study abroad

14. European world music festivals: number of visitors

2002

Appendices