AEC PUBLICATIONs 2007

handbook

Guide to third cycle studies in

hiGher music education

polifonia third cycle workinG Group

The Polifonia project has been funded with support from the European Commission. This publication reflects the views of its authors and the Commission cannot be held responsible for any use which might be made of the information contained therein.

A free electronic version of this handbook is available through www.polifonia-tn.org.

handbook

Guide to third cycle studies in

hiGher music education

polifonia third cycle workinG

Group

Contents

foreword1. introduction 2. third cycles: institutional contexts3. the relationship of the first, second and third cycles4. research and third cycles in music 4.1 TheBroadFieldof“Research” 4.2TheEssentialNatureofResearch 4.3WhatisArtisticResearch? 4.4ArtisticResearchandtheInstitutionalCoreMission5. the institutional decision to offer third cycle studies 5.1 Potentialbenefits 5.2SomeChallenges6. how to build a third cycle programme 6.1 IsaCurriculumNecessaryforaResearchDegree? 6.2Tools:PolifoniaDublinDescriptors,LearningOutcomesandotherMaterials 6.3SpecifictopicsconcerningThirdCycleStudies7. research environment 7.1 HardandSoftElements 7.2Finalremarks8. conclusion appendicesappendix a InformationSources ContinuousEnhancementandOngoingProgrammeReviewappendix b ThirdCycleProgrammeDevelopmentIssuesappendix c ExamplesofOfficialQualityAssuranceDocumentationforThirdCycle StudiesValidations:Rationale,Resources,Review,StudentHandbook

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Foreword

The ERASMUS Thematic Network for Music “Polifonia”1, the largest European project on profes-sionalmusictrainingtodate,involved67organisationsinprofessionalmusictrainingandthemusicprofessionfrom32Europeancountriesand30expertsin5connectedworkinggroupsinanintensive3-yearworkprogrammefromSeptember2004–October2007.Theproject,whichwascoordinatedjointlybytheMalmöAcademyofMusic–LundUniversityandtheAssociationEuropéennedesCon-servatoires,AcadémiesdeMusiqueetMusikhochschulen(AEC),receivedsupportfromtheEuropeanUnionwithintheframeworkoftheERASMUSProgramme.Theaimsoftheprojectwere:1. TostudyissuesconnectedtotheBolognaDeclarationProcess,suchasthedevelopmentoflearn-

ingoutcomesfor1st(Bachelor),2nd(Master)and3rdcyclestudiesthroughthe“Tuning”method-ology2,theuseofcreditpointsystems,curriculumdevelopment,mobilityofstudentsandteach-ers,andqualityassuranceinthefieldofmusicinhighereducation.

2. Tocollect informationon levels inmusiceducationother than the 1st (Bachelor)and the2nd(Master)studycycles,inparticularpre-collegetrainingand3rdcycle(Doctorate/PhD)studiesinthefieldofmusic.

3. Toexploreinternationaltrendsandchangesinthemusicprofessionandtheirimplicationsforprofessionalmusictraining.

WiththeaimtoparticipateinthediscussionstakingplaceinthehighermusiceducationsectorandintheframeworkoftheBolognaprocesson3rdcyclestudies,theAECformedwithin“Polifonia”agroupwiththefollowingexpertstostudythissubject:• PeterDejans(Co-chair–OrpheusInstituutGent)• DarlaCrispin(Co-chair–RoyalCollegeofMusic,London)• ValentinaDediu-Sandu(UniversitateaNationaladeMuzicaBucuresti)• HubertEiholzer(ConservatoriodellaSvizzeraItaliana,Lugano)• HaraldJørgensen(NorwegianAcademyofMusic,Oslo)• LolaSchirgi(UniversitätfürMusikunddarstellendeKunstGraz)• MichaelUhde(StaatlicheHochschulefürMusik,Karlsruhe)

Themainobjectivesofthe“Polifonia”ThirdCycleWorkingGroupwere:• Toprovideanoverviewof trends, typesofcoursesanddevelopmentsat the3rdstudycycle in

musicinEurope.• Todeveloplearningoutcomesforthe3rdcycleandtostudytheconnectionoftheseoutcomesto

thelearningoutcomesofthe1stand2ndstudycycle.• Tostudytherelevanceofa3rdcycleinmusicfortheprofessionandthejobmarket.• Todevelophelpfultoolsformusicinstitutionswishingtoestablisha3rdcycle.

These aims were reached through an intensive 3-year work plan that included 8 working group meetings,3sitevisits,1conferenceandliteratureresearch3.

1 Seeformoreinformationabout“Polifonia”www.polifonia-tn.org.

2 Formoreinformationaboutthe“Tuning”methodologypleaseseehttp://www.tuning.unideusto.org/tuningeu/index.php?option

=content&task=view&id=172&Itemid=205.

3 Informationabouttheworkofthe“Polifonia”ThirdCycleWorkingGroupcanbefoundatwww.polifonia-tn.org/3rdcycle.

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I IntroduCtIon

1.1 ThisGuidehasbeendevisedwithtwoprinciplesinmind:

• ThirdCycleprogrammesareresearch-based.• AnyThirdCycleisaDoctorateandviceversa.

1.2 TheThirdCycleWorkingGrouphasadopted the followingdefinitionofresearch fromtheSharedDublinDescriptors,ratifiedinOctober2005:

The word “research” is used to cover a wide variety of activities, with the context often related to a

field of study; the term is used here to represent a careful study or investigation based on a systematic

understanding and critical awareness of knowledge. The word is used in an inclusive way to accom-

modate the range of activities that support original and innovative work in the whole range of academic,

professional and technological fields, including the humanities, and traditional, performing, and other

creative arts. It is not used in any limited or restricted sense, or relating solely to a traditional “scientific

method”.

1.3 TheThirdCycleGuidehasbeencomposedprimarilyforthosewhoworkinconservatoires.Forthispurpose,wedefineconservatoiresverybroadly,includingmusicuniversities,musicacademiesandMusikhochschulen,withstudyprogrammesrangingfrommusicperformanceandmusiceducationtomusictherapyand,insomecases,musicology.Itisnotmeanttobereadasasingleprescription;suchanapproachwouldbeinappropriate,giventhediversityof institutionsforwhichithasbeendeveloped.Instead,itishopedthattheGuidewillenablecoursedesignerstocreatetheirownvisionofaThirdCycleresearchqualificationthatisideallysuitedtotheirowninstitutions.

1.4 TheGuideshouldbeofusetothoseinvolvedwiththecreation,operationandqualityassuranceofstudiesattheThirdCyclelevel,aswellastheevolutionofsustainableresearchenvironmentswithintheseinstitutions.Suchistheimportanceofthedebateonresearchin-and-throughmusicalpracticeintheEuropeanspaceandbeyond,however,thatthisGuidemaywellbeofinteresttothoseworkingwithinuniversitieswhichalreadyhavelong-establishedresearchdegreeprogrammesinmusicdis-ciplines.Indeed,oneoftheaimsofthisGuideistoshowhowartisticandothertypesofresearch,andtheirresultantdegreeprogrammes,maybeseenasworkingwithinamutuallybeneficialcontinuumofenquirywhenviewedwithinmulti-institutionalandmultinationalcontexts.

1.5 ThePolifoniaThirdCycleWorkingGrouphasconductedextensiveresearchonThirdCyclemusicpro-grammesintheEuropeanHigherEducationArea(EHEA).Throughanalysisofinterviews,sitevisits,questionnaires,seminarsandothermeansofdatacollection,ithasbecomeclearthatthenatureoftheseprogrammescanvaryconsiderablybetweencountries.Forthisreason,andasnotedabove,thisGuidewillnotputforwardasingle,unifiedformulaforthecreationofsuchprogrammes.Instead,

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theGuidewillexploreaseriesofbroaderquestionsthatishopedtobeofrelevancetoallinstitutions,whetherdevelopingThirdCyclestudiesforthefirsttime,orreviewingandauditingexistingcourses.Itishopedthatbydoingthis,acommonvocabularycanbedevelopedandshared,sothatclearerandmoreproductiveinternal,externalandinternationaldialoguesaboutthiscrucialareamaybefacilitated.Inatimeofemphasisuponmultinationalinstitutionalcollaborationandglobalisation,theGuideisofferedasatooltoassistcurriculumdevelopersandtogenerateproductivedialoguesabouteducationpolicy.

1.6 InorderfortheGuidetobeuseful,itisnecessarytodefinecertaintermsthatareintegraltothecoretopic.Forthatreason,thisGuidehaschaptersonmoreabstractconceptssuchasthecharacteristicsofmusicThirdCycleprogrammesinrelationtoFirstandSecondCycles,thenatureofresearch,withanemphasisuponartisticresearch,andthecreationofresearchenvironmentsinwhichstudentsmaydeveloptheirfullpotential.MoreconcretediscussionsincludethequestionsthatinstitutionsmustexploreinmakingthestrategicdecisiontoofferThirdCycles,thetoolscurriculumdevelop-ersmayuseincreatingsuchprogrammes–suchasDescriptorsandLearningOutcomes–andtheprovisionofataughtcurriculumwithinmusicThirdCycles.

1.7 TheThirdCycleGuideshouldbeapplicableforbothinternaluse, i.e.curriculumdevelopment, in-ternal quality assurance, professional development training, and for external use, i.e. facilitationofdialogueswithprofessionalbodies,explanationsofgoalsandcompetenciestothoseinvolvedinhighereducationpolitics,andexplainingthirdcyclestothepublic.Ideally,theGuidewillbeperiodi-callyreviewed,toreflectnewdevelopmentsinEuropeanHigherEducation.

1.8 Oneofthemainchallengesforthoseinconservatoire-basedhighermusiceducationistodesigncoursesandproducedocumentationinlinewiththeBolognaProcesswhilesafeguardingtheessen-tialnatureofprofessionalmusictraining,withitsdemandforpracticalachievementatthehighestlevel.Mostimportantly,ThirdCyclestudymustbefocusseduponthestudents,empoweringthemtobeco-creatorsintheirowneducation,andhighlightingtheirindependentintellectualandartisticattainments.Thisstudent-centredapproachiscrucialtothesuccessofThirdCycleprogrammesinmusic.

1.9 Aseducationaldebatestakeplaceinanever-moreglobalisedcontent, it ishopedthatthisGuidewillprovideonewayintothecreationofeducationalapproachesthatmeettheneedsofresearchstudentsandstafffromavarietyofnational,educationalandexperientialbackgrounds,mappingoutacontinuingevolutionofsharedmusicalideas–withoutborders.

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2 thIrdCyCles:InstItutIonalContexts

2.1 ThirdCyclestudiesinmusicarearathernewphenomenonwithintheconservatoireenvironmental-thoughsomeinstitutionshavealreadyalongtraditioninofferingthem.Thereisonemainreasonforthis.Asinstitutionsthattrainmusiciansatthehighereducationlevel,conservatoirestraditionallyof-fervocationaltrainingthatleadstoacareerasaprofessionalmusician,composer,orinsomecasesalsoasamusicteacher,beitasaschoolmusicteacheroraninstrumental/vocalteacherforspecialmusicschoolsorhighereducation.OfferingThirdCycleordoctoralstudieshashistoricallybeenthepreserveofuniversities.Indeed,institutionsthatofferprofessionalmusictraininghavenotalwaysuniformlybeenregardedbytheauthoritiesashighereducationinstitutionswiththefulleligibilitytodevelopaThirdCyclestructureasdefinedbytheBolognaProcess.

2.2 Notonlyintermsofprogrammesbutalsointermsoftheinstitutionalenvironment,universitieshavebeenseenasthelocusofresearchactivity,whileconservatoireshavebeendedicatedtoprovidinganappropriatelyrichandprofessionallywell-connectedartistictrainingontheinstrument/voice.Butpractical training in music is not devoid of inquiry, theory and reflection. The highly-trained mu-sicianalsoseekstoachievedeepunderstandingandprogressattheforefrontoftheartnotonlythroughperformingorcomposingbutalsoby investigation intothepiecesofmusic, thecompos-ers’ intentionswiththemusicandtheartofplayingasexemplifiedbydifferent interpretersorindifferentmusicaltraditions.Insomeindividuals,thismethodologicalsearchformorein-depthandstructuredinformationaboutmusicandamoreanalyticalanddescriptiveapproachtowardsartisticrealityisaninnervocationasstrongasperformingandcompositionitself.Forthosepurposes,itwouldseemlogicaltobeabletoresearchandcommunicateaboutmusicinallcircumstancesandfromallaspectswithintheinstitutionthatdealsmostspecificallywithitandbythosepeoplewhoareexecutants,ratherthanconfiningthisactivitytothoseinstitutionsthathappentooffermusicologyasascientificstudyfield.Forthisreasonamongstothers,professionalmusictraininginstitutionshavestartedtoofferdoctoralstudiesofdifferentkindsaswell.

2.3 Conservatoireshavefacilitatedtheirentry intoThirdCycleprovision inanumberofways. Someareable tooffersuchqualifications independently, throughstatusasautonomousvalidatingbod-ies,whileothershavebrokeredco-operativepartnershipsbetweenconservatoiresanduniversities.Thesepartnershipscanbefruitfulforbothpartiesintermsofknowledgeexchangeandthepotentialforinternationaldevelopment,andarenotlimitedtoconservatoire-universityarrangements,butcanalsoinvolveconservatoirenetworks,andevenextensiontodisciplinesoutsidemusicitself(e.g.otherfineartsorscientificdisciplines).

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3 therelatIonshIpoFtheFIrst,seCondandthIrd CyCles

3.1 Itispossibletosuggestamodelforlearningthatinvolvesthreemainaspects:theacquisition,ap-plicationandproductionofknowledgeandskills.Thebalanceofthesevariesfromstudenttostudent,buttheemphasisuponeachchangesasoneprogressesthroughthecycles.

3.1.1 Inthefirst cycle,studentsconcentrateupontheacquisitionofknowledgeandskills.Forexample,intheareaofrepertoireskills,studentsshouldstudyandperformrepresentativeworks,experiencingavarietyofappropriatestyles.

Inthesecond cycle,studentsconcentrateupontheapplication ofknowledgeandskills.Therep-ertoirewillbenowbroadenedtoacomprehensivelevel,anddeepenedwithinaparticularareaofspecialisation.Studentsshoulddevelopanindividualvoiceinoneparticularstyle.

Inthethird cycle,studentsconcentrateupontheproductionofknowledgeandskills.Takingrep-ertoireagainasanexample,thestudentsshouldbeabletoframeresearchproposalsbasedonaparticularchoiceofrepertoireandthentoproducenewtopicsrelatedtoit.

production acquisition

application of

knowledge & skills

production acquisition

application of

knowledge & skills

production acquisition application

of knowledge & skills

3.1.2 Thediagramdescribedabovecanveryeasilybemappedontoaneducationalprocessemphasisingdevelopmental stages of competence acquisition. This diagram demonstrates the transformativepossibilitiesthatThirdCyclesmayhavewithinconservatoireenvironments.

3.1.3 BecausetheThirdCycleinvolvestheabilitytogeneratenewknowledgeandskills,itsoutcomescanfeedbackintotheprogrammesfortheFirstandSecondCyclesaswellasintotheteachingstaff:

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• byhavingstudentspresenttheirartisticandreflectiveworktostudentsandstaff• byexaminingtogetherwithmembersofstaffthereceivedwisdomandconventionalmethodsin

musicalpractice• byhavingstaffteachfirstandsecondcyclecoursesinwhichnewresearchresultsarecommuni-

catedanddiscussed• byhavingfirstandsecondcyclestudentsparticipateinresearchprojects

Thiscreatesasenseofvitalityandamodelforgoodpractice,andencouragescoursedesignerstokeeptheircurriculaup-to-dateandfosterinnovationasapartofgoodpractice.

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4 researChandthIrdCyClesInMusIC

4.1 theBroadFieldof“research”

4.1.1 Withinconservatoirestoday,researchcoveringabroadrangeoftopicsiscarriedoutbothwithinThirdCycle programmes and within conservatoire research departments (even where Third Cycle pro-grammesdonotyetexistorwheretheyexistwithininstitutionsthroughcollaborativeagreements).Someofthesearewithinwell-establishedfieldslikemusicology,musiceducation,musictherapyandsociologyofmusic,andbenefitfromawell-establishedresearchframework.Theirpractitionersmaybeactivemembersofanorganized,internationalresearchcommunityandasubstantialbodyofpreviousresearchinthefieldwillalreadyexist.

4.1.2 Otherareasofresearchintoday’sconservatoireshavedevelopedonlyrecently.Muchofthisnewerresearchwithinconservatoriessharesthecharacteristicofbeingaimedatartisticallychallengingissuesandiscarriedoutbyartist-researcherswhobringtheirartisticexperiencesandknowledgetotheirresearch-basedinquiries.WecallthistypeofresearchArtisticResearch.

4.1.3 Thesenewerresearchareasdonotyetenjoythesupportofawell-establishedframeworkandtheirpractitionersmayworkinisolation,intheabsenceofanetworkofotherresearchers,conferences,publications,etc.andnosubstantialbodyofpreviousresearchmayyetexist.

4.1.4 OnepossibleapproachtothetaskofprovidingguidanceandpracticalsuggestionsforthecreationofaresearchThirdCycleinconservatoriescouldbetodiscusseachofthefieldsofresearchwithincon-servatoriesandmakespecific,Bologna-oriented,proposalsforeachone(competences,curriculum,evaluation,creditpoints,andsoon).However,giventheverywiderangeofresearchareaswithinconservatories,itwouldbebothimpossibleandundesirabletotrytoprovideanexhaustivelist.

4.1.5 Whatisneededisadiscussionofresearchthatissufficientlygeneraltopermiteachschooltorecog-nizeitsownparticularresearchprogrammesandresearchpriorities.Atthesametimeitshouldbespecificinrelationtotheparticularnatureandpurposeofhighereducationinmusic.Andtoachievethiswemustremainascloseaspossibletothecoreactivityoftheconservatoire.ItisonlyinthiswaythattheguidelinesandsuggestionsthatemergefromthisworkwillbeofusetoallAECmemberschools.

4.1.6 WhileArtisticResearch issometimespresentedasasub-categoryof research inconservatoires,forreasonsthatwillbesetoutbelow,webelievethatthisconceptoffersausefultoolforthinkingandtalkingaboutresearchwithintheConservatoire,andthattheinsightsthatwegainthroughthisdiscussioncanapplyequallywell toboth theolder,more traditional research fields representedwithinConservatoriesandtothenewerfieldswhichhavebeengrowingupwithintheartisticallyrichenvironmentofourschools.

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4.1.7 ItisaspecificaimofthisGuidetoassistconservatoiresincreatingresearchenvironmentswhereartisticresearchcanthrivealongsideandinteractwiththemoretraditionalandbetter-establishedresearchareas.Inthiswaywecancreateauniqueandproductiveprofileforresearchwithintheconservatoire.

4.2 theessentialnatureofresearch

4.2.1 TheThirdCycleWorkingGrouphasidentifiedthreekeyelementsofaframeworkwithinwhichre-searchcanbefruitfullyconductedwithintheconservatoire:

1. Researchmustbecomeanintegralpartoftheconservatoireenvironment;

2. Researchmustoccupyaspecificandappropriatespacewithinthethree-cyclesystem;

3. Theremustbeacommonunderstandingofwhatcompetencesresearchstudentsshouldhaveacquireduponcompletionoftheirstudies.

4.2.2 Foragenuineintegrationofresearchintothefabricofconservatoirestotakeplace,theremustbespecificstudyprogrammescreatedtosupportit,wherethesedonotalreadyexist.Thereareuniqueopportunitiesforresearchinmusicwithinaconservatoirewherethesubjectsofresearch,i.e.theartist-researcher, and the objects of research – i.e. performing/composing/teaching – find them-selvesincloseinteractionandcommunionunderthesameroof.

4.2.3 Beinga researcherandbeingamusicalartistare twodifferent roles.However, in theenvisagedproject,oneandthesamepersonshouldbeabletooccupythem,justascomposingandperformingaretworolesthatasinglepersonmayfulfil.

4.2.4Creatingastructuredspacesuchasadegreeprogrammeforresearchisameansofenhancingthecriticalexchangebetweenpracticeandtheory,betweenmusiciansandmusician-researchers.Itisameansofbringingresearchersandmusicianswithincomplementarydisciplinestogetherandofcreatingaforumwhereresearchfindingscanbecloselywatchedbypotentialbeneficiaries.

4.2.5 Conductingresearchmeans trying toextendourknowledgeandunderstandingof theworldandourselves.Researchprojectstypicallyinvolvethreecomponents.Thefirstoneinvolvesformulatingtheresearchhypothesisorresearchquestion;thesecondaddressestheinvestigationoranalysis;inthethird,theresultsareevaluated,writtenuporotherwisedocumentedandmadeavailabletointerestedparties.

4.2.6Specifically,theresearchprocesstypicallyinvolvesasubstantialperiodofpreliminaryresearchandsubsequentreviewofinformationtogainanoverviewofwhathasalreadybeendoneintherelevant

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field.Thisisfollowedbythedevelopmentofahypothesis,or“researchquestion”,whoseinvestiga-tionpromisesnewknowledgeanddesigningtheappropriateresearchmethod.Thesecondcompo-nentinvolvestheintensiveinvestigationoftheresearchquestionandtheprocessisconcludedwiththeproductionofdocumentationthatreportstheresultsinanaccessiblemannerandwhichisavail-abletointerestedparties,therebyallowingotherresearchersworkinginthesamefieldtoassesstheresultsandtobuildonthem.

4.2.7 AllresearchfollowsthissequentialpatternofQuestion-Investigation-Documentation.Whatdistin-guishesArtisticResearchisthewayinwhichartisticexperience,artisticknowledgeandskillsaswellasartisticgoalsareinvolvedinresearch.

4.2.8Musicianshavehighlyspecializedknowledgeandhighlyspecializedskills,butasarulethesecom-petencesremainwithintheindividualartistwhopossessesthem.Atbestweheartheproductsofthesecompetenceswhenweheartheartists’performancesorcompositions.Researchshouldbecommittedtomakingthisenormoustreasureofimplicitknowledgeandskillsofartistsexplicit,tobringingthosethingsintotheopenforallofustosee,tounderstandand,hopefully,touse.Byhelp-ingimplicitartisticknowledgetobecomeanobjecttobesharedanddiscussedbyothers,researchwillbeabletomakealargecontributiontotheunderstandingoftheartamongalargerpopulationand,consequently,tothepromotionanddevelopmentoftheartsingeneral.

4.2.9Modesofdocumentation,presentationanddisseminationofartistic researchare varied, rangingfrompublicperformances,recordings,andmultimediapresentationstowrittentextsandspokenpresentations,forexample.Inordertobevalidasaresearchoutcome,however,theoutcomesmustbemadeexplicit,discursiveandcommunicablewithinpeercommunitiesand,ideally,thewider,pub-licsphere.

4.3. whatisartisticresearch?

4.3.1 Typically,ArtisticResearchisresearchconductedbyorwithArtistsfortheArts.Nonarrowerdefini-tionwillsatisfyeveryone,andsomewillholdoutforanevenbroaderone.Therearegoodreasons,however,fordrawingthelinehere,aswillbecomeclearwhenwehaveexaminedthedefinitionmoreclosely.

4.3.2 Anartistisapersonwithatalentandapassionforsearchingquestionsandthis“searching-ness”andexplorativespiritisessentialtoartisticactivity.Acreativeartistisinvolvedinapermanentsearchforadeeperunderstandingandiscontinuallyexperimentingwithhisorherownideasandtheideasofothers.Thecreativeartistwilloftenturnthingsupsidedowninordertoseewhatinsightsthenewandunconventionalperspectivewillbring,andwilllayopentoscrutinyandcriticismwhatpassesforconventionalwisdom.Theimplementationofsuchnewlyacquiredknowledgeandideasintoanartist’sownmusicalpracticecanhavetheeffectofmovingtheartofmusicintonewterritory.

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4.3.3ArtisticResearchdonebyMusicalArtistsmeansthat thenatureof thequestionorhypothesis islikelytobedeterminedbytheconcernsandideasthatresearchershaveasMusicalArtists.Generallyspeaking,therearefourprincipalareasofinquiry,principalinthesenseofbeingdirectlyrelevantbothtotheworkofindividualmusiciansandtotheworkofmusicconservatoires.Theseareasare:

1. MusicalProduction,i.e.composingandimprovisingmusic;

2. MusicalPerformance,i.e.preparingandgivingconcertperformances;

3. Music Teaching, i.e. guiding others in preparation of music performances and in understand-ingmusicalideasandconcepts;

4. Music in Society, i.e. communicating artistic understanding and appreciation, transferring musicalcompetencesanddevelopingconcertaudiences.

4.3.4ArtisticResearchislikelytodistinguishitselfinregardtothekindsofquestionsandhypothesesin-vestigatedaswellasinregardtothemethodsofinvestigationemployed.Itisconceivablethattradi-tionalresearchquestionswillreceivenewanddifferenttreatmentsatthehandsofArtisticResearch-ers.Moreover,ArtisticResearchersarelikelytobringthemselvesintotheinvestigationastheobjectofresearch.Insteadoftakingthestanceofthedistant“objective”observer,theArtisticResearcherwillprobablysethisorherownkindandlevelofperceptionastheultimateobjectofinvestigationaswellasthestandardfordescribingandassessingmusicalphenomena.

4.3.5AstheresearchquestionsofinteresttoArtisticResearcherswilltendtoemergefromanddependonthecurrentstateofknowledge,skillsandexperiencetheybringtotheirprofession,ArtisticResearchislikelytoreflectthedebates,interestsandconcernsoftheartworldinwhichtheparticularartistisworkingandtowhichsheorhewantstomakeanoriginalcontribution.Themusicalartistwilloftenapproachresearchinamannerthatisrelatedtohisorherownartisticambitionswithinhisorherartworld,andwilltendtoproduceresearchthatisdrivenbyasenseofapplication,thatisbythemotivationtoturnresearchresultsintoartisticproducts.

4.4 artisticresearchandtheInstitutionalCoreMission

4.4.1 The concept of Artistic Research is intended as an umbrella concept. Thus, Artistic Research isnotproposedasanotherresearchdisciplineamongtheexistingonessuchasmusichistory,musictheory,musicpsychology,musicphilosophy,musicmedicine,neuromusicologyormusicsociology.Whateverthenatureofanyoftheseestablishedresearchdisciplinesortheroletheyplaywithintheirownmusicinstitution,theyarepartofawhole,butnotthewhole.ArtisticResearchis-notunlikeenvironmentalscienceormedicalresearch-aresearchfieldwithanoverallpurposeinneedofcol-laborationandsupportfromdifferentestablishedresearchdisciplines.Therefore,ArtisticResearchcannotbedissolvedintooridentifiedcompletelywithanycombinationofitscomponentdisciplines.

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ArtisticResearchshouldbeabletomakeuseofanyresearchtool,method,orknowledgebaseacrosstheentirerangeoftraditionalresearchdisciplinesandmethods.

4.4.2 ArtisticResearchisanumbrellaconceptby(i)coveringresearchactivitieswithanartisticknowledgebaseandartisticoutlookand(ii)bybeingembeddedintheconservatoire,whichmeans:

1. Research offers highly trained musicians the opportunity to achieve deep understanding andprogressattheforefrontoftheartbymoreanalyticalanddescriptiveapproachestowardsartisticreality;

2. Researchisessentiallyrelatedtothecoreactivitiesofaconservatoire:producing(i.e.composing,improvising),performingandteachingmusic;

3. Researchoffersspaceforconceptual,empiricalaswellasexperimentalinquiries;

4. TheThirdCycleisaresearchbasedcycleaspartofacoherentthree-cycle-system;itbuildsuponthefirsttwocyclesandfeedsbackintothem;

5. TheThirdCycleallowsconservatoirestotrain,developandstafftheirownresearchersaccordingtotheinstitution’sresearchpriorities.

4.4.3 ToconstrueArtisticResearchasanumbrellaconceptdoesnotmeanlooseningresearchstandards.ArtisticResearchmustadheretothesameinternationalstandardsofintellectualrigour,conceptualclarityandmethodologicaladequacyasanyothertypeofresearch.

4.4.4 Integratingresearchintothefabricofconservatorylifewillconstituteanaturalandfruitfuldevel-opmentandcontinuationofmusicians’perpetualsearchforthebestwayofresolvingthemanyin-triguingquestionsandissuesthatarisethroughoutthecourseoftheirartisticlives.Ifweopenupinstitutionalspaceforreflectionandanalysisatveryhighlevelsandinrelationtotheconservatoire’scoreactivities,thenwehelpnotonlythosedirectlyinvolvedinresearch,butwehelpcreateacultureofresearch,aclimateofquestioning,analysingandexperimentingwhichwillintheendbenefitallmembersoftheconservatoireandserveasacatalysttotheinstitutions’developmentasaculturalengine.

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5 theInstItutIonaldeCIsIontooFFerthIrdCyCle studIes

5.1 potentialbenefits

5.1.1 Conservatoireintegratedresearchhasthepotentialtovitalisecreativethinkingwithintheinstitution.TheramificationsofThirdCycleworkcanchangethenatureofFirstandSecondCyclestudiesaswell.Thecreationofaresearchenvironmentwithinaninstitutioncanhavepositiveconsequencesforall,creatingaspecialspiritofenquiryforallstudents.ResearchstudentscanalsobepowerfulrolemodelsforthoseinFirstandSecondCyclestudies.Furthermore,thecutting-edgequestionsgener-atedbygoodresearcherscanfeedbackintoinstitutionalpolicy-making,allowingsuchorganisationstoevolveinuniqueways.

5.1.2 ThirdCyclestudiesalsohavethepotentialtoenhancetheexternalreputationofinstitutions.AlivelyThirdCyclestudyprogramme,linkedwithalivelyresearchenvironment,hasthepotentialtogen-erate“top” teachersandresearchers.Thisbecomesavirtuouscircle; thepresenceofsuchstaffmemberscanattractgoodstudentsandexternalfunding,enablingthegrowthoftheinstitutionasawhole.

5.1.3 Another importantelement indevelopingresearch inconservatoires is tomakeyoungmusiciansawarethattheconcepts,thetechnicaltermsandtheirrelateddistinctions,assumptions,andtheo-riesthatarehandeddowntousbythetraditionaldisciplines–suchasmusictheory,musicpsy-chology,ormusichistory-donotnecessarilyreflectthewaymusiciansexperienceandthinkabouttheirart.ThirdCycleprogrammesmayprovideasuitableplatformforyoungmusicianresearchersto develop their own concepts that are truer, or a better reflection of their own perceptions andthoughts.Youngresearchersmaybeencouragedtoactivelyinfluencetheworldofmusicresearchandtodeterminetheresearchdiscoursesastheyseefitandnotastheyaretoldtoseefit.Itallowsmusicalartiststoformulatetheirownquestionsintheirownlanguageandinreferencetotheirownexperience.

5.2 somechallenges

5.2.1 Teamssupportingresearchstudentsneedtoenablethemtodevelopcriticalrigourearlyonintheirstudies,whilstpreservingthecreativeaspectsoftheirmusicalstudiesand/orscholarlyquestions.Thiswillpreventstudentsadoptingincorrectresearchparadigmsearlyonintheirstudies,whichcancreatedelaysinthecompletionofstudies,orcanjeopardisecompletionaltogether.

5.2.2 It needs to be understood that research is not merely the preserve of those on Third Cycle pro-grammes. In a healthy institution, research processes and modes of thought will already be inevidence instudents takingFirstandSecondCyclestudies.Suchstudentsneed tobe facilitated

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in their research questions and in their aspiration to adopt research paradigms. Ideally, the stu-dentsonThirdCycleprogrammescanbecomerolemodels forstudentson lessadvancedstudyprogrammes.

5.2.3WhereThirdCyclestudiesarebeingintroducedtoaninstitutionforthefirsttime,ashiftintheal-locationofphysicalandfinancialresourceswillbenecessary.Thisprocessneedstobehandledwithgreatcare,sincereallocationofresourcescanpotentiallyalienatestaffandstudentsalikefromthenewprogramme.

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6 howtoBuIldathIrdCyCleprograMMe

6.1 IsaCurriculumnecessaryforaresearchdegree?

6.1.1 TheimplementationofspecifiedcurriculawithinThirdCyclestudiesisfarfrombeinganorm.Indeed,thelong-standingmodeloflearningandteachingatthislevelhasbeenthesupervisor-researcherrelationship,inwhichintellectualgrowthandattainmentisfosteredbythediscoursegenerated.Thisapproachbypassestheideaofasharedcurriculum,focussinginsteaduponthespecificresearchareabeingexploredbythestudent.Themodelcanbeverystrongifthesupervisoryrelationshipisafruitfulone,anditremainsacorecomponentofresearchdegreeprogrammes.However,itcanhavesomeproblems,includingthepossibilityofasenseofisolationfeltbytheresearchstudent,orprob-lemswithdegreecompletion,ifthesupervisoryrelationshipisdysfunctional.

6.1.2 Inprogrammesfocussinguponmusicstudies,astructuredcurriculumhasthepotentialtomeetstu-dents’needsmorespecificallythansupervisionalone.Suchstudentsoftenbenefitformarangeofstudiesthathelpthemtobecomemoreconversantwiththescholarlyapparatus,moreknowledge-ableaboutaspectsofculturebeyondtheirspecificareasofexpertiseandmorefluentinwrittenandverbalcommunication.

6.1.3 Groupworkwithinmusiccurriculacanallowstudentstobecomeco-creatorsintheirownlearning.AtThirdCyclelevel,studentswhoaregivenopportunitiestolearntogetheroftenformpowerfulpeerlearninggroups.ThetoolsthatcurriculumdevelopersuseincreatingThirdCyclestudiesshouldnur-turethisgenerationofstudentautonomy.Thestudentslearntogivefeedbacktoeachother,provideintellectualandmusicalchallengestoeachother,andgeneratenovelresearchimpulsesamongsteachother.

6.2 tools:polifoniadublindescriptors,learningoutcomesandother Materials

6.2.1ThePolifoniaDublinDescriptorsandtheLearningOutcomesfortheThirdCyclehavebeendevelopedthroughthecourseofthePolifoniaproject.ThekeyconsultationexerciseforthesewasaseminarheldinKarlsruheinSpring2007atwhichalargenumberofinterestedparties–providersofThird-Cycleprogrammesandothers-wereinvitedtoprovideinputonthelearningoutcomes.BecauseThirdCycleworkinHigherMusicEducationisarelativelyyounganddynamicallydevelopingarea,itisexpectedthatthelearningoutcomesthemselvesmaydevelopcorrespondinglyoverthecomingyears.

6.2.2ThespecifictoolsdescribedwithinthisGuide,suchasthePolifoniaDublinDescriptorsandtheLearn-ingOutcomes,arenotmeanttobereadas“carvedinstone”.Buttheycanservetoassistinstitutionsintherelatingoftheireducationaldevelopmentacrossthethreecycles,aswellasbeingvehiclesthroughwhichcross-institutionalcooperationmaybefacilitated.

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6.2.3the polifonia dublin descriptors4areanadaptationbyAECofthenowwell-knownandwidelyusedDublinDescriptorsthatproposeageneraldescriptionofthethreestudycyclesBachelor-Master-Doctorate in Higher Education across all types of study and disciplines. The Polifonia Dublin De-scriptorsemphasizethenotionofartisticknowledge,skillsandunderstanding,andareintendedtoexplain,amongotherthings,howthethreestudycyclesinmusicrelatetoeachother,andhowonecyclecanbeseentobuildupontheothertwocycles.Asnotedin3.21,whiletheBachelororFirstCyclefocusesonthestudent’sacquisitionofpracticalandtheoreticalcompetencesandtheSecondCycleonthestudent’sabilitytointegrateandapplythesecompetencesinvariousprofessionalsitu-ations,theThirdCycleismainlyconcernedwiththestudent’sabilitytogeneratenewknowledgeandnewskills.BydefiningThirdCyclestudiesinmusicasresearchdriven,wecanplausiblyexplaintheirfunctionwithinthethreecycle-systemandwecanalsoseehowintroducingdoctoralprogrammesinconservatoiresmaybehaveapositiveeffectontheothertwocycles.

thepolIFonIaduBlIndesCrIptors

original shared “dublin”

descriptors

polifonia/dublin descriptors for 3rd cycle awards in

higher music education

Qualifications that signify completion of the 3rd cycle are

awarded to students who:

Qualifications that signify completion of the 3rd cycle in higher

music education are awarded to students who:

1. havedemonstratedasystematicunderstandingofa

fieldofstudyandmasteryoftheskillsandmethodsof

researchassociatedwiththatfield;

1. havedemonstratedaprofoundandsystematicunderstanding

ofafieldofmusicalstudy,togetherwithmasteryofartisticand

otherskillsassociatedwiththatfieldandofrelevantmethodsof

researchandinquiry;

2.havedemonstratedtheabilitytoconceive,design,imple-

mentandadaptasubstantialprocessofresearchwith

scholarlyintegrity;

2.havedemonstratedtheabilitytoconceive,design,implementand

adaptasubstantialprocessofresearchwithartisticandscholarly

integrity;

3.havemadeacontributionthroughoriginalresearch

thatextendsthefrontierofknowledgebydevelopinga

substantialbodyofwork,someofwhichmeritsnational

orinternationalrefereedpublication;

3.havemadeanoriginalcontributionthroughresearchandinquiry

thatextendsthefrontierofknowledgeandartisticunderstanding

bydevelopingasubstantialbodyofwork,someofwhichmerits

nationalorinternationalrecognitionanddisseminationthrough

appropriatechannels;

4.arecapableofcriticalanalysis,evaluationandsynthesis

ofnewandcomplexideas;

4.arecapableofcriticalanalysis,evaluationandsynthesisofnew

andcomplexideas,artisticconceptsandprocesses;

5.cancommunicatewiththeirpeers,thelargerscholarly

communityandwithsocietyingeneralabouttheirareas

ofexpertise;

5.cancommunicatewiththeirpeers,thelargerartisticandschol-

arlycommunityandwithsocietyingeneralabouttheirareasof

expertise;

6.canbeexpectedtobeabletopromote,withinacademic

andprofessionalcontexts,technological,socialorcul-

turaladvancementinaknowledgebasedsociety;

6.canbeexpectedtoplayacreative,proactiveroleintheadvance-

mentofartisticunderstandingwithinaknowledgebasedsociety;

4 ThePolifoniaDublinDescriptorscanbefoundatwww.bologna-and-music.org/learningoutcomes.

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Glossary (from the original shared “dublin” descriptors)1. The word ”professional” is used in the descriptors in its broadest sense, relating to those at-

tributesrelevanttoundertakingworkoravocationandthatinvolvestheapplicationofsomeas-pectsofadvancedlearning.Itisnotusedwithregardtothosespecificrequirementsrelatingtoregulatedprofessions.Thelattermaybeidentifiedwiththeprofile/specification.

2. Theword“competence”isusedinthedescriptorsinitsbroadestsense,allowingforgradationofabilitiesorskills.Itisnotusedinthenarrowersenseidentifiedsolelyonthebasisofa“yes/no”assessment.

3. Theword“research”isusedtocoverawidevarietyofactivities,withthecontextoftenrelatedtoafieldofstudy;thetermisusedheretorepresentacarefulstudyorinvestigationbasedonasystematicunderstandingandcriticalawarenessofknowledge.Thewordisusedinaninclusivewaytoaccommodatetherangeofactivitiesthatsupportoriginalandinnovativeworkinthewholerangeofacademic,professionalandtechnologicalfields,includingthehumanities,andtradition-al,performing,andothercreativearts.Itisnotusedinanylimitedorrestrictedsense,orrelatingsolelytoatraditional“scientificmethod”.

6.2.4ThePolifoniaDublinDescriptorscanbeusedalongsidelearning outcomes for the third cycle5thatdescribethosecompetenceswhichstudentsshouldhaveacquiredwhentheycompletetheirdoctoralstudies.TheseLearningOutcomesareintendedtoprovideacommonbasis,validforallmusicaldis-ciplinesandtypesofresearchthatconservatoirescanidentifywith.Theyshouldactasaframeworkwithinwhichthedifferentinstitutionscanfindsufficientspacetorealizetheirownresearchgoalsandsettheirownpriorities.Finally,theLearningOutcomesshouldhelpeveryonewithinconserva-toirestounderstandthenatureofThird-Cyclestudiesinprofessionalmusiceducationandtohelpmusicinstitutionstocommunicatethisunderstandingtothe“outside”world,totheirpeersinotheruniversitydisciplines,torepresentativesofhighereducationadministrationandpoliticsandtothegeneralpublic.

5 TheAECLearningOutcomesforall3cyclescanbefoundatwww.bologna-and-music.org/learningoutcomes.

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CoMpetenCeproFIleForthIrdCyClestudIesInhIgher

MusICeduCatIon

practical (skills-based) outcomes

3rdcycle(whereappropriate,andaccordingtotheindividualnatureof3rdcyclecurricula)

Artistic development and skills

• Theskillstointegrateanddemonstrateoriginalartisticinsightsinperforming,composing,theorizingandteaching

• Thecapacitytoextendinasignificantwayourartisticunderstandingandtocommunicatethoseinsightsinafullyrealizedmanner

• Thedevelopmentandrealisationofartisticautonomy

Research skills

• Thecapacitytoframeresearchproposals–whetherpertainingtotheoretical,practicalorcreativeissuesoracombinationofthese

–rigorously,lucidlyandintermsofquestionstobeanswered,insightstobegained,andindicatorsofsuccesstobeapplied

• Thecapacitytoidentifyandcontextualizecurrentlydynamicissuesinone’sfield,inthesenseofopenquestions,newtopicsand

trends

• Thecapacitytorealisethegoalssetforone’sproject,throughintermediarystepsandappropriatemethods,equipmentandteam

members,whererelevant

• Thecapacitytoidentifyandutilizetherelevantliteratureand/orotherresourcesinconnectionwithone’sfield

• Thecapacityforcriticalanalysisandevaluationofone’sownandother’soutcomes

• Thecapacitytodocument,analyseandsummarisetheinterimandfinaloutcomesofone’sprojects

• Thecapacitytouseprojectfundingandevaluationsystemsinthedevelopmentofone’sownwork

theoretical (knowledge-based) outcomes

3rdcycle(whereappropriate,andaccordingtotheindividualnatureof3rdcyclecurricula)

• Awarenessof,andrespectfor,standardsofexcellenceinone’sownfield;thecapacitytodistinguishbetweenvaluableandirrelevant

inquiry,whetherinthetheoretical,practicaland/orcreativespheres

• Thoroughknowledgeandunderstandingofthenationalandinternationalcontextofactivityandoutputintowhichone’sworkwillbe

disseminated

• Awarenessofownershiprightsofthosewhomightbeaffectedbyone’sproject(e.g.copyright,intellectualpropertyrights,confiden-

tialinformation,ethicalquestions,etc.)

• Awarenessoftheworkandhealthimplicationsforthoseinvolvedinone’sactivities;thecapacitytoconductresearchwithastrong

senseofresponsibilityandvigilance

• Awarenessoftheeconomicpotentialandutilisationofone’soutputs.

• Awarenessofrelevantmethodsandtechniquesofinquiryrelatedtoone’sfieldofstudy.

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Generic outcomes

3rdcycle(whereappropriate,andaccordingtotheindividualnatureof3rdcyclecurricula)

Independence

• Thecapacitytopursueone’sownquestionsandideas

• Thecapacitytocomprehendthetransferabilityofone’sresearchcapabilitiestootherfieldsandtorecognizeanyassociated

careeropportunities

• Thecapacitytosustainanddeepenone’sinquiring,research-orientedapproachthroughoutone’scareerand,whereap-

propriate,acrossallaspectsofone’sworkandendeavour

Critical awareness

• Thecapacitytoquestionthelegitimacyofself-servingorcommonplaceideas,conventions,fashions,etc.

• Thecapacitytoseeone’sownshortcomingsanduntappedpotential,andtodevisestrategiesformaximizingone’sperform-

ance

• Thecapacitytorecognizeandchallengethestandardswithinone’scommunityofresearchers,practitionersandcreators

• Thecapacitytorespondwithunderstandingandresponsibilitytocriticalconsiderationsfromwithinone’scommunityof

researchers,practitionersandcreators

Communication skills

• Thecapacitytoestablishandmaintaincooperativerelationshipswithcolleaguesandstudentswithinone’sowninstitution

andamongthewiderscholarlyandartisticcommunity

• Thecapacitytowrite/present/performclearlyandappropriatelyforthetargetaudiences(e.g.researchreports,journal

articles,presentations,performancesorotherartisticeventsintendedtohavearesearchoutput)

• Thecapacitytoimprovethepublic’sunderstandingand/orartisticinsightinone’sfieldofstudy

• Thecapacitytoassesstheeffectofone’sownbehaviouronotherteammembers,artisticcollaborators,etc.

6.2.5 Ifthethreekeyelementsaremet:theintegrationofresearchintothemusicinstitutions’fabric,mak-ingresearchthedefiningfeatureofThirdCycleprogrammesandgivingthoseprogrammesanap-propriatecompetenceprofile,thenmusicresearchinconservatoireswillhavethebestconditionstothrive.

6.2.6ThereaderisalsodirectedtothefollowingHandbookswrittenundertheauspicesoftheAEC,whichgivespecificinformationaboutdifferentaspectsofcurriculumdevelopmentandqualityassurance.FurthermodelsforqualityassuranceprocessesanddocumentationaregiveninAppendixC.

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handbook for the implementation and use of credit points in higher music education institutions

Thehandbook6dealswiththechallengeofimplementingacreditpointsystemoradaptinganexistingcreditpointsystemandtheuseofmodulesinaninstitutionforhighermusiceducation.Itprovidespracticaltoolsanddifferentworkingmethods,whiletakingintoaccountseveralspecialcharacteris-ticsofprofessionalmusictraining,suchasartisticaspectsandthehighlyindividualmodesofteach-inginmusictraining.AlsodiscussedinthishandbookistheuseoftheEuropeanCreditTransferSystem(ECTS)bothasacreditaccumulationsystemandasatoolfortherecognitionofstudiesininternationalmobility.

handbook for curriculum design and curriculum development in higher music education

Thehandbook7addressesissuessuchas:• Curriculumdesignanddevelopment–whatisitandwhatisitfor?• Curriculumdesignasaholisticapproach.• Theuseoflearningoutcomesincurriculumdesign.• Theuseofcreditpointsincurriculumdesign.• Reviewingandupdatingadesignedcurriculum:curriculumdevelopment.

handbook for internal Quality assurance in higher music education

Thehandbook8ismeanttobeashortguideforconservatoireswantingtodevelopasystemforinter-nalqualityassurance.Itdoesnothavetheambitiontobeacompleteintroductionintotheworldofqualityassurance,withitsmanydifferentsortsofsystemsanditselaborateandsometimesconfus-ingjargon,butexplainsinthefirstfourchaptersinasimplewaythemainelementsofapossibleinternalqualityassurancesystem.Inthechaptersfiveandsixitgivessomepracticalassistancebypresentingasimpleprocedurewhichmightbeusedindevelopingafirstsystemforinternalqualityassurance,andbypresentingconcretematerialsusedbyvariousconservatoiresalloverEurope.

aec document “Quality assurance and accreditation in higher music education: characteristics, criteria and procedures”

Thisdocument9,whichhasbeendeveloped intheframeworkof theAECproject“Accreditation inEuropeanProfessionalMusicTraining”,containsafullydevelopedframeworkwithgeneralinforma-tionabouthighermusiceducation,programmeoutcomes,criteriaandproceduresthatcanbeusedin external quality assurance and accreditation procedures of both institutions and programmes,including3rdcycleprogrammes.

6 TheHandbookfortheImplementationandUseofCreditPointscanbefoundatwww.bologna-and-music.org/creditpoints.

7 TheHandbookforCurriculumDesignandDevelopmentcanbefoundatwww.bologna-and-music.org/curriculumdesign.

8 TheHandbookforInternalQualityAssurancecanbefoundatwww.bologna-and-music.org/internalqa.

9 TheAECframeworkdocumentonqualityassuranceandaccreditationcanbefoundatwww.bologna-and-music.org/accreditation.

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6.3 specifictopicsconcerningthirdCyclestudies:

6.3.1 Practicalquestionsthatmayberelevant to thosedevelopingThirdCycleStudies inMusicHigherEducation:

WhilemostinstitutionswillfinduniquequestionsconcerningtheirdevelopmentofThirdCycleStud-ies,thereareanumberoffrequentlyaskedquestionsanddiscussiontopicsthatmostwillshare.10Thesewouldincludethefollowing,whichmaybeusedasdevelopmentalstartingpoints:

the rationale behind a third cycle programme:

• Definethereasonsfororganizingthirdcyclestudiesintheinstitution.• Ifnecessary,specifytherelationshipoftheinstitution’sthirdcyclestudyprogrammeinthecon-

textofhigherarteducationanduniversityeducation.

the relation between research and practice might include topics like:

• Researchcomponentsinthethirdcycleprogramme.• Trainingcomponentsinthethirdcycleprogramme.• Therelationbetweenthereflectivepart(e.g.thewrittenoutcome)andtheartisticpractice.• Themethodologiesused.• Theintegrationoftheindividualartisticpracticeaspartoftheresearchprocess.

third cycle education might include topics like:

• Structureandcontentsoftheprogramme.• Ifrelevant,abalancebetweenrequiredandoptionalcourses,workshops,seminarsetc.• Thekeycompetencestobedevelopedintheprogramme.• Flexibilityofthecurriculumtailoredtoindividualneeds.• Thelengthoftheformalcurriculum(ifany)andthetimespanbetweentheadmissionandthe

officialacquisitionofthequalification.

professorial and lecturing issues may include:

• Thequalificationsoftheprofessorsandlecturers(degree,artisticprofile,etc.). supervisory/tutoring issues may include:

• Theprofileandqualificationofthesupervisors/tutors,etc.

10 Note:thecurrentstateoftheEuropeansituationinreferencetothesequestionsmaybeunderstoodbystudyingthePolifonia

2006SurveyonThirdCycleStudies,givenasAppendixB,page32.

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• Differentkindsofindividualsupportathirdcyclestudentmightreceive,i.e.: -thestudentisguided,accompaniedoradvised; -thestudenthasdifferenttutorsdependingonthedisciplinesinvolved; -whereseveraltutorsareinvolved,oneofthemhastheprincipalresponsibility.• Jobdescriptionofsupervisors/tutors.• Choiceand/orappointmentofsupervisor/tutor.• Controlandassessmentofsupervisory/tutorialactivity.

admission issues may include topics like:

• Theadmissionleveltheprogrammerequiresofthecandidate.• Thespecificadmissionrequirements,e.g, -aportfoliointroducingtheaspiredresearchplan. -anentranceexamination(andifso,entranceexaminationorganizationandcontent,e.g.artistic

examinationorvivavoce).• Selectioncriteria.• Whetherornotthestudentisassistedbytheinstitutionduringtheadmissionprocessbyprovid-

ingfeedbackonapplications,etc.

the organization of examination processes may involve:

• Specific required presentations (such as concerts/recitals, masterclasses, lectures or lectureperformances,multimediaprojects,publicdefence/vivavoceexaminationofthethesis).

• Compositionofexaminationcommittee.

civil effect issues may include:

• Theofficialtitlesomeonereceivesafterhavingconcludedthethirdcycleprogramme(Dr.,Doctor,PhD,orsomethingelse).

• Theofficialstatusofthegraduateintheprofessionalworld.• Whattypeofprofessionalcareerthegraduatemaypursue.

internationalization issues may include:

• Theinterchangeabilityof(somepartsof)thecurriculum.• Theinternationalizationofexamcommittees.

legal matters that may arise:

• Specifyingtheinstitution(legal-body)grantingthequalification(e.g.university,conservatory).

27

other practical matters may include:

• Enrolmentfee.• Scholarships.• Part-timeandfull-timestudies.• Artisticandpersonaldevelopment.• Qualitycontrolandqualityassurance.

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7 studyIngInaresearChenvIronMent

7.1 hardandsoftelements

7.1.1 Theevolutionofresearchenvironmentswithininstitutionsinvolvedwithpracticalmusic-makingisatopicthatisbecomingincreasinglyimportantinbroadereducationalterms.IndesigningThirdCyclestudies,curriculumdevelopersneedtodevisestrategiesinwhichresearchenvironmentscanevolvetomeettheneedsofbothstudentsandstaff.

7.1.2 A thrivingresearchenvironment includeswhatwemightcallhard and soft elements. hard el-ements are the ones that tend to come to mind first when thinking about an effective researchenvironment; they are at the top of quality control agendas and are more amenable to verifica-tion.Amongthesewefind:researchstaffappropriatelytrainedandinsufficientnumber,adequatelyequippedresearchlaboratories,cooperationagreementswithotherinstitutions,appropriatetrain-ingprogrammesanddiscoursevenuesforyoungresearchersandqualitycontrolprocedures.

7.1.2.1 The soft elements havemore todowithwhatmaybe referred toas the learningand research

cultureofaspecificgroupofpeopleororganisation.Herewearelookingonlyattheconservatoirecontext.

7.1.2.2 Ingeneral,studentsandteachersshouldbeinformedabouttheresearchissuesunderinvestiga-tionintheirhomeinstitution.Thisrequiresopen channels of communicationandmutualexchangebetweenresearch,musicmakingandteaching.Inmanycases,thiswillbefacilitatedbysomemem-bersoftheconservatoirewearingdifferenthatsatthesametime,byworkingintheinstitutionnotonlyinresearch,butalsoasteachersandasperformersandcomposers.Itwillalsobehelpfulifthedifferentactivitiesareplacedunderthesameroof.Thereshouldbeasfewspatialandpsychologicalhurdlesaspossiblebetweentheareasofteaching,performingandcomposingandresearching.Justasinathrivingconservatoireinstrumentalteachersandstudentsshouldfinditeasytoapproachtheircolleaguesintheory,forinstance,sotheyshouldfinditeasytoapproachthoseinresearchandviceversa.Measurestocreateandextendthegeneralresearchawarenessmightincluderegularpresentationsofresearchwork(notunliketheregularstudyconcertsofstudentsandfacultycon-certsbyteachers)aswellasopportunitiesforstudentstoparticipateinresearchprojects.

7.1.2.3 Opencommunicationandmutualexchangeofresearchideasaremadepossiblebythefactthatthemembersofaresearchenvironmentareembeddedinandshapetheirownconceptual landscape.Aconceptuallandscapeisaclusterofideas,questions,debates,theories,methods,andresearchdesigns.Take,forinstance,theconceptofperformance.Thisconceptislikelytofigureprominentlyintheconceptuallandscapeofmusicresearch.Therewillbetheoriesofperformance,aboutitsna-ture,itsfunctionanditshistory.Typically,aresearchercanpointtoideasasbelongingtoacurrentdebate,asbeingacceptedbythemajorityofresearchersinthefield,ascomingincreasinglyunder

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attack,orasbeingnolongeraccepted.Theoriescanbeconsiderednew,influential,innovative,orold,traditional,obsolete.Suchnotions,too,belongtotheconceptuallandscapeofaresearchen-vironment.Anditisessentialforthemembersofaparticularresearchenvironmenttobefluentintheuseofthem.Conceptuallandscapesaredynamic:theyarecreated,changedanddevelopedbythemembersoftheresearchenvironment.Researchjournalsandconferenceswhereresearcherspubliclyexchange informationanddiscusseachother’sviewsplaya largerole inshaping them. Generally,conceptuallandscapesfunctionasastimulustoresearchbyfosteringunderstandingandcommunication,bydelineatingdebatesanddefiningresearchfronts.Buttheycanbecomeanobsta-clewhentheirconcepts,distinctions,classificationsetc.fossilizeintosedimentedopinionsinsteadofencouragingthecriticalexaminationoflongcherishedassumptionsandtheoriesaswellasnewimpulsesandideas.

7.1.2.4 Perhapsthemostimportanttraitofmembersofathrivingresearchenvironmentisthesocratic dispositiontorejectclaimsandtheoriesthatarebasedmerelyonauthority.Inthearts,theconceptofauthorityplays,atleastimplicitly,alargerole.Justconsidertherelationshipbetweenteacherandstudentinconservatoires.Itisoftenthatofmaster-and-disciple:themastertells(usually)thestudentwhattodoandhowtodoit,andthestudentfollowsobedientlywiththelikelyconsequenceofpresentingahigh-levelproductbythecurrentconservatoirestandards.Butthepossiblesideeffectsarenottobeneglected:unquestionedandunexaminedideasanddoctrines;thetendencytoclonemastersinsteadofexploringnewavenues.Aproperattitudeinaresearchenvironmentistotakeaninvestigative,scepticalstancetowardsleadingopinions.Thisshouldnotbemisunderstoodasapleaagainstauthoritiesorleaders.Butwhatwehavetodoisrecogniseauthorityforwhatitisanddetectitsmisuse,beitinteachingortheorizing.

7.2 Finalremarks

7.2.1 Athrivingresearchenvironmenthashardandsoftelements.Butsuchanenvironmentisnotsome-thingthatcomesintoexistencebyitself.Merelyhiringafewresearchers,givingthemtheproperinfrastructureandbudgetandthenwaitingforgreatthingstohappen,isnotthemostpromisingmethod.Athrivingresearchenvironmentissomethingthatneedstobebuiltandconstantlyworkedupon.Anditisespeciallythesoftelementsthatrequirepatience,intelligentcareandwisdom.

7.2.2 Scepticism,empiricism,risk-taking,intellectualhonestyandself-confidencearevirtuesofafertileresearchenvironment.Ahealthyresearchenvironmenthasenemies:frettingaboutmoneyandbu-reaucraticproceduresimposedbythegovernment,justtomentiontwoofthemorestressingones.Butwehaveachancetodealsuccessfullywithsuchthreatsifwetaketheintellectualvirtuesseri-ously.Theprizeofthisisthepotentialforinstitutionalgrowthatalllevelsofstudy,sinceavibrantresearchenvironmentwillbenefitthewiderartisticandacademiccommunity.

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8 ConClusIon

8.1 CurriculumdevelopmentinThirdCycleStudiesinMusicHigherEducationisinaverydynamicstatewithintheEuropeanHigherEducationArea.Thoseinvolvedinthisworkhaveagenuineopportunitytoinfluencethefutureofmusiceducation,scholarshipandperformance.This,inturn,maycreateopportunitiesforstudentstoreachtheirpotentialinfresh,newways,aswellasexcellinginthoseareasthataremoretraditionallypartofMusicThirdCycletraining.

8.2 Sincemuchofthisworkisstillatanearlystage,readersaredirectedtotheAECWebsite,wheremuchoftheinformationoncurriculumdevelopmentishoused.Inparticular,the summary of tun-ing findings in music higher educationisofusetothosewhoneedtotakecaretorelatetheThirdCycletoFirstandSecondCycle.AGlossaryofTerms,whichmaybehelpfulforterminologywithinthisguidethatisunfamiliaircanbefoundatwww.bologna-and-music.org/glossary.

8.3 ItishopedthatThirdCycleStudiesdesignedwiththeprinciplesofthisGuideinmindwillhavetheeffectofencouragingsophisticatedandstudent-centredreflection,planningand implementation.Thevitalityoftheresearchenvironmentthatcanresulthasthepotentialtobenefittheinstitutionasawhole,and,inturn,thewholefaceofHigherMusicEducation.

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appendICes

32 33

32 33

appendIxa InForMatIonsourCes

ForthosedevelopingnewThirdCycleprogrammeswithininstitutions,itcanbehelpfultostudycon-sultationdocumentsthatbuildupapictureofhowEuropeanpolicyhasdevelopedinthisareaoverthepastseveralyears.Thelinksbelowcalluponlinesourcesof information. Cautionshouldbeusedinconsultingthismaterial;thesituationrelatingtoEuropeandtheBolognaProcessatthetimeofwritingisinaconstantstateofchange,soitisimportantduringtheprogrammedevelopmenttosearchoutthemostup-to-datematerialavailable.

the polifonia third cycle working Group www.polifonia-tn.org/3rdcycle

the bologna declaration process

TheAEConlineBolognahandbook:www.bologna-and-music.org

OfficialBolognawebsite:http://www.ond.vlaanderen.be/hogeronderwijs/bologna/

TheEUAandBologna:http://www.eua.be/index.php?id=36

the eua salzburg conference on doctoral programmes

http://www.eua.be/index.php?id=187

the eua nice conference on doctoral programmes

http://www.eua.be/index.php?id=121&type=98

the lisbon strategy of the eu

http://ec.europa.eu/regional_policy/themes/lisbon/lisbon_en.htm

http://www.europarl.europa.eu/summits/lis1_en.htm

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united kingdom

AHRC. (2003).ReviewofResearchAssessment. Research in theCreativeandPerforming Arts. http://www.ahrc.ac.uk/images/4_92883.pdf

Andrews, Stuart & Robin Nelson. (2003). Practice as research: regulations, protocols and guidelines.http://www.palatine.ac.uk/files/903.pdf

RAE.(2005).RAE2008GuidanceonSubmissions. http://www.rae.ac.uk/Pubs/2005/03/rae0305.pdf

UKCGE.(1997).Practice-BasedDoctoratesintheCreativeandPerformingArtsandDesign. http://www.ukcge.ac.uk/publications/reports.htm UKCGE.(2001).ResearchTrainingintheCreative&PerformingArts&Design. http://www.ukcge.ac.uk/NR/rdonlyres/07850CCD-371A-46CD-976A-27817FD007EB/0/ CreativePerformingArts2001.pdf

usa NASM.Handbook2005-2006.http://nasm.arts-accredit.org

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appendIxB thIrdCyCleprograMMedevelopMentIssues (survey2006)

ThepresentationofthefollowinginformationisbasedontheresultsofanAutumn2006questionnairecirculatedintheframeworkofthe“Polifonia”projectto40Europeanprofessionalmusictrainingin-stitutionsthatofferThirdCyclestudies:AUSTRIA(3),BELARUS(1),BELGIUM(1),CZECHREPUBLIC(2),ESTONIA(1),FINLAND(1),GERMANY(6),IRELAND(1),LATVIA(1),LITHUANIA(1),MACEDONIA(1),NETHERLANDS(3),NORWAY(1),ROMANIA(3)SLOVAKIA(1),SPAIN(1),SWEDEN(4),TURKEY(2),UNITEDKINGDOM(6).

ThoseinstitutionswereaskedsomeadditionalquestionsaboutthenatureandthepracticalitiesoftheThirdCyclestudiestheyoffer.Theresultsareimportantinrelationtotheissuesexploredhereandwillgivecontextsforthecreationofnewprogrammes.

Inthe2006Surveymaterial,themajorityofthematerialdescribesthecurrentstatusquo,ratherthanspecifyingwhatmightbeanidealwayforward.Itformsakindof“snapshot”ofthesituationatthetimeofwriting.ItisimportantthatthisbackgroundoftheevolutionofThirdCyclesisunderstood,but it isnotproposed that thestatusquoshouldnecessarilybemaintained; indeed,evolutionofthoughtwithineducationisvitaltokeepitaliveandthriving.

Those involvedwithdevelopingThirdCyclestudiesareconfrontedwithaseriesofpracticalques-tions,suchasthenaming of the degreeandthedesignation of its graduates. Infact,thereisnouniform denomination of Third Cycle studies in music in Europe. Some are called PhD Studies, othersresearchstudies,doctoralstudiesor„Promotionsstudiengang“,tomentionbutafewofthemorecommontitles.WhatisnotableisthatmostThirdCyclestudiesdonotrefertomusicinthename.Theactualdegreetitlesawardeddifferaswell,althoughthereismoreuniformitythaninthenameofthestudies.Typically,thetitleofagraduateofaThirdCyclestudyinmusicis“Dr.“,thequali-ficationcanbeaPhD.OthertitlesareDMusorArtD.

HowlongshouldaThirdCycleprogrammetaketocomplete?Researchhasshownthatstudy dura-tionvariesamonginstitutions.Itreachesfrom2yearsupto8yearsinfull-orpart-timestudies.Theaveragedurationof full-timestudies is3-6years.Mostof theofferedThirdCyclestudiescanbestudiedpart-time,whichextendsthelengthofthestudyfromonemoreyeartoevendoublethetimeinsomecases.Theaveragedurationofpart-timestudiesis5-6years.

fee informationneedstobeveryclearlycommunicatedtoprospectivestudents.Again,thefee-levy-ingpracticesinEuropearenotuniform.Approximately,60%ofinstitutionsaskforafee.Theamountsarehighlydivergent.Designatedfeescoveradmissionexamfees,enrolmentfeesandtuitionfees,part-timeandfull-timestudyfees,feesfornationalstudents,forstudentsfromEUcountriesand

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nonEUcountries.Therearefeesthatclearlydonotcovertheamountofmoneythatthestudentcoststheinstitution1and,ontheotherhand,therearefeesthatrangeuptoover14.000€ayear2.

Provisionofscholarshipscanmakeanenormousdifferencetostudentrecruitmentandretention.IntwothirdsoftheinstitutionsthatofferThirdCyclestudies,scholarshipsareavailable.Curriculumdevelopersshouldalsoconsiderstudentfundingthroughgraduateteachingassistantships,researchfellowships,projectworkorsimilarmeans.Existingscholarshipprovisionismoreorlessfundedbygovernmentalbodies. Ingeneral, the fundingreliesheavilyon thestate inmostof thecountries.Someinstitutions,however,haveasystemofintegratingtheirThirdCyclestudentsintheinstitution’sresearchandteachingwork3.

applicants forThirdCyclestudiesareverycarefullyselected.Theyundergoextensiveadmission proceduresandhavetodemonstrateaveryhighlevelofproficiencyintheirfieldofstudy.GeneraladmissionrequirementsformostThirdCyclestudiesinmusicare:

1. Anextensiveapplicationform.2. AMaster’sdegree,thoughinsomecasesanequivalentissufficient(professionalexperience).3. Researchproposal/portfolio.4. Aninterview.

Someinstitutionsadditionallyrequireoneofthefollowing:5. Admissionexamand/oraudition.6. Professionalexperience.7. Languageskills.8. References.

ManyinstitutionsoperatetheirThirdCyclestudiesthroughapartnership agreement.Thiscansolvebothvalidationandresourceproblems.Differentkindsofcooperationexist:

1. InstitutionscooperatebecausetheconservatoiredoesnothavethelegalpositiontoawardtheThirdCycledegree.

2. Institutionscooperateforsinglecourses.3. Institutionsallowforsupervisionfromotherinstitutions.4. Institutionscooperatetofacilitatestudentmobility.5. Institutionscooperateinauniqueway–e.g.OrpheusInstitute,Gent.

1 AustrianUniversitiesofMusic,forexample,receiveastudyfeeof363,36€pertermfromeverydoctoralstudent.

2 BirminghamConservatoirestudyfeeforoverseastudents.

3 ExamplesaretheJanacekAcademyofMusicandPerformingArts(Brno,CzechRepublic).UniversitataeNationaladeMuzica

Bucuresti(Bucharest,Romania)orSwedishinstitutionsthatofferThirdCyclestudentsfull-timepositions.

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ManyinstitutionsofferingaThirdCycledonothavethelegalrighttoawardthedoctoralqualificationwithintheirwalls,butrelyuponcooperation.Thecooperationintheframeofsinglecoursesorsu-pervisionshowsthatsomeinstitutionsallowtheirThirdCyclestudentstogatherexpertisewhereveritisoffered.Especiallyatthislevelofhighereducation,specialisationisrequiredtobeabletooper-ateontheforefrontofthefield.Thisconcernsstudentsaswellasinstitutions.

Thespecialrequirementsofadvancedstudyinmusicmeanthatthemajorityofsuchinstitutionsoper-atea doctoral curriculumofcompulsorycourseelements.ThesecoursesincludespecificseminarsforThirdCyclestudents,someofwhicharealsomeantasanopportunityforinformationexchanges,courses on methodology, music related courses (including performance). Language courses andpedagogy/psychology,presentationandcommunicationtrainingandphilosophycoursesarealsoim-portantcomponents.Institutionsshouldalsoconsiderinclusionofinformationtechnologycourses,wheresuchcoursescanbeofbenefittoThirdCyclestudents.

Anoverviewofthecompulsory elementsforexistingThirdCycleprogrammesinmusicshowsthefollowingresult:

SpecificThird-Cycle(individual)seminars 31%

Methodology 17%

Musicrelated(includingperformance) 17%

Language 10%

Pedagogy/Psychology 10%

Presentation/Communication 7%

Philosophy 6%

Informationtechnology 2%

The“seminar”categorythatscoreshighestaccordingtotheabovedisplayedlisthasbeensetupasacommoncategoryforthespecificThirdCyclecoursesthathavenotbeendefinedinmoredetail.Itcancompriseelementsofthelessfrequentlymentionedcoursetopicsorberelatedtothestudent’sinquirytopicandthereforeindividualtoeachdoctoralcandidate.

Asdiscussedin4.,understanding the relationship between research and practice isakeyconsid-erationforcurriculumdevelopmentteamswhowishtocreateinnovativeThirdCycleprogrammes.ThemajorityofThirdCyclestudiesofferedinhighermusiceducationinstitutionsareacombinationofresearchandartisticpractice,whichindicatestheimportanceofhavingaclearpictureofwhatthismeansintermsofcontent,outcomeandevaluationstandards.Asarule,institutionsgivepro-nouncedattentiontothestudent’sartisticdevelopmentduringThirdCyclestudies.Morethantwo-thirdsoftheinstitutionsdeclaretheydoso,whichmeansthatthishappenseveninsomestudiesthatarespecificallyresearch-basedonly.

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supervisionremainsthekeyteachingmodalityatThirdCyclelevel,andcurriculumdevelopersneedtoconsiderthisaspectofprovisionverycarefully.Differingpatternsofsupervisionarepossible.Re-searchshowsthatmorethanhalfofinstitutionsoffertheirThirdCyclestudentssupervisionthroughasinglesupervisor.In31%ofthecases,thestudentsaresupervisedbyatleasttwopeople,oftenbyaresearchandanartisticsupervisor,aninternalandanexternalsupervisororamaintutorandanassistanttutor.Inabout15%oftheThirdCyclestudies,studentsaresupervisedbymorethantwopeople.Mostinstitutionsallowteamsupervision,andthiscanbeaveryempoweringapproachforbothstudentsandstaff.Insomecasesthereisageneralsupervisorandaspecialistsupervisorwhoisanexpertinthefieldofstudythatthestudentisinvestigating.

Supervisionsusuallyconsistofregularmeetingswiththesupervisor(s).frequency of supervision isvariable,andshouldbeflexibleinordertobestmeetstudentneedswithoutbeingwastefuloftheresourceofstafftime.Someinstitutionsofferthemostintensivesupportintheinitialphaseofstud-ies,withmoreautonomyexpectedatlaterstages.Itcanbeveryhelpfultoindividualstudentsifthereisaregularpossibilitytodiscusstheirworkandprogresswithateamofpeersand/oracademicstaffinvolvedinresearchandThirdCyclework.

Inmorethanhalfoftheinstitutionsthestudentisinvolvedintheprocessof,orsolelyresponsiblefor, choosing the supervisor(s).IntheothercasesitisacommitteeoraThirdCycle/researchcommis-sionthatchoosesthesupervisor(s)ortheHead/Dean/ChairoftheFacultyorResearchDepartment.Curriculumdevelopersneedtocomplywithinstitutionalregulations,althoughtheparticipationofstudentsatthislevelishighlydesirable.

appointment of the supervisor(s)usually involves interfacingwithofficialbodies,and theseproc-essesneedtobeclearlyunderstoodwithintheprocessofcoursedesign.Thesupervisor(s)are,inmostcases,notappointedbythesamebodythatchoosesthem.Forexample,theappointmentisinonesinglecaseamatterfortheMinistryofEducationandResearch4.Inanothercase,allstaffmem-berswithaThirdCycledegreeappointsupervisor(s).Insomecases,thisisataskofaspecialboardbutinmostcasesthesupervisor(s)areappointedbysenioradministrativestaff.

Mostsupervisorshavetobeteachingstaffmembersintheinstitutionswherethestudentstudies.SometimessupervisorsadditionallyneedaPhDorThirdCycledegreethemselvesorequivalentar-tisticexperience.Insomecases,theyarenotrequiredtobeteachersbutcanalsoberesearchersonly,holdingaThirdCycledegree.Someinstitutionsallowsupervisiononlybystaffmembersthatalreadyhavesupervisingexperience;thisisusuallyconnectedtoteamsupervision,wherenoteverysupervisorhastobequalifiedinthesameway,butisusuallyaspecialistinhisownfield.Insomeexceptionaloccasionsanexternalconsultantcanbeallowedtosuperviseandischosenaccordingtohis/heroutstandingexpertise.

4 UniversitateaNationaladeMuzicaBucuresti,Romania

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Prof/Universityteacher PhD/Dr. Both

45% 16% 39%

Tableshowsqualificationrequirementsforsupervisors.

RequirementsforthoseteachingThirdCyclestudentsaresimilartothequalificationssupervisorsmusthave.AThirdCycledegreeisnotalwaysnecessarytoteachThirdCyclestudents.Inaddition,externalexpertsaresometimesinvitedtolecturetoThirdCyclestudents.Theexternalexpertsusu-allyarenotrequiredtohaveacademicqualificationsbutequivalentqualificationslikecareerexperi-ence.

intermediate assessment and upgradingisamandatorycomponentofmany,thoughnotall,doc-toraldegreeprogrammes.Inprogrammeshavingthisstructure,thereisastageathigherMasterslevel(e.g.MPhil,MMA)ofoneyear’sdurationthatprecedesanexaminationprocessinwhichthestudentattemptstobeupgradedtofulldoctoralregistration.Thisinterimexaminationusuallyin-volvespresentationofwork-in-processtoaPanelcomposedofmembersfrominsideandoutsidetheinstitution.Studentswhodonotpassthisexaminationareusuallygivenanotheropportunitytoattemptit,afterwhichtheyareeitheradmittedtofulldoctoralregistration,orinstructedtocompletetheirMasterslevelstudy.

promotion, final examination/presentation:Therecurringcomponentsofthefinalexaminationareathesisandanartisticpresentation.NearlyallThirdCyclestudiesinmusicforpromotionrequireathesisandapublicdefenseofit.Thisseemslogicalforscientifically-orientedThirdCyclestudies.Moreover,ThirdCyclestudiesthathaveanartisticemphasisstipulatethatcandidatesdemonstratenon-verbalisable outcomes of their doctoral research through concerts, workshops, lecture-per-formancesandsoon,asidefromthewritingofathesiswhichhastobedefendedinpublic.Therearefewvariationsofthisconceptthatfittheartisticpurposebehindbutcombineitinasensitivewaywithresearchorinquirythatmayneedaspecialmodeofpresentationtotheexaminationboardinafinalpresentation.Intheory,thenatureofaThirdCyclequalificationinmusiccouldbepurelyscientific(musicology),oracombinationoftheoryandartisticpractice.

Thefinalproposalasto which form of submissionismostappropriatetoastudent’sworkneedstobeagreedbetween thestudentandher/hissupervisorsandsubmitted to theResearchDegreesCommittee(orequivalent).Appropriateproceduresneedtooperateinthepresenceofperformance-centredand/orpractice-basedworkwithinasubmission,ofteninvolvinginterrogationofastudent’sresearchprocessesthroughouther/hisprogrammeofstudy.Candidatesaregenerallyexaminedviva voceontheirsubmissions.

final examination panelsareusuallycomposedofacombinationofinternalandexternalmembers,forartisticandacademicprobity.Asubstantialamountofpanelsarealsocomposedofinternalex-

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aminersonly.Onlyonepanelinonerespondinginstitutionconsistsofexternalevaluatorsonly.Mostcommitteesarecomposedofthreepeopleormore,butmayhaveuptotwelvemembers.

For themostpart, the qualification of the panel members in the finalexam isanacademicone.Theyareprofessorsorseniorteachingstaffmembersinhighereducationinstitutions.Sometimespracticalexpertscanbeinvitedtotakepartinthecommittee.Studentsdousuallynottakepartinthecommittee.Onlyoneinstitutiondeclaredthatthisisthecaseintheirfinalevaluationcommittee.Thesupervisorofthestudentissometimespartofthepanel,sometimesonlyallowedtobepresentwithoutavoiceinthefinaldiscussion.

PossessionofaThirdCyclequalificationinmusiccanhaveaprofoundlypositiveeffectoncareerop-portunities(civil effect).Inmanycases,itsattainmentisnecessaryinordertobepermittedtolectureatthehighereducationlevelorbecomeaprofessor.InmanyinstitutionsaThirdCyclequalificationisrequirednotonlyforscientificteachingatuniversitylevelbutalsoforthepositionofartisticpro-fessor.AllinstitutionswherethisappliesofferaThirdCyclethatisacombinationofresearchandartisticpractice.Inamajorityofcases,acompletedThirdCyclehasapositiveeffectonthesalaryoftheteacherholdingaThirdCycledegree.ForinstitutionsembarkinguponthecreationofaThirdCycleforthefirsttime,understandingcivileffectisimportant,sinceitcancreatetheneedfornewrecruitmentofstafftrainedtoThirdCyclelevel,andthuscausestrainonfundingresources.Itcanalsocauseinternalstrainwithstaffmemberswhodonotpossesssuchqualifications,butwhowishtoteachatThirdCyclelevel.Inthiscase,staffdevelopmentopportunitiesneedtobeconsidered.

Quality assuranceisanimportantcomponentoftheBolognaDeclarationProcess.Theimportanceofthissubjectisbasedontheunderstandingthatifhighereducationalprogrammesaretobecomemore comparable and recognised at European level, the mechanisms for the assurance and en-hancementoftheseprogrammesshouldalsohavehigherlevelsofcomparabilityandcompatibility.Wheretheydonotalreadyexist,qualityassuranceandaccreditationagenciesarecurrentlybeingestablishedinvirtuallyallBolognacountries,whilestandardsandproceduresarebeingdevelopedatEuropeanlevel.Formusicians, it is importanttoensurethatthespecialcharacteristicsofpro-fessionalmusictrainingaretakenintoaccountwhensuchstandardsandmethodologiesarebeingformulated.

Within theprojectAECProject “Accreditation inEuropeanProfessionalMusicTraining”,a frame-workdocumenthasbeendevelopedbyaEuropean-wideworkinggroup,whichcontainssuggestionsandguidelinestosupportqualityassuranceandaccreditationproceduresinhighermusiceducation.Thedocumentisdesignedtotakeaccountofthefactthatqualityassuranceandaccreditationcaninvolvemanydifferentstakeholdersandmaytakeplaceindifferentcontexts.Asaresult,thepro-posedframeworkdocumentcanbeusedinahighlyflexiblemanner,takingintoaccountthediversityofsystemsandapproachestoqualityassuranceandaccreditationinhighereducationthatexistinEuropetoday.Thebasicassumption,however,isthateverythingwritteninthisdocumentisbasedon

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athoroughunderstandingofthecharacteristicsandneedsofthehighermusiceducationsector.ThedocumentshouldthereforebeabletoassistAECmemberinstitutionsinrelationtoqualityassuranceoraccreditationproceduresandtheirqualityenhancementactivitiesonall3cycles.

internationalisation:TheuseofECTS(EuropeanCreditTransferSystem)creditshasbeenagreeduponintheframeworkofthe“BolognaDeclaration”Process.However,itisstillnotcustomarytousecreditsforThirdCyclestudies.Inthefewinstitutionsthatdomakeuseofthissystem,thetotalnumberofcreditsrangesbetween120-240credits.Some institutionsmaybrokerpartnershipagreementsbeyond theEuropeanspace to implementtheir Third Cycle programmes. The principal challenge with this is to develop mutually compati-blevalidationandqualityassuranceprocesses.However,thereareindicationsthatsuchjointpro-grammeswillbecomemorecommoninthefuture.

Theaccreditation of prior experience and learning(APEL)isanimportantconsiderationforinstitu-tionsgrantingdegreesinvolvingpracticalmusicmaking.Sincetheexperienceofmanystudentsen-teringsuchprogrammeswillhavecomefromprofessionalwork,itislaudablethatthisworkshouldbeconsideredaspartofthestudent’soverallprofile.Wheresuchexperienceisrelevantandverifi-able,thereshouldbeapossibilitytocreditsuchattainmentwithintheThirdCycleprogramme.

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appendIxC exaMplesoFoFFICIalQualItyassuranCe doCuMentatIonForthIrdCyClestudIesvalIda- tIons:ratIonale,resourCes,revIew,studenthand Book

(not applicable to all institutions, but presented for information)

WhereinstitutionsarelaunchingThirdCyclestudiesforthefirsttime,aProgrammeValidationproc-essthatmeetstheregulatoryneedsofboththeinstitutionanditsgoverningbodieswillneedtotakeplace.Thisprocessanditsassociateddocumentationwilldifferfrominstitutiontoinstitution,butgenerallyinvolvesaprocessofprogrammedevelopment,auditingandexternalscrutinypriortotheapprovaloftheprogramme.Curriculumdevelopersmustworkcloselywithallbodiesofgovernanceinordertoassurethatthespecificrequirementsforvalidationaremet.

Inmanyinstitutions,arationale statementcanbeahelpfulintroductiontotheprocessofvalidation.Thisstatementshouldsetoutclearlythereasonsfordevelopinganewprogramme,theplaceofsuchaprogrammewithintheinstitutionalstrategy,itspotentialprofilenationallyandinternationallyandthekindsandnumbersofstudentsthattheprogrammemayattract.WhereThirdCyclestudieshavenotexistedpreviously,itisimportanttowritethedocumentinsuchawaythatstaffandstudentstak-ingFirstandSecondCyclestudiescanseetherelevanceofaThirdCycletotheirownexperiences.Thestatementshouldalsooutlinelong-termaimsforThirdCyclestudies,andthegeneralstrategiestobedevelopedinsupportofsuchaims.

ThirdCycleprogrammeswithinanyinstitutionneedtobebothfinanciallyviableandcapableofbe-ingimplementedwithoutdeleteriouseffectsuponotherimportantprovisionwithintheinstitution.Toprove this,many institutionsrequirea resource statement thatoutlinesboth thecurrentpro-grammeprovisionintermsoffinancialandphysicalresources,andmakesprojectionsforwardtoaccountforfuturedevelopment,usuallyonatime-scaleoffiveyears.ThemanagementteamoftheinstitutionwillneedtoapprovetheResourceStatement,aswillcertainnationalgovernmentswithdirectinstitutionallinks.

Aprogramme review documentshouldbewritten,thatdescribesindetailthemannerinwhichtheprogramme will operate, including its daily management, the curricular structures, unit descrip-tions,examinationprocessesandregulations.Thevalidationdocumentshouldaddressstaffandstudentfeedbackabouttheproposedprogramme,andaddressanyquestionsraisedduringtheproc-essofgatheringthisfeedback.

Atthecompletionofthevalidationprocess,theProgrammeReviewDocumentcanbecomethebasisforthestudent handbook,whichshouldcontainalltheorganisationalinformationthatastudentwillrequireforthecourseoftheprogramme,andbecomestheprincipaldocumentforthedailyopera-tionoftheprogramme.

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continuous enhancement and ongoing programme review

annual monitoringprocessesoperatewithinmostinstitutionsofferingThirdCyclestudies.Thisin-cludestheannualanalysisofcohortstatistics(i.e.numbersofstudentsgraduating,numberswhohavenotpassedtheirexaminationsandsoon),gatheringofannualfeedbackfromstaffandstudents,managerialconsiderationofchangestobe implementedwithintheprogramme,andthedevelop-mentofanannualactionplanfortheimprovementofthestandingprogramme.AllthisinformationshouldbegatheredandanalysedwithinaunifiedAnnualMonitoringReport,completedatthesametimeeachyear,andpresentedforconsultationandapprovaltointernalandexternalbodiesgovern-ingtheThirdCycleprogramme.

BecauseoftheinnovativenatureofThirdCyclestudiesinmusic,staff developmentisimportanttoenhancetheresearchenvironmentandtomaintainhighstandardsofteachingandlearningwithinprogrammes thatareworkingat thevanguardofmusic research.Staffdevelopmentcanbecar-riedoutasteamevents(e.g.staffdiscussionsaboutassessmentcriteriarelatingtoperformance)andcanalsoinvolvetrainingtailoredtoindividualneedsandaspirations.StaffdevelopmentactivityshouldalsobereporteduponwithintheAnnualMonitoringReport.

Quinquennial/periodic reviewoftheentireThirdCycleprogrammeisnecessaryinordertomaintainstandardsandtocreateaspaceinwhichlarge-scaleprogrammeinnovationsmaytakeplace.Suchprocessesusuallyreplicateinitialvalidationsintermsofthedocumentationproducedandthekindsofscrutinytowhichtheprogrammeissubjected.

Association Européenne des Conservatoires,Académies de Musique et Musikhochschulen (AEC)PO Box 805 NL-3500AV Utrecht The Netherlands

Tel +31.302361242 Fax +31.302361290Email aecinfo@aecinfo.org Website www.aecinfo.org