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8/3/2019 AEC Handbook - Guide to Third Cycle Studies in Higher Music Education - En
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AEC PUBLICATIONs 2007
handbookGuide to third cycle studies in
hiGher music education
polifonia third cycle workinG Group
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The Polionia project has been unded with support rom the European Commission. This publication refects the views o its
authors and the Commission cannot be held responsible or any use which might be made o the inormation contained therein.
A free electronic version of this handbook is available through www.polifonia-tn.org.
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handbookGuide to third cycle studies in
hiGher music education
polifonia third cycle workinG
Group
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Contents
f
1. i
2. t cy: i cx
3. t r f, s t cy
4. r t cy m
4.1 TheBroadFieldofResearch
4.2TheEssentialNatureofResearch
4.3WhatisArtisticResearch?
4.4ArtisticResearchandtheInstitutionalCoreMission
5. t i d t cy s 5.1 Potentialbenefits
5.2 SomeChallenges
6. h t cy pg
6.1 IsaCurriculumNecessaryforaResearchDegree?
6.2Tools:PolifoniaDublinDescriptors,LearningOutcomesandotherMaterials
6.3SpecifictopicsconcerningThirdCycleStudies
7. r ev
7.1 HardandSoftElements
7.2 Finalremarks
8. ca
ax a
InformationSources
ContinuousEnhancementandOngoingProgrammeReview
ax b
ThirdCycleProgrammeDevelopmentIssues
ax c
ExamplesofOfficialQualityAssuranceDocumentationforThirdCycle
StudiesValidations:Rationale,Resources,Review,StudentHandbook
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Foreword
TheERASMUSThematic Networkfor MusicPolifonia1
, thelargestEuropean project on profes-sionalmusictrainingtodate,involved67organisationsinprofessionalmusictrainingandthemusic
professionfrom32Europeancountriesand30expertsin5connectedworkinggroupsinanintensive
3-yearworkprogrammefromSeptember2004October2007.Theproject,whichwascoordinated
jointlybytheMalmAcademyofMusicLundUniversityandtheAssociationEuropennedesCon-
servatoires,AcadmiesdeMusiqueetMusikhochschulen(AEC),receivedsupportfromtheEuropean
UnionwithintheframeworkoftheERASMUSProgramme.Theaimsoftheprojectwere:
1. TostudyissuesconnectedtotheBolognaDeclarationProcess,suchasthedevelopmentoflearn-
ingoutcomesfor1st(Bachelor),2nd(Master)and3rdcyclestudiesthroughtheTuningmethod-
ology2,theuseofcreditpointsystems,curriculumdevelopment,mobilityofstudentsandteach-
ers,andqualityassuranceinthefieldofmusicinhighereducation.2. Tocollectinformationon levels inmusiceducationotherthanthe 1st(Bachelor)and the2nd
(Master)studycycles,inparticularpre-collegetrainingand3rdcycle(Doctorate/PhD)studiesin
thefieldofmusic.
3. Toexploreinternationaltrendsandchangesin themusicprofessionandtheirimplicationsfor
professionalmusictraining.
Withtheaimtoparticipateinthediscussionstakingplaceinthehighermusiceducationsectorand
intheframeworkoftheBolognaprocesson3rdcyclestudies,theAECformedwithinPolifoniaa
groupwiththefollowingexpertstostudythissubject:
PeterDejans(Co-chairOrpheusInstituutGent) DarlaCrispin(Co-chairRoyalCollegeofMusic,London)
ValentinaDediu-Sandu(UniversitateaNationaladeMuzicaBucuresti)
HubertEiholzer(ConservatoriodellaSvizzeraItaliana,Lugano)
HaraldJrgensen(NorwegianAcademyofMusic,Oslo)
LolaSchirgi(UniversittfrMusikunddarstellendeKunstGraz)
MichaelUhde(StaatlicheHochschulefrMusik,Karlsruhe)
ThemainobjectivesofthePolifoniaThirdCycleWorkingGroupwere:
Toprovideanoverviewoftrends,typesofcoursesanddevelopmentsatthe3rdstudycyclein
musicinEurope.
Todeveloplearningoutcomesforthe3rdcycleandtostudytheconnectionoftheseoutcomesto
thelearningoutcomesofthe1stand2ndstudycycle.
Tostudytherelevanceofa3rdcycleinmusicfortheprofessionandthejobmarket.
Todevelophelpfultoolsformusicinstitutionswishingtoestablisha3rdcycle.
Theseaimswere reachedthrough anintensive3-year work plan that included8 working group
meetings,3sitevisits,1conferenceandliteratureresearch3.
1 SeeformoreinformationaboutPolifoniawww.polifonia-tn.org.
2 FormoreinformationabouttheTuningmethodologypleaseseehttp://www.tuning.unideusto.org/tuningeu/index.php?option
=content&task=view&id=172&Itemid=205.
3 InformationabouttheworkofthePolifoniaThirdCycleWorkingGroupcanbefoundatwww.polifonia-tn.org/3rdcycle.
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I IntroduCtIon
1.1 ThisGuidehasbeendevisedwithtwoprinciplesinmind:
ThirdCycleprogrammesareresearch-based.
AnyThirdCycleisaDoctorateandviceversa.
1.2 The Third Cycle WorkingGrouphasadoptedthe followingdefinitionof researchfrom the Shared
DublinDescriptors,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.Forthis
purpose,wedefineconservatoiresverybroadly,includingmusicuniversities,musicacademiesand
Musikhochschulen,withstudyprogrammesrangingfrommusicperformanceandmusiceducation
tomusictherapyand,insomecases,musicology.Itisnotmeanttobereadasasingleprescription;
suchanapproachwouldbeinappropriate,giventhediversityofinstitutionsforwhichithasbeendeveloped.Instead,itishopedthattheGuidewillenablecoursedesignerstocreatetheirownvision
ofaThirdCycleresearchqualificationthatisideallysuitedtotheirowninstitutions.
1.4 TheGuideshouldbeofusetothoseinvolvedwiththecreation,operationandqualityassuranceof
studiesattheThirdCyclelevel,aswellastheevolutionofsustainableresearchenvironmentswithin
theseinstitutions.Suchistheimportanceofthedebateonresearchin-and-throughmusicalpractice
intheEuropeanspaceandbeyond,however,thatthisGuidemaywellbeofinteresttothoseworking
withinuniversitieswhichalreadyhavelong-establishedresearchdegreeprogrammesinmusicdis-
ciplines.Indeed,oneoftheaimsofthisGuideistoshowhowartisticandothertypesofresearch,and
theirresultantdegreeprogrammes,maybeseenasworkingwithinamutuallybeneficialcontinuum
ofenquirywhenviewedwithinmulti-institutionalandmultinationalcontexts.
1.5 ThePolifoniaThirdCycleWorkingGrouphasconductedextensiveresearchonThirdCyclemusicpro-
grammesintheEuropeanHigherEducationArea(EHEA).Throughanalysisofinterviews,sitevisits,
questionnaires,seminarsandothermeansofdatacollection,ithasbecomeclearthatthenatureof
theseprogrammescanvaryconsiderablybetweencountries.Forthisreason,andasnotedabove,
thisGuidewillnotputforwardasingle,unifiedformulaforthecreationofsuchprogrammes.Instead,
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theGuidewillexploreaseriesofbroaderquestionsthatishopedtobeofrelevancetoallinstitutions,
whetherdevelopingThirdCyclestudiesforthefirsttime,orreviewingandauditingexistingcourses.
Itishopedthatbydoingthis,acommonvocabularycanbedevelopedandshared,sothatclearerandmoreproductiveinternal,externalandinternationaldialoguesaboutthiscrucialareamaybe
facilitated.Inatimeofemphasisuponmultinationalinstitutionalcollaborationandglobalisation,the
Guideisofferedasatooltoassistcurriculumdevelopersandtogenerateproductivedialoguesabout
educationpolicy.
1.6 InorderfortheGuidetobeuseful,itisnecessarytodefinecertaintermsthatareintegraltothecore
topic.Forthatreason,thisGuidehaschaptersonmoreabstractconceptssuchasthecharacteristics
ofmusicThirdCycleprogrammesinrelationtoFirstandSecondCycles,thenatureofresearch,with
anemphasisuponartisticresearch,andthecreationofresearchenvironmentsinwhichstudents
maydeveloptheirfullpotential.Moreconcretediscussionsincludethequestionsthatinstitutionsmustexplorein makingthestrategicdecisiontoofferThirdCycles,thetoolscurriculumdevelop-
ersmayuseincreatingsuchprogrammessuchasDescriptorsandLearningOutcomesandthe
provisionofataughtcurriculumwithinmusicThirdCycles.
1.7 TheThirdCycleGuideshouldbeapplicableforbothinternaluse,i.e.curriculumdevelopment, in-
ternal qualityassurance, professional development training,andfor externaluse, i.e.facilitation
ofdialogueswithprofessionalbodies,explanationsofgoalsandcompetenciestothoseinvolvedin
highereducationpolitics,andexplainingthirdcyclestothepublic.Ideally,theGuidewillbeperiodi-
callyreviewed,toreflectnewdevelopmentsinEuropeanHigherEducation.
1.8 Oneofthemainchallengesforthoseinconservatoire-basedhighermusiceducationistodesign
coursesandproducedocumentationinlinewiththeBolognaProcesswhilesafeguardingtheessen-
tialnatureofprofessionalmusictraining,withitsdemandforpracticalachievementatthehighest
level.Mostimportantly,ThirdCyclestudymustbefocusseduponthestudents,empoweringthem
tobeco-creatorsintheirowneducation,andhighlightingtheirindependentintellectualandartistic
attainments.Thisstudent-centredapproachiscrucialtothesuccessofThirdCycleprogrammesin
music.
1.9 Aseducationaldebatestakeplace inanever-moreglobalisedcontent, itishopedthatthisGuide
willprovideonewayintothecreationof educationalapproachesthatmeettheneedsofresearch
studentsandstafffromavarietyofnational,educationalandexperientialbackgrounds,mappingout
acontinuingevolutionofsharedmusicalideaswithoutborders.
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thIrdCyCles: InstItutIonalContexts
2.1 ThirdCyclestudiesinmusicarearathernewphenomenonwithintheconservatoireenvironmental-thoughsomeinstitutionshavealreadyalongtraditioninofferingthem.Thereisonemainreasonfor
this.Asinstitutionsthattrainmusiciansatthehighereducationlevel,conservatoirestraditionallyof-
fervocationaltrainingthatleadstoacareerasaprofessionalmusician,composer,orinsomecases
alsoasamusicteacher,beitasaschoolmusicteacheroraninstrumental/vocalteacherforspecial
musicschoolsorhighereducation.OfferingThirdCycleordoctoralstudieshashistoricallybeenthe
preserveofuniversities.Indeed,institutionsthatofferprofessionalmusictraininghavenotalways
uniformlybeenregardedbytheauthoritiesashighereducationinstitutionswiththefulleligibilityto
developaThirdCyclestructureasdefinedbytheBolognaProcess.
2.2 Notonlyintermsofprogrammesbutalsointermsoftheinstitutionalenvironment,universitieshavebeenseenasthelocusofresearchactivity,whileconservatoireshavebeendedicatedtoprovidingan
appropriatelyrichandprofessionallywell-connectedartistictrainingontheinstrument/voice.But
practical training in music is notdevoidof inquiry, theory andreflection.The highly-trainedmu-
sicianalsoseekstoachievedeepunderstandingandprogressattheforefrontoftheartnotonly
throughperformingorcomposingbutalsobyinvestigationintothepiecesofmusic,thecompos-
ersintentionswiththemusicandtheartofplayingasexemplifiedbydifferentinterpretersorin
differentmusicaltraditions.Insomeindividuals,thismethodologicalsearchformorein-depthand
structuredinformationaboutmusicandamoreanalyticalanddescriptiveapproachtowardsartistic
realityisan innervocationasstrongas performingandcompositionitself.Forthosepurposes,it
wouldseemlogicaltobeabletoresearchandcommunicateaboutmusicinallcircumstancesandfromallaspectswithintheinstitutionthatdealsmostspecificallywithitandbythosepeoplewhoare
executants,ratherthanconfiningthisactivitytothoseinstitutionsthathappentooffermusicologyas
ascientificstudyfield.Forthisreasonamongstothers,professionalmusictraininginstitutionshave
startedtoofferdoctoralstudiesofdifferentkindsaswell.
2.3 ConservatoireshavefacilitatedtheirentryintoThirdCycleprovisionin anumberofways. Some
are abletooffersuchqualificationsindependently, throughstatusas autonomousvalidatingbod-
ies,whileothershavebrokeredco-operativepartnershipsbetweenconservatoiresanduniversities.
Thesepartnershipscanbefruitfulforbothpartiesintermsofknowledgeexchangeandthepotential
forinternationaldevelopment,andarenotlimitedtoconservatoire-universityarrangements,butcan
alsoinvolveconservatoirenetworks,andevenextensiontodisciplinesoutsidemusicitself(e.g.other
fineartsorscientificdisciplines).
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therelatIonshIpoFtheFIrst,seCondandthIrd
CyCles
3.1 Itispossibletosuggestamodelforlearningthatinvolvesthreemainaspects:theacquisition,ap-
plicationandproductionofknowledgeandskills.Thebalanceofthesevariesfromstudenttostudent,
buttheemphasisuponeachchangesasoneprogressesthroughthecycles.
3.1.1 Inthef cy,studentsconcentrateupontheqofknowledgeandskills.Forexample,in
theareaofrepertoireskills,studentsshouldstudyandperformrepresentativeworks,experiencing
avarietyofappropriatestyles.
Inthes cy,studentsconcentrateuponthe ofknowledgeandskills.Therep-
ertoirewillbe nowbroadenedtoacomprehensivelevel,anddeepenedwithinaparticularareaofspecialisation.Studentsshoulddevelopanindividualvoiceinoneparticularstyle.
Inthet cy,studentsconcentrateupontheofknowledgeandskills.Takingrep-
ertoireagainasanexample,thestudentsshouldbeabletoframeresearchproposalsbasedona
particularchoiceofrepertoireandthentoproducenewtopicsrelatedtoit.
p
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3.1.2 Thediagramdescribedabovecanveryeasilybemappedontoaneducationalprocessemphasising
developmentalstages ofcompetenceacquisition.Thisdiagramdemonstratesthe transformative
possibilitiesthatThirdCyclesmayhavewithinconservatoireenvironments.
3.1.3 BecausetheThirdCycleinvolvestheabilitytogeneratenewknowledgeandskills,itsoutcomescan
feedbackintotheprogrammesfortheFirstandSecondCyclesaswellasintotheteachingstaff:
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byhavingstudentspresenttheirartisticandreflectiveworktostudentsandstaff
byexaminingtogetherwithmembersofstaffthereceivedwisdomandconventionalmethodsin
musicalpractice byhavingstaffteachfirstandsecondcyclecoursesinwhichnewresearchresultsarecommuni-
catedanddiscussed
byhavingfirstandsecondcyclestudentsparticipateinresearchprojects
Thiscreatesasenseofvitalityandamodelforgoodpractice,andencouragescoursedesignersto
keeptheircurriculaup-to-dateandfosterinnovationasapartofgoodpractice.
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researChandthIrdCyClesInMusIC
4.1 BFifrc
4.1.1 Withinconservatoirestoday,researchcoveringabroadrangeoftopicsiscarriedoutbothwithinThird
Cycle programmes andwithinconservatoire research departments (even where Third Cycle pro-
grammesdonotyetexistorwheretheyexistwithininstitutionsthroughcollaborativeagreements).
Someofthesearewithinwell-establishedfieldslikemusicology,musiceducation,musictherapy
andsociologyofmusic,andbenefitfromawell-establishedresearchframework.Theirpractitioners
maybeactivemembersofanorganized,internationalresearchcommunityandasubstantialbodyof
previousresearchinthefieldwillalreadyexist.
4.1.2 Otherareasofresearchintodaysconservatoireshavedevelopedonlyrecently.Muchofthisnewerresearchwithinconservatoriessharesthecharacteristicofbeingaimedatartisticallychallenging
issuesandiscarriedoutbyartist-researcherswhobringtheirartisticexperiencesandknowledgeto
theirresearch-basedinquiries.WecallthistypeofresearchArtisticResearch.
4.1.3 Thesenewerresearchareasdonotyetenjoythesupportofawell-establishedframeworkandtheir
practitionersmayworkinisolation,intheabsenceofanetworkofotherresearchers,conferences,
publications,etc.andnosubstantialbodyofpreviousresearchmayyetexist.
4.1.4 Onepossibleapproachtothetaskofprovidingguidanceandpracticalsuggestionsforthecreationof
aresearchThirdCycleinconservatoriescouldbetodiscusseachofthefieldsofresearchwithincon-servatoriesandmakespecific,Bologna-oriented,proposalsforeachone(competences,curriculum,
evaluation,creditpoints,andsoon).However,giventheverywiderangeof researchareaswithin
conservatories,itwouldbebothimpossibleandundesirabletotrytoprovideanexhaustivelist.
4.1.5 Whatisneededisadiscussionofresearchthatissufficientlygeneraltopermiteachschooltorecog-
nizeitsownparticularresearchprogrammesandresearchpriorities.Atthesametimeitshouldbe
specificinrelationtotheparticularnatureandpurposeofhighereducationinmusic.Andtoachieve
thiswemustremainascloseaspossibletothecoreactivityoftheconservatoire.Itisonlyinthisway
thattheguidelinesandsuggestionsthatemergefromthisworkwillbeofusetoallAECmember
schools.
4.1.6 WhileArtisticResearch issometimespresented asa sub-categoryof researchin conservatoires,
forreasonsthatwillbesetoutbelow,webelievethatthisconceptoffersausefultoolforthinking
andtalkingaboutresearchwithintheConservatoire,andthattheinsightsthatwegainthroughthis
discussion canapplyequally well toboththe older, moretraditional researchfields represented
withinConservatoriesandtothenewerfieldswhichhavebeengrowingupwithintheartisticallyrich
environmentofourschools.
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4.1.7 ItisaspecificaimofthisGuidetoassistconservatoiresin creatingresearchenvironmentswhere
artisticresearchcanthrivealongsideandinteractwiththemoretraditionalandbetter-established
researchareas.Inthiswaywecancreatea uniqueand productiveprofileforresearchwithintheconservatoire.
4.2 einfrc
4.2.1 TheThirdCycleWorkingGrouphasidentifiedthreekeyelementsofa frameworkwithinwhichre-
searchcanbefruitfullyconductedwithintheconservatoire:
1. Researchmustbecomeanintegralpartoftheconservatoireenvironment;
2. Researchmustoccupyaspecificandappropriatespacewithinthethree-cyclesystem;
3. Theremustbea commonunderstandingofwhatcompetencesresearchstudentsshouldhave
acquireduponcompletionoftheirstudies.
4.2.2 Foragenuine integrationofresearchintothefabricofconservatoirestotakeplace,theremustbe
specificstudyprogrammescreatedtosupportit,wherethesedonotalreadyexist.Thereareunique
opportunitiesforresearchinmusicwithinaconservatoirewherethesubjectsofresearch,i.e.the
artist-researcher, andtheobjectsofresearch i.e.performing/composing/teaching findthem-
selvesincloseinteractionandcommunionunderthesameroof.
4.2.3Beingaresearcherandbeingamusicalartistaretwodifferentroles.However,intheenvisaged
project,oneandthesamepersonshouldbeabletooccupythem,justascomposingandperforming
aretworolesthatasinglepersonmayfulfil.
4.2.4Creatingastructuredspacesuchasadegreeprogrammeforresearchisameansofenhancingthe
criticalexchangebetweenpracticeandtheory,betweenmusiciansandmusician-researchers.Itis
ameansofbringingresearchersandmusicianswithincomplementarydisciplinestogetherandof
creatingaforumwhereresearchfindingscanbecloselywatchedbypotentialbeneficiaries.
4.2.5Conductingresearchmeanstryingtoextendourknowledgeandunderstandingoftheworldand
ourselves.Researchprojectstypicallyinvolvethreecomponents.Thefirstoneinvolvesformulating
theresearchhypothesisorresearchquestion;thesecondaddressestheinvestigationoranalysis;
inthethird,theresultsareevaluated,writtenuporotherwisedocumentedandmadeavailableto
interestedparties.
4.2.6 Specifically,theresearchprocesstypicallyinvolvesasubstantialperiodofpreliminaryresearchand
subsequentreviewofinformationtogainanoverviewofwhathasalreadybeendoneintherelevant
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field.Thisisfollowedbythedevelopmentofahypothesis,orresearchquestion,whoseinvestiga-
tionpromisesnewknowledgeanddesigningtheappropriateresearchmethod.Thesecondcompo-
nentinvolvestheintensiveinvestigationoftheresearchquestionandtheprocessisconcludedwiththeproductionofdocumentationthatreportstheresultsinanaccessiblemannerandwhichisavail-
abletointerestedparties,therebyallowingotherresearchersworkinginthesamefieldtoassessthe
resultsandtobuildonthem.
4.2.7 Allresearchfollowsthissequentialpattern ofQuestion-Investigation-Documentation.What distin-
guishesArtisticResearchisthewayin whichartisticexperience,artisticknowledgeandskillsas
wellasartisticgoalsareinvolvedinresearch.
4.2.8Musicianshavehighlyspecializedknowledgeandhighlyspecializedskills,butasarulethesecom-
petencesremainwithintheindividualartistwhopossessesthem.Atbestweheartheproductsofthesecompetenceswhenweheartheartistsperformancesorcompositions.Researchshouldbe
committedtomakingthisenormoustreasureofimplicitknowledgeandskillsofartistsexplicit,to
bringingthosethingsintotheopenforallofustosee,tounderstandand,hopefully,touse.Byhelp-
ingimplicitartisticknowledgetobecomeanobjecttobesharedanddiscussedbyothers,research
willbeabletomakealargecontributiontotheunderstandingoftheartamongalargerpopulation
and,consequently,tothepromotionanddevelopmentoftheartsingeneral.
4.2.9Modesofdocumentation,presentationanddisseminationofartisticresearcharevaried,ranging
frompublicperformances,recordings,andmultimediapresentationstowrittentextsand spoken
presentations,forexample.Inordertobevalidasaresearchoutcome,however,theoutcomesmustbemadeexplicit,discursiveandcommunicablewithinpeercommunitiesand,ideally,thewider,pub -
licsphere.
4.3. iaiicrc?
4.3.1 Typically,ArtisticResearchisresearchconductedbyorwithArtistsfortheArts.Nonarrowerdefini-
tionwillsatisfyeveryone,andsomewillholdoutforanevenbroaderone.Therearegoodreasons,
however,fordrawingthelinehere,aswillbecomeclearwhenwehaveexaminedthedefinitionmore
closely.
4.3.2Anartistisapersonwithatalentandapassionforsearchingquestionsandthissearching-ness
andexplorativespiritisessentialtoartisticactivity.Acreativeartistisinvolvedinapermanentsearch
foradeeperunderstandingandiscontinuallyexperimentingwithhisorherownideasandtheideas
ofothers.Thecreativeartistwilloftenturnthingsupsidedowninordertoseewhatinsightsthenew
andunconventionalperspectivewillbring,andwilllayopentoscrutinyandcriticismwhatpasses
forconventionalwisdom.Theimplementationofsuchnewlyacquiredknowledgeandideasintoan
artistsownmusicalpracticecanhavetheeffectofmovingtheartofmusicintonewterritory.
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4.3.3ArtisticResearchdonebyMusicalArtistsmeansthatthenatureofthequestionorhypothesisis
likelytobedeterminedbytheconcernsandideasthatresearchershaveasMusicalArtists.Generally
speaking,therearefourprincipalareasofinquiry,principalinthesenseofbeingdirectlyrelevantbothtotheworkofindividualmusiciansandtotheworkofmusicconservatoires.Theseareasare:
1. MusicalProduction,i.e.composingandimprovisingmusic;
2. MusicalPerformance,i.e.preparingandgivingconcertperformances;
3. Music Teaching, i.e.guiding others in preparationofmusicperformances andin understand-
ingmusicalideasandconcepts;
4. Music in Society, i.e. communicating artistic understanding and appreciation, transferring musicalcompetencesanddevelopingconcertaudiences.
4.3.4ArtisticResearchislikelytodistinguishitselfinregardtothekindsofquestionsandhypothesesin-
vestigatedaswellasinregardtothemethodsofinvestigationemployed.Itisconceivablethattradi-
tionalresearchquestionswillreceivenewanddifferenttreatmentsatthehandsofArtisticResearch-
ers.Moreover,ArtisticResearchersarelikelytobringthemselvesintotheinvestigationastheobject
ofresearch.Insteadoftakingthestanceofthedistantobjectiveobserver,theArtisticResearcher
willprobablysethisorherownkindandlevelofperceptionastheultimateobjectofinvestigationas
wellasthestandardfordescribingandassessingmusicalphenomena.
4.3.5 AstheresearchquestionsofinteresttoArtisticResearcherswilltendtoemergefromanddependon
thecurrentstateofknowledge,skillsandexperiencetheybringtotheirprofession,ArtisticResearch
islikelytoreflectthedebates,interestsandconcernsoftheartworldinwhichtheparticularartistis
workingandtowhichsheorhewantstomakeanoriginalcontribution.Themusicalartistwilloften
approachresearchinamannerthatisrelatedtohisorherownartisticambitionswithinhisorher
artworld,andwilltendtoproduceresearchthatis drivenbyasenseofapplication,thatisbythe
motivationtoturnresearchresultsintoartisticproducts.
4.4 aiicrcIiiCMii
4.4.1 The concept ofArtistic Researchis intendedas an . Thus, Artistic Research is
notproposedasanotherresearchdisciplineamongtheexistingonessuchasmusichistory,music
theory,musicpsychology,musicphilosophy,musicmedicine,neuromusicologyormusicsociology.
Whateverthenatureofanyoftheseestablishedresearchdisciplinesortheroletheyplaywithintheir
ownmusicinstitution,theyarepartofawhole,butnotthewhole.ArtisticResearchis-notunlike
environmentalscienceormedicalresearch-aresearchfieldwithanoverallpurposeinneedofcol-
laborationandsupportfromdifferentestablishedresearchdisciplines.Therefore,ArtisticResearch
cannotbedissolvedintooridentifiedcompletelywithanycombinationofitscomponentdisciplines.
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ArtisticResearchshouldbeabletomakeuseofanyresearchtool,method,orknowledgebaseacross
theentirerangeoftraditionalresearchdisciplinesandmethods.
4.4.2 ArtisticResearchisanumbrellaconceptby(i)coveringresearchactivitieswithanartisticknowledge
baseandartisticoutlookand(ii)bybeingembeddedintheconservatoire,whichmeans:
1. Researchoffershighly trained musiciansthe opportunityto achieve deep understandingand
progressattheforefrontoftheartbymoreanalyticalanddescriptiveapproachestowardsartistic
reality;
2. Researchisessentiallyrelatedtothecoreactivitiesofaconservatoire:producing(i.e.composing,
improvising),performingandteachingmusic;
3. Researchoffersspaceforconceptual,empiricalaswellasexperimentalinquiries;
4. TheThirdCycleisaresearchbasedcycleaspartofacoherentthree-cycle-system;itbuildsupon
thefirsttwocyclesandfeedsbackintothem;
5. TheThirdCycleallowsconservatoirestotrain,developandstafftheirownresearchersaccording
totheinstitutionsresearchpriorities.
4.4.3 ToconstrueArtisticResearchasanumbrellaconceptdoesnotmeanlooseningresearchstandards.
ArtisticResearchmustadheretothesameinternationalstandardsofintellectualrigour,conceptualclarityandmethodologicaladequacyasanyothertypeofresearch.
4.4.4 Integratingresearchintothefabricof conservatorylifewillconstituteanaturalandfruitfuldevel-
opmentandcontinuationofmusiciansperpetualsearchforthebestwayofresolvingthemanyin-
triguingquestionsandissuesthatarisethroughoutthecourseoftheirartisticlives.Ifweopenup
institutionalspaceforreflectionandanalysisatveryhighlevelsandinrelationtotheconservatoires
coreactivities,thenwehelpnotonlythosedirectlyinvolvedinresearch,butwehelpcreateaculture
ofresearch,aclimateofquestioning,analysingandexperimentingwhichwillintheendbenefitall
membersoftheconservatoireandserveasacatalysttotheinstitutionsdevelopmentasacultural
engine.
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theInstItutIonaldeCIsIontooFFerthIrdCyCle
studIes
5.1 ibfi
5.1.1 Conservatoireintegratedresearchhasthepotentialtovitalisecreativethinkingwithintheinstitution.
Theramificationsof ThirdCycleworkcanchangethenatureofFirstandSecondCyclestudiesas
well.Thecreationofaresearchenvironmentwithinaninstitutioncanhavepositiveconsequencesfor
all,creatingaspecialspiritofenquiryforallstudents.Researchstudentscanalsobepowerfulrole
modelsforthoseinFirstandSecondCyclestudies.Furthermore,thecutting-edgequestionsgener-
atedbygoodresearcherscanfeedbackintoinstitutionalpolicy-making,allowingsuchorganisations
toevolveinuniqueways.
5.1.2 ThirdCyclestudiesalsohavethepotentialtoenhancetheexternalreputationofinstitutions.Alively
ThirdCyclestudyprogramme,linkedwitha livelyresearchenvironment,has thepotentialtogen-
eratetop teachers andresearchers.This becomesa virtuouscircle;the presenceofsuchstaff
memberscanattractgoodstudentsandexternalfunding,enablingthegrowthoftheinstitutionasa
whole.
5.1.3 Anotherimportantelementin developingresearchinconservatoiresis tomakeyoungmusicians
awarethattheconcepts,thetechnicaltermsandtheirrelateddistinctions,assumptions,andtheo-
riesthatarehandeddowntousbythetraditionaldisciplinessuchasmusictheory,musicpsy-
chology,ormusichistory-donotnecessarilyreflectthewaymusiciansexperienceandthinkabouttheirart.ThirdCycleprogrammesmayprovideasuitableplatformforyoungmusicianresearchers
todevelop their ownconcepts thatare truer, ora better reflectionoftheirown perceptionsand
thoughts.Youngresearchersmaybeencouragedtoactivelyinfluencetheworldofmusicresearch
andtodeterminetheresearchdiscoursesastheyseefitandnotastheyaretoldtoseefit.Itallows
musicalartiststoformulatetheirownquestionsintheirownlanguageandinreferencetotheirown
experience.
5.2 mc
5.2.1 Teamssupportingresearchstudentsneedtoenablethemtodevelopcriticalrigourearlyonintheir
studies,whilstpreservingthecreativeaspectsoftheirmusicalstudiesand/orscholarlyquestions.
Thiswillpreventstudentsadoptingincorrectresearchparadigmsearlyonintheirstudies,whichcan
createdelaysinthecompletionofstudies,orcanjeopardisecompletionaltogether.
5.2.2It needs tobeunderstood thatresearchis notmerely thepreserve of those on Third Cycle pro-
grammes. Ina healthy institution, research processes and modesofthought will already be in
evidenceinstudentstakingFirstandSecondCyclestudies.Suchstudentsneedtobefacilitated
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in their researchquestionsand in their aspirationto adopt researchparadigms.Ideally, thestu-
dentsonThirdCycleprogrammescanbecomerolemodelsforstudentsonlessadvancedstudy
programmes.
5.2.3WhereThirdCyclestudiesarebeingintroducedtoaninstitutionforthefirsttime,ashiftintheal-
locationofphysicalandfinancialresourceswillbenecessary.Thisprocessneedstobehandledwith
greatcare,sincereallocationofresourcescanpotentiallyalienatestaffandstudentsalikefromthe
newprogramme.
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howtoBuIldathIrdCyCleprograMMe
6.1 ICicmncfrcd?
6.1.1 TheimplementationofspecifiedcurriculawithinThirdCyclestudiesisfarfrombeinganorm.Indeed,
thelong-standingmodeloflearningandteachingatthislevelhasbeenthesupervisor-researcher
relationship,inwhichintellectualgrowthandattainmentisfosteredbythediscoursegenerated.This
approachbypassestheideaofa sharedcurriculum,focussinginsteaduponthespecificresearch
areabeingexploredbythestudent.Themodelcanbeverystrongifthesupervisoryrelationshipisa
fruitfulone,anditremainsacorecomponentofresearchdegreeprogrammes.However,itcanhave
someproblems,includingthepossibilityofasenseofisolationfeltbytheresearchstudent,orprob-
lemswithdegreecompletion,ifthesupervisoryrelationshipisdysfunctional.
6.1.2 Inprogrammesfocussinguponmusicstudies,astructuredcurriculumhasthepotentialtomeetstu-
dentsneedsmorespecificallythansupervisionalone.Suchstudentsoftenbenefitformarangeof
studiesthathelpthemtobecomemoreconversantwiththescholarlyapparatus,moreknowledge-
ableaboutaspectsofculturebeyondtheirspecificareasofexpertiseandmorefluentinwrittenand
verbalcommunication.
6.1.3 Groupworkwithinmusiccurriculacanallowstudentstobecomeco-creatorsintheirownlearning.
AtThirdCyclelevel,studentswhoaregivenopportunitiestolearntogetheroftenformpowerfulpeer
learninggroups.ThetoolsthatcurriculumdevelopersuseincreatingThirdCyclestudiesshouldnur-
turethisgenerationofstudentautonomy.Thestudentslearntogivefeedbacktoeachother,provideintellectualandmusicalchallengestoeachother,andgeneratenovelresearchimpulsesamongst
eachother.
6.2 t:pifidbidci,liocmo
Mi
6.2.1ThePolifoniaDublinDescriptorsandtheLearningOutcomesfortheThirdCyclehavebeendeveloped
throughthecourseofthePolifoniaproject.Thekeyconsultationexerciseforthesewasaseminar
heldinKarlsruheinSpring2007atwhichalargenumberofinterestedpartiesprovidersofThird-
Cycleprogrammesandothers-wereinvitedtoprovideinputonthelearningoutcomes.Because
ThirdCycleworkinHigherMusicEducationisarelativelyyounganddynamicallydevelopingarea,it
isexpectedthatthelearningoutcomesthemselvesmaydevelopcorrespondinglyoverthecoming
years.
6.2.2ThespecifictoolsdescribedwithinthisGuide,suchasthePolifoniaDublinDescriptorsandtheLearn-
ingOutcomes,arenotmeanttobereadascarvedinstone.Buttheycanservetoassistinstitutions
intherelatingoftheireducationaldevelopmentacrossthethreecycles,aswellasbeingvehicles
throughwhichcross-institutionalcooperationmaybefacilitated.
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6.2.3t p d d4areanadaptationbyAECofthenowwell-knownandwidelyused
DublinDescriptorsthatproposeageneraldescriptionof thethreestudycyclesBachelor-Master-
DoctorateinHigherEducationacrossalltypesofstudyanddisciplines.ThePolifoniaDublinDe-scriptorsemphasizethenotionofartisticknowledge,skillsandunderstanding,andareintendedto
explain,amongotherthings,howthethreestudycyclesinmusicrelatetoeachother,andhowone
cyclecanbeseentobuildupontheothertwocycles.Asnotedin3.21,whiletheBachelororFirst
CyclefocusesonthestudentsacquisitionofpracticalandtheoreticalcompetencesandtheSecond
Cycleonthestudentsabilitytointegrateandapplythesecompetencesinvariousprofessionalsitu-
ations,theThirdCycleismainlyconcernedwiththestudentsabilitytogeneratenewknowledgeand
newskills.BydefiningThirdCyclestudiesinmusicasresearchdriven,wecanplausiblyexplaintheir
functionwithinthethreecycle-systemandwecanalsoseehowintroducingdoctoralprogrammesin
conservatoiresmaybehaveapositiveeffectontheothertwocycles.
thepolIFonIaduBlIndesCrIptors
og s d
d
p/d d 3 y
g
Q gy 3 y
:
Q gy 3 y g
:
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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Gy ( og s d d)
1. The word isusedin the descriptorsin its broadest sense, relatingto thoseat-tributesrelevanttoundertakingworkoravocationandthatinvolvestheapplicationofsomeas-
pectsofadvancedlearning.Itisnotusedwithregardtothosespecificrequirementsrelatingto
regulatedprofessions.Thelattermaybeidentifiedwiththeprofile/specification.
2. Thewordisusedinthedescriptorsinitsbroadestsense,allowingforgradationof
abilitiesorskills.Itisnotusedinthenarrowersenseidentifiedsolelyonthebasisofayes/no
assessment.
3. Thewordisusedtocoverawidevarietyofactivities,withthecontextoftenrelated
toafieldofstudy;thetermisusedheretorepresentacarefulstudyorinvestigationbasedona
systematicunderstandingandcriticalawarenessofknowledge.Thewordisusedinaninclusive
waytoaccommodatetherangeofactivitiesthatsupportoriginalandinnovativeworkinthewholerangeofacademic,professionalandtechnologicalfields,includingthehumanities,andtradition-
al,performing,andothercreativearts.Itisnotusedinanylimitedorrestrictedsense,orrelating
solelytoatraditionalscientificmethod.
6.2.4ThePolifoniaDublinDescriptorscanbeusedalongsidelg o t cy5that
describethosecompetenceswhichstudentsshouldhaveacquiredwhentheycompletetheirdoctoral
studies.TheseLearningOutcomesareintendedtoprovideacommonbasis,validforallmusicaldis-
ciplinesandtypesofresearchthatconservatoirescanidentifywith.Theyshouldactasaframeworkwithinwhichthedifferentinstitutionscanfindsufficientspacetorealizetheirownresearchgoals
andsettheirownpriorities.Finally,theLearningOutcomesshouldhelpeveryonewithinconserva-
toirestounderstandthenatureofThird-Cyclestudiesinprofessionalmusiceducationandtohelp
musicinstitutionstocommunicatethisunderstandingtotheoutsideworld,totheirpeersinother
universitydisciplines,torepresentativesofhighereducationadministrationandpoliticsandtothe
generalpublic.
5 TheAECLearningOutcomesforall3cyclescanbefoundatwww.bologna-and-music.org/learningoutcomes.
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CoMpetenCeproFIleForthIrdCyClestudIesInhIgher
MusICeduCatIon
p (-)
3rdcycle(whereappropriate,andaccordingtotheindividualnatureof3rdcyclecurricula)
Artistic development and skills
Theskillstointegrateanddemonstrateoriginalartisticinsightsinperforming,composing,theorizingandteaching
Thecapacitytoextendinasignificantwayourartisticunderstandingandtocommunicatethoseinsightsinafullyrealizedmanner
Thedevelopmentandrealisationofartisticautonomy
Research skills
Thecapacitytoframeresearchproposalswhetherpertainingtotheoretical,practicalorcreativeissuesoracombinationofthese
rigorously,lucidlyandintermsofquestionstobeanswered,insightstobegained,andindicatorsofsuccesstobeapplied
Thecapacitytoidentifyandcontextualizecurrentlydynamicissuesinonesfield,inthesenseofopenquestions,newtopicsand
trends
Thecapacitytorealisethegoalssetforonesproject,throughintermediarystepsandappropriatemethods,equipmentandteam
members,whererelevant
Thecapacitytoidentifyandutilizetherelevantliteratureand/orotherresourcesinconnectionwithonesfield
Thecapacityforcriticalanalysisandevaluationofonesownandothersoutcomes
Thecapacitytodocument,analyseandsummarisetheinterimandfinaloutcomesofonesprojects
Thecapacitytouseprojectfundingandevaluationsystemsinthedevelopmentofonesownwork
t (g-)
3rdcycle(whereappropriate,andaccordingtotheindividualnatureof3rdcyclecurricula)
Awarenessof,andrespectfor,standardsofexcellenceinonesownfield;thecapacitytodistinguishbetweenvaluableandirrelevant
inquiry,whetherinthetheoretical,practicaland/orcreativespheres
Thoroughknowledgeandunderstandingofthenationalandinternationalcontextofactivityandoutputintowhichonesworkwillbe
disseminated
Awarenessofownershiprightsofthosewhomightbeaffectedbyonesproject(e.g.copyright,intellectualpropertyrights,confiden-
tialinformation,ethicalquestions,etc.)
Awarenessoftheworkandhealthimplicationsforthoseinvolvedinonesactivities;thecapacitytoconductresearchwithastrong
senseofresponsibilityandvigilance
Awarenessoftheeconomicpotentialandutilisationofonesoutputs.
Awarenessofrelevantmethodsandtechniquesofinquiryrelatedtoonesfieldofstudy.
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G
3rdcycle(whereappropriate,andaccordingtotheindividualnatureof3rdcyclecurricula)
Independence
Thecapacitytopursueonesownquestionsandideas
Thecapacitytocomprehendthetransferabilityofonesresearchcapabilitiestootherfieldsandtorecognizeanyassociated
careeropportunities
Thecapacitytosustainanddeepenonesinquiring,research-orientedapproachthroughoutonescareerand,whereap-
propriate,acrossallaspectsofonesworkandendeavour
Critical awareness
Thecapacitytoquestionthelegitimacyofself-servingorcommonplaceideas,conventions,fashions,etc.
Thecapacitytoseeonesownshortcomingsanduntappedpotential,andtodevisestrategiesformaximizingonesperform-
ance
Thecapacitytorecognizeandchallengethestandardswithinonescommunityofresearchers,practitionersandcreators
Thecapacitytorespondwithunderstandingandresponsibilitytocriticalconsiderationsfromwithinonescommunityof
researchers,practitionersandcreators
Communication skills
Thecapacitytoestablishandmaintaincooperativerelationshipswithcolleaguesandstudentswithinonesowninstitution
andamongthewiderscholarlyandartisticcommunity
Thecapacitytowrite/present/performclearlyandappropriatelyforthetargetaudiences(e.g.researchreports,journal
articles,presentations,performancesorotherartisticeventsintendedtohavearesearchoutput)
Thecapacitytoimprovethepublicsunderstandingand/orartisticinsightinonesfieldofstudy
Thecapacitytoassesstheeffectofonesownbehaviouronotherteammembers,artisticcollaborators,etc.
6.2.5 Ifthethreekeyelementsaremet:theintegrationofresearchintothemusicinstitutionsfabric,mak-
ingresearchthedefiningfeatureofThirdCycleprogrammesandgivingthoseprogrammesanap-
propriatecompetenceprofile,thenmusicresearchinconservatoireswillhavethebestconditionsto
thrive.
6.2.6 ThereaderisalsodirectedtothefollowingHandbookswrittenundertheauspicesoftheAEC,which
givespecificinformationaboutdifferentaspectsofcurriculumdevelopmentandqualityassurance.
FurthermodelsforqualityassuranceprocessesanddocumentationaregiveninAppendixC.
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h i u c p hg m e i
Thehandbook6
dealswiththechallengeofimplementingacreditpointsystemoradaptinganexistingcreditpointsystemandtheuseofmodulesinaninstitutionforhighermusiceducation.Itprovides
practicaltoolsanddifferentworkingmethods,whiletakingintoaccountseveralspecialcharacteris-
ticsofprofessionalmusictraining,suchasartisticaspectsandthehighlyindividualmodesofteach-
inginmusictraining.AlsodiscussedinthishandbookistheuseoftheEuropeanCreditTransfer
System(ECTS)bothasacreditaccumulationsystemandasatoolfortherecognitionofstudiesin
internationalmobility.
h c g c dv hg m e
Thehandbook7addressesissuessuchas: Curriculumdesignanddevelopmentwhatisitandwhatisitfor?
Curriculumdesignasaholisticapproach.
Theuseoflearningoutcomesincurriculumdesign.
Theuseofcreditpointsincurriculumdesign.
Reviewingandupdatingadesignedcurriculum:curriculumdevelopment.
h i Qy a hg m e
Thehandbook8ismeanttobeashortguideforconservatoireswantingtodevelopasystemforinter-
nalqualityassurance.Itdoesnothavetheambitiontobeacompleteintroductionintotheworldofqualityassurance,withitsmanydifferentsortsofsystemsanditselaborateandsometimesconfus-
ingjargon,butexplainsinthefirstfourchaptersinasimplewaythemainelementsofapossible
internalqualityassurancesystem.Inthechaptersfiveandsixitgivessomepracticalassistanceby
presentingasimpleprocedurewhichmightbeusedindevelopingafirstsystemforinternalquality
assurance,andbypresentingconcretematerialsusedbyvariousconservatoiresalloverEurope.
aec d Qy a a hg m e: c,
c p
Thisdocument9,whichhasbeendevelopedintheframeworkoftheAECprojectAccreditationin
EuropeanProfessionalMusicTraining,containsafullydevelopedframeworkwithgeneralinforma-
tionabouthighermusiceducation,programmeoutcomes,criteriaandproceduresthatcanbeused
inexternalqualityassurance andaccreditation procedures ofboth institutions andprogrammes,
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 scificticccitiCcsi:
6.3.1 Practical questionsthatmay berelevanttothosedevelopingThirdCycleStudies inMusicHigherEducation:
WhilemostinstitutionswillfinduniquequestionsconcerningtheirdevelopmentofThirdCycleStud-
ies,thereareanumberoffrequentlyaskedquestionsanddiscussiontopicsthatmostwillshare .10
Thesewouldincludethefollowing,whichmaybeusedasdevelopmentalstartingpoints:
t y g:
Definethereasonsfororganizingthirdcyclestudiesintheinstitution.
Ifnecessary,specifytherelationshipoftheinstitutionsthirdcyclestudyprogrammeinthecon-textofhigherarteducationanduniversityeducation.
t g :
Researchcomponentsinthethirdcycleprogramme.
Trainingcomponentsinthethirdcycleprogramme.
Therelationbetweenthereflectivepart(e.g.thewrittenoutcome)andtheartisticpractice.
Themethodologiesused.
Theintegrationoftheindividualartisticpracticeaspartoftheresearchprocess.
t y g :
Structureandcontentsoftheprogramme.
Ifrelevant,abalancebetweenrequiredandoptionalcourses,workshops,seminarsetc.
Thekeycompetencestobedevelopedintheprogramme.
Flexibilityofthecurriculumtailoredtoindividualneeds.
Thelengthoftheformalcurriculum(ifany)andthetimespanbetweentheadmissionandthe
officialacquisitionofthequalification.
p g y :
Thequalificationsoftheprofessorsandlecturers(degree,artisticprofile,etc.).
svy/g y :
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.
a y :
Theadmissionleveltheprogrammerequiresofthecandidate.
Thespecificadmissionrequirements,e.g,
-aportfoliointroducingtheaspiredresearchplan. -anentranceexamination(andifso,entranceexaminationorganizationandcontent,e.g.artistic
examinationorvivavoce).
Selectioncriteria.
Whetherornotthestudentisassistedbytheinstitutionduringtheadmissionprocessbyprovid-
ingfeedbackonapplications,etc.
t gz x y vv:
Specificrequired presentations(such as concerts/recitals, masterclasses, lectures or lecture
performances,multimediaprojects,publicdefence/vivavoceexaminationofthethesis). Compositionofexaminationcommittee.
cv y :
Theofficialtitlesomeonereceivesafterhavingconcludedthethirdcycleprogramme(Dr.,Doctor,
PhD,orsomethingelse).
Theofficialstatusofthegraduateintheprofessionalworld.
Whattypeofprofessionalcareerthegraduatemaypursue.
iz y :
Theinterchangeabilityof(somepartsof)thecurriculum.
Theinternationalizationofexamcommittees.
lg y :
Specifyingtheinstitution(legal-body)grantingthequalification(e.g.university,conservatory).
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o y :
Enrolmentfee. Scholarships.
Part-timeandfull-timestudies.
Artisticandpersonaldevelopment.
Qualitycontrolandqualityassurance.
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studyIngInaresearChenvIronMent
7.1 hfm
7.1.1 Theevolutionofresearchenvironmentswithininstitutionsinvolvedwithpracticalmusic-makingisa
topicthatisbecomingincreasinglyimportantinbroadereducationalterms.IndesigningThirdCycle
studies,curriculumdevelopersneedtodevisestrategiesinwhichresearchenvironmentscanevolve
tomeettheneedsofbothstudentsandstaff.
7.1.2 Athrivingresearchenvironment includeswhatwemightcallh s e. h e-
aretheonesthattendto cometomindfirst whenthinkingabout aneffectiveresearch
environment;they are at thetopof quality control agendas andare more amenable toverifica-
tion.Amongthesewefind:researchstaffappropriatelytrainedandinsufficientnumber,adequatelyequippedresearchlaboratories,cooperationagreementswithotherinstitutions,appropriatetrain-
ingprogrammesanddiscoursevenuesforyoungresearchersandqualitycontrolprocedures.
7.1.2.1 The s e havemore todowithwhatmaybe referredtoas the learningandresearch
cultureofaspecificgroupofpeopleororganisation.Herewearelookingonlyattheconservatoire
context.
7.1.2.2 Ingeneral,studentsandteachersshouldbe informedabouttheresearchissuesunder investiga-
tionintheirhomeinstitution.Thisrequires andmutualexchange
betweenresearch,musicmakingandteaching.Inmanycases,thiswillbefacilitatedbysomemem-bersoftheconservatoirewearingdifferenthatsatthesametime,byworkingintheinstitutionnot
onlyinresearch,butalsoasteachersandasperformersandcomposers.Itwillalsobehelpfulifthe
differentactivitiesareplacedunderthesameroof.Thereshouldbeasfewspatialandpsychological
hurdlesaspossiblebetweentheareasofteaching,performingandcomposingandresearching.Just
asinathrivingconservatoireinstrumentalteachersandstudentsshouldfindit easytoapproach
theircolleaguesintheory,forinstance,sotheyshouldfinditeasytoapproachthoseinresearchand
viceversa.Measurestocreateandextendthegeneralresearchawarenessmightincluderegular
presentationsofresearchwork(notunliketheregularstudyconcertsofstudentsandfacultycon-
certsbyteachers)aswellasopportunitiesforstudentstoparticipateinresearchprojects.
7.1.2.3 Opencommunicationandmutualexchangeofresearchideasaremadepossiblebythefactthatthe
membersofaresearchenvironmentareembeddedinandshapetheirown .
Aconceptuallandscapeisaclusterofideas,questions,debates,theories,methods,andresearch
designs.Take,forinstance,theconceptofperformance.Thisconceptislikelytofigureprominently
intheconceptuallandscapeofmusicresearch.Therewillbetheoriesofperformance,aboutitsna-
ture,itsfunctionanditshistory.Typically,aresearchercanpointtoideasasbelongingtoacurrent
debate,asbeingacceptedbythemajorityofresearchersinthefield,ascomingincreasinglyunder
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attack,orasbeingnolongeraccepted.Theoriescanbeconsiderednew,influential,innovative,or
old,traditional,obsolete.Suchnotions,too,belongtotheconceptuallandscapeofaresearchen-
vironment.Anditisessentialforthemembersofaparticularresearchenvironmenttobefluentintheuseofthem.Conceptuallandscapesaredynamic:theyarecreated,changedanddevelopedby
themembersoftheresearchenvironment.Researchjournalsandconferenceswhereresearchers
publiclyexchangeinformationanddiscusseachothersviewsplayalargeroleinshapingthem.
Generally,conceptuallandscapesfunctionasastimulustoresearchbyfosteringunderstandingand
communication,bydelineatingdebatesanddefiningresearchfronts.Buttheycanbecomeanobsta-
clewhentheirconcepts,distinctions,classificationsetc.fossilizeintosedimentedopinionsinstead
ofencouragingthecriticalexaminationoflongcherishedassumptionsandtheoriesaswellasnew
impulsesandideas.
7.1.2.4 Perhapsthemostimportanttraitofmembersofa thrivingresearchenvironmentisthestorejectclaimsandtheoriesthatarebasedmerelyonauthority.Inthearts,theconcept
ofauthorityplays,at leastimplicitly,a largerole.Justconsidertherelationshipbetweenteacher
andstudentinconservatoires.Itisoftenthatofmaster-and-disciple:themastertells(usually)the
studentwhattodoandhowtodoit,andthestudentfollowsobedientlywiththelikelyconsequenceof
presentingahigh-levelproductbythecurrentconservatoirestandards.Butthepossiblesideeffects
arenottobeneglected:unquestionedandunexaminedideasanddoctrines;thetendencytoclone
mastersinsteadofexploringnewavenues.Aproperattitudeinaresearchenvironmentistotakean
investigative,scepticalstancetowardsleadingopinions.Thisshouldnotbemisunderstoodasaplea
againstauthoritiesorleaders.Butwhatwehavetodoisrecogniseauthorityforwhatitisanddetect
itsmisuse,beitinteachingortheorizing.
7.2 Fim
7.2.1 Athrivingresearchenvironmenthashardandsoftelements.Butsuchanenvironmentisnotsome-
thingthatcomesintoexistencebyitself.Merelyhiringafewresearchers,givingthemtheproper
infrastructureandbudgetandthenwaitingforgreatthingstohappen,isnotthemostpromising
method.Athrivingresearchenvironmentissomethingthatneedstobebuiltandconstantlyworked
upon.Anditisespeciallythesoftelementsthatrequirepatience,intelligentcareandwisdom.
7.2.2 Scepticism,empiricism,risk-taking,intellectualhonestyandself-confidencearevirtuesofafertile
researchenvironment.Ahealthyresearchenvironmenthasenemies:frettingaboutmoneyandbu-
reaucraticproceduresimposedbythegovernment,justtomentiontwoofthemorestressingones.
Butwehaveachancetodealsuccessfullywithsuchthreatsifwetaketheintellectualvirtuesseri-
ously.Theprizeofthisisthepotentialforinstitutionalgrowthatalllevelsofstudy,sinceavibrant
researchenvironmentwillbenefitthewiderartisticandacademiccommunity.
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8 ConClusI on
8.1 CurriculumdevelopmentinThirdCycleStudiesinMusicHigherEducationisinaverydynamicstatewithintheEuropeanHigherEducationArea.Thoseinvolvedinthisworkhaveagenuineopportunity
toinfluencethefutureofmusiceducation,scholarshipandperformance.This,inturn,maycreate
opportunitiesforstudentstoreachtheirpotentialinfresh,newways,aswellasexcellinginthose
areasthataremoretraditionallypartofMusicThirdCycletraining.
8.2 Sincemuchofthisworkisstillat anearlystage,readersaredirectedtotheAECWebsite,where
muchoftheinformationoncurriculumdevelopmentishoused.Inparticular,the sy t-
g fg m hg eisofusetothosewhoneedtotakecaretorelatetheThird
CycletoFirstandSecondCycle.AGlossaryofTerms,whichmaybehelpfulforterminologywithinthis
guidethatisunfamiliaircanbefoundatwww.bologna-and-music.org/glossary.
8.3 ItishopedthatThirdCycleStudiesdesignedwiththeprinciplesofthisGuideinmindwillhavethe
effectofencouragingsophisticatedand student-centredreflection,planningand implementation.
Thevitalityoftheresearchenvironmentthatcanresulthasthepotentialtobenefittheinstitutionas
awhole,and,inturn,thewholefaceofHigherMusicEducation.
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appendICes
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appendIxa
InForMatIonsourCes
ForthosedevelopingnewThirdCycleprogrammeswithininstitutions,itcanbehelpfultostudycon-
sultationdocumentsthatbuildupapictureofhowEuropeanpolicyhasdevelopedinthisareaover
thepastseveralyears.Thelinksbelowcalluponlinesourcesofinformation.Cautionshouldbe
usedinconsultingthismaterial;thesituationrelatingtoEuropeandtheBolognaProcessatthetime
ofwritingisinaconstantstateofchange,soitisimportantduringtheprogrammedevelopmentto
searchoutthemostup-to-datematerialavailable.
t p t cy wg G
www.polifonia-tn.org/3rdcycle
t bg d p
TheAEConlineBolognahandbook:www.bologna-and-music.org
OfficialBolognawebsite:http://www.ond.vlaanderen.be/hogeronderwijs/bologna/
TheEUAandBologna:http://www.eua.be/index.php?id=36
t eua szg c d pg
http://www.eua.be/index.php?id=187
t eua n c d pg
http://www.eua.be/index.php?id=121&type=98
t l sgy 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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u kg
AHRC.(2003).ReviewofResearch Assessment. Research intheCreative andPerforming Arts.
http://www.ahrc.ac.uk/images/4_92883.pdf
Andrews,Stuart& RobinNelson. (2003).Practiceas 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
thIrdCyCleprograMMedevelopMent Issues
(survey00)
ThepresentationofthefollowinginformationisbasedontheresultsofanAutumn2006questionnaire
circulatedintheframeworkofthePolifoniaprojectto40Europeanprofessionalmusictrainingin-
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).
Thoseinstitutionswereaskedsomeadditionalquestionsaboutthenatureandthepracticalitiesof
theThirdCyclestudiestheyoffer.Theresultsareimportantinrelationtotheissuesexploredhereandwillgivecontextsforthecreationofnewprogrammes.
Inthe2006Surveymaterial,themajorityofthematerialdescribesthecurrentstatusquo,rather
thanspecifyingwhatmightbeanidealwayforward.Itformsakindofsnapshotofthesituationat
thetimeofwriting.ItisimportantthatthisbackgroundoftheevolutionofThirdCyclesisunderstood,
butitisnotproposedthatthestatusquoshouldnecessarilybemaintained;indeed,evolutionof
thoughtwithineducationisvitaltokeepitaliveandthriving.
ThoseinvolvedwithdevelopingThirdCyclestudiesareconfrontedwitha seriesofpracticalques-
tions,suchastheg gandtheg g.Infact,thereisnouniformdenomination of Third Cycle studies in music in Europe. Some are called PhD Studies,
othersresearchstudies,doctoralstudiesorPromotionsstudiengang,tomentionbutafewofthe
morecommontitles.Whatis notableis thatmostThirdCyclestudiesdonotrefertomusicinthe
name.Theactualdegreetitlesawardeddifferaswell,althoughthereismoreuniformitythaninthe
nameofthestudies.Typically,thetitleofagraduateofaThirdCyclestudyinmusicisDr.,thequali-
ficationcanbeaPhD.OthertitlesareDMusorArtD.
HowlongshouldaThirdCycleprogrammetaketocomplete?Researchhasshownthaty -
variesamonginstitutions.Itreachesfrom2yearsupto8yearsinfull-orpart-timestudies.The
averagedurationoffull-timestudiesis3-6years.MostoftheofferedThirdCyclestudiescanbe
studiedpart-time,whichextendsthelengthofthestudyfromonemoreyeartoevendoublethetime
insomecases.Theaveragedurationofpart-timestudiesis5-6years.
f needstobeveryclearlycommunicatedtoprospectivestudents.Again,thefee-levy-
ingpracticesinEuropearenotuniform.Approximately,60%ofinstitutionsaskforafee.Theamounts
arehighlydivergent.Designatedfeescoveradmissionexamfees,enrolmentfeesandtuitionfees,
part-timeandfull-timestudyfees,feesfornationalstudents,forstudentsfromEUcountriesand
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nonEUcountries.Therearefeesthatclearlydonotcovertheamountofmoneythatthestudentcosts
theinstitution1and,ontheotherhand,therearefeesthatrangeuptoover14.000ayear2.
Provisionofcanmakeanenormousdifferencetostudentrecruitmentandretention.In
twothirdsoftheinstitutionsthatofferThirdCyclestudies,scholarshipsareavailable.Curriculum
developersshouldalsoconsiderstudentfundingthroughgraduateteachingassistantships,research
fellowships,projectworkorsimilarmeans.Existingscholarshipprovisionismoreorlessfundedby
governmentalbodies.Ingeneral,thefundingreliesheavilyonthestateinmostofthecountries.
Someinstitutions,however,haveasystemofintegratingtheirThirdCyclestudentsintheinstitutions
researchandteachingwork3.
aforThirdCyclestudiesareverycarefullyselected.Theyundergoextensive
andhavetodemonstrateaveryhighlevelofproficiencyintheirfieldofstudy.GeneraladmissionrequirementsformostThirdCyclestudiesinmusicare:
1. Anextensiveapplicationform.
2. AMastersdegree,thoughinsomecasesanequivalentissufficient(professionalexperience).
3. Researchproposal/portfolio.
4. Aninterview.
Someinstitutionsadditionallyrequireoneofthefollowing:
5. Admissionexamand/oraudition.
6. Professionalexperience.7. Languageskills.
8. References.
ManyinstitutionsoperatetheirThirdCyclestudiesthrougha g.Thiscansolve
bothvalidationandresourceproblems.Differentkindsofcooperationexist:
1. Institutionscooperatebecausetheconservatoiredoesnothavethelegalpositiontoawardthe
ThirdCycledegree.
2. Institutionscooperateforsinglecourses.
3. Institutionsallowforsupervisionfromotherinstitutions.
4. Institutionscooperatetofacilitatestudentmobility.
5. Institutionscooperateinauniquewaye.g.OrpheusInstitute,Gent.
1 AustrianUniversitiesofMusic,forexample,receiveastudyfeeof363,36pertermfromeverydoctoralstudent.
2 BirminghamConservatoirestudyfeeforoverseastudents.
3 ExamplesaretheJanacekAcademyofMusicandPerformingArts(Brno,CzechRepublic).UniversitataeNationaladeMuzica
Bucuresti(Bucharest,Romania)orSwedishinstitutionsthatofferThirdCyclestudentsfull-timepositions.
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ManyinstitutionsofferingaThirdCycledonothavethelegalrighttoawardthedoctoralqualification
withintheirwalls,butrelyupon .Thecooperationintheframeofsinglecoursesorsu-
pervisionshowsthatsomeinstitutionsallowtheirThirdCyclestudentstogatherexpertisewhereveritisoffered.Especiallyatthislevelofhighereducation,specialisationisrequiredtobeabletooper-
ateontheforefrontofthefield.Thisconcernsstudentsaswellasinstitutions.
Thespecialrequirementsofadvancedstudyinmusicmeanthatthemajorityofsuchinstitutionsoper-
ate ofcompulsorycourseelements.Thesecoursesincludespecificseminars
forThirdCyclestudents,someofwhicharealsomeantasanopportunityforinformationexchanges,
courseson methodology, music related courses (includingperformance).Languagecoursesand
pedagogy/psychology,presentationandcommunicationtrainingandphilosophycoursesarealsoim-
portantcomponents.Institutionsshouldalsoconsiderinclusionofinformationtechnologycourses,
wheresuchcoursescanbeofbenefittoThirdCyclestudents.
Anoverviewofthe y forexistingThirdCycleprogrammesinmusicshowsthe
followingresult:
SpecificThird-Cycle( individual)seminars 31%
Methodology 17%
Musicrelated(includingperformance) 17%
Language 10%
Pedagogy/Psychology 10%
Presentation/Communication 7%
Philosophy 6%
Informationtechnology 2%
Theseminarcategorythatscoreshighestaccordingtotheabovedisplayedlisthasbeensetupas
acommoncategoryforthespecificThirdCyclecoursesthathavenotbeendefinedinmoredetail.It
cancompriseelementsofthelessfrequentlymentionedcoursetopicsorberelatedtothestudents
inquirytopicandthereforeindividualtoeachdoctoralcandidate.
Asdiscussedin4.,g isakeyconsid-
erationforcurriculumdevelopmentteamswhowishtocreateinnovativeThirdCycleprogrammes.
ThemajorityofThirdCyclestudiesofferedinhighermusiceducationinstitutionsareacombination
ofresearchandartisticpractice,whichindicatestheimportanceofhavingaclearpictureofwhat
thismeansintermsofcontent,outcomeandevaluationstandards.Asarule,institutionsgivepro-
nouncedattentiontothestudentsartisticdevelopmentduringThirdCyclestudies.Morethantwo-
thirdsoftheinstitutionsdeclaretheydoso,whichmeansthatthishappenseveninsomestudiesthat
arespecificallyresearch-basedonly.
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svremainsthekeyteachingmodalityatThirdCyclelevel,andcurriculumdevelopersneed
toconsiderthisaspectofprovisionverycarefully.Differingpatternsofsupervisionarepossible.Re-
searchshowsthatmorethanhalfofinstitutionsoffertheirThirdCyclestudentssupervisionthroughasinglesupervisor.In31%ofthecases,thestudentsaresupervisedbyatleasttwopeople,oftenby
aresearchandanartisticsupervisor,aninternalandanexternalsupervisororamaintutorandan
assistanttutor.Inabout15%oftheThirdCyclestudies,studentsaresupervisedbymorethantwo
people.Mostinstitutionsallowteamsupervision,andthiscanbeaveryempoweringapproachfor
bothstudentsandstaff.Insomecasesthereisageneralsupervisorandaspecialistsupervisorwho
isanexpertinthefieldofstudythatthestudentisinvestigating.
Supervisionsusuallyconsistofregularmeetingswiththesupervisor(s). fqy v
isvariable,andshouldbeflexibleinordertobestmeetstudentneedswithoutbeingwastefulofthe
resourceofstafftime.Someinstitutionsofferthemostintensivesupportintheinitialphaseofstud-ies,withmoreautonomyexpectedatlaterstages.Itcanbeveryhelpfultoindividualstudentsifthere
isaregularpossibilitytodiscusstheirworkandprogresswithateamofpeersand/oracademicstaff
involvedinresearchandThirdCyclework.
Inmorethanhalfoftheinstitutionsthestudentisinvolvedintheprocessof,orsolelyresponsiblefor,
g v(s).IntheothercasesitisacommitteeoraThirdCycle/researchcommis-
sionthatchoosesthesupervisor(s)ortheHead/Dean/ChairoftheFacultyorResearchDepartment.
Curriculumdevelopersneedtocomplywithinstitutionalregulations,althoughtheparticipationof
studentsatthislevelishighlydesirable.
a v(s)usuallyinvolvesinterfacingwithofficialbodies,andtheseproc-
essesneedtobeclearlyunderstoodwithintheprocessofcoursedesign.Thesupervisor(s)are,in
mostcases,notappointedbythesamebodythatchoosesthem.Forexample,theappointmentisin
onesinglecaseamatterfortheMinistryofEducationandResearch4.Inanothercase,allstaffmem-
berswithaThirdCycledegreeappointsupervisor(s).Insomecases,thisisataskofaspecialboard
butinmostcasesthesupervisor(s)areappointedbysenioradministrativestaff.
Mostsupervisorshavetobeteachingstaffmembersintheinstitutionswherethestudentstudies.
SometimessupervisorsadditionallyneedaPhDorThirdCycledegreethemselvesorequivalentar-
tisticexperience.Insomecases,theyarenotrequiredtobeteachersbutcanalsoberesearchers
only,holdingaThirdCycledegree.Someinstitutionsallowsupervisiononlybystaffmembersthat
alreadyhavesupervisingexperience;thisisusuallyconnectedtoteamsupervision,wherenotevery
supervisorhastobequalifiedinthesameway,butisusuallyaspecialistinhisownfield.Insome
exceptionaloccasionsanexternalconsultantcanbeallowedtosuperviseandischosenaccordingto
his/heroutstandingexpertise.
4 UniversitateaNationaladeMuzicaBucuresti,Romania
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Prof/Universityteacher PhD/Dr. Both
45% 16% 39%
Tableshowsqualificationrequirementsforsupervisors.
RequirementsforthosegThirdCyclestudentsaresimilartothequalificationssupervisors
musthave.AThirdCycledegreeisnotalwaysnecessarytoteachThirdCyclestudents.Inaddition,
externalexpertsaresometimesinvitedtolecturetoThirdCyclestudents.Theexternalexpertsusu-
allyarenotrequiredtohaveacademicqualificationsbutequivalentqualificationslikecareerexperi-
ence.
i a ggisamandatorycomponentofmany,thoughnotall,doc-
toraldegreeprogrammes.Inprogrammeshavingthisstructure,thereisastageathigherMasterslevel(e.g.MPhil,MMA)ofoneyearsdurationthatprecedesanexaminationprocessinwhichthe
studentattemptstobeupgradedtofulldoctoralregistration.Thisinterimexaminationusuallyin-
volvespresentationofwork-in-processtoaPanelcomposedofmembersfrominsideandoutside
theinstitution.Studentswhodonotpassthisexaminationareusuallygivenanotheropportunityto
attemptit,afterwhichtheyareeitheradmittedtofulldoctoralregistration,orinstructedtocomplete
theirMasterslevelstudy.
p, f ex/p:Therecurringcomponentsofthefinalexaminationare
athesisandanartisticpresentation.NearlyallThirdCyclestudiesinmusicforpromotionrequire
athesisandapublicdefenseofit.Thisseemslogicalforscientifically-orientedThirdCyclestudies.Moreover,ThirdCyclestudiesthathaveanartisticemphasisstipulatethatcandidatesdemonstrate
non-verbalisable outcomesof theirdoctoral research throughconcerts, workshops, lecture-per-
formancesandsoon,asidefromthewritingofathesiswhichhastobedefendedinpublic.Thereare
fewvariationsofthisconceptthatfittheartisticpurposebehindbutcombineitinasensitivewaywith
researchorinquirythatmayneedaspecialmodeofpresentationtotheexaminationboardinafinal
presentation.Intheory,thenatureofaThirdCyclequalificationinmusiccouldbepurelyscientific
(musicology),oracombinationoftheoryandartisticpractice.
Thefinalproposalasto which ismostappropriatetoastudentsworkneedsto
beagreedbetweenthestudentandher/hissupervisorsandsubmittedtotheResearchDegrees
Committee(orequivalent).Appropriateproceduresneedtooperateinthepresenceofperformance-
centredand/orpractice-basedworkwithinasubmission,ofteninvolvinginterrogationofastudents
researchprocessesthroughouther/hisprogrammeofstudy.Candidatesaregenerallyexaminedvv
vontheirsubmissions.
f x areusuallycomposedofacombinationofinternalandexternalmembers,
forartisticandacademicprobity.Asubstantialamountofpanelsarealsocomposedofinternalex-
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aminersonly.Onlyonepanelinonerespondinginstitutionconsistsofexternalevaluatorsonly.Most
committeesarecomposedofthreepeopleormore,butmayhaveuptotwelvemembers.
Forthemostpart,the q inthefinalexamisanacademicone.
Theyareprofessorsorseniorteachingstaffmembersinhighereducationinstitutions.Sometimes
practicalexpertscanbeinvitedtotakepartinthecommittee.Studentsdousuallynottakepartin
thecommittee.Onlyoneinstitutiondeclaredthatthisisthecaseintheirfinalevaluationcommittee.
Thesupervisorofthestudentissometimespartofthepanel,sometimesonlyallowedtobepresent
withoutavoiceinthefinaldiscussion.
PossessionofaThirdCyclequalificationinmusiccanhaveaprofoundlypositiveeffectoncareerop-
portunities(v ).Inmanycases,itsattainmentisnecessaryinordertobepermittedtolecture
atthehighereducationlevelorbecomeaprofessor.InmanyinstitutionsaThirdCyclequalificationisrequirednotonlyforscientificteachingatuniversitylevelbutalsoforthepositionofartisticpro-
fessor.AllinstitutionswherethisappliesofferaThirdCyclethatisacombinationofresearchand
artisticpractice.Inamajorityofcases,acompletedThirdCyclehasapositiveeffectonthesalary
oftheteacherholdingaThirdCycledegree.ForinstitutionsembarkinguponthecreationofaThird
Cycleforthefirsttime,understandingcivileffectisimportant,sinceitcancreatetheneedfornew
recruitmentofstafftrainedtoThirdCyclelevel,andthuscausestrainonfundingresources.Itcan
alsocauseinternalstrainwithstaffmemberswhodonotpossesssuchqualifications,butwhowish
toteachatThirdCyclelevel.Inthiscase,staffdevelopmentopportunitiesneedtobeconsidered.
Qy aisanimportantcomponentoftheBolognaDeclarationProcess.Theimportanceofthissubjectisbasedontheunderstandingthatifhighereducationalprogrammesaretobecome
more comparable andrecognised at European level,themechanisms for theassurance anden-
hancementoftheseprogrammesshouldalsohavehigherlevelsofcomparabilityandcompatibility.
Wheretheydonotalreadyexist,qualityassuranceandaccreditationagenciesarecurrentlybeing
establishedinvirtuallyallBolognacountries,whilestandardsandproceduresarebeingdeveloped
atEuropeanlevel.Formusicians,it isimportanttoensurethat thespecialcharacteristicsofpro-
fessionalmusictrainingaretakenintoaccountwhensuchstandardsandmethodologiesarebeing
formulated.
Within theproject AECProjectAccreditationinEuropean Professional Music Training, a frame-
workdocumenthasbeendevelopedbyaEuropean-wideworkinggroup,whichcontainssuggestions
andguidelinestosupportqualityassuranceandaccreditationproceduresinhighermusiceducation.
Thedocumentisdesignedtotakeaccountofthefactthatqualityassuranceandaccreditationcan
involvemanydifferentstakeholdersandmaytakeplaceindifferentcontexts.Asaresult,thepro-
posedframeworkdocumentcanbeusedinahighlyflexiblemanner,takingintoaccountthediversity
ofsystemsandapproachestoqualityassuranceandaccreditationinhighereducationthatexistin
Europetoday.Thebasicassumption,however,isthateverythingwritteninthisdocumentisbasedon
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athoroughunderstandingofthecharacteristicsandneedsofthehighermusiceducationsector.The
documentshouldthereforebeabletoassistAECmemberinstitutionsinrelationtoqualityassurance
oraccreditationproceduresandtheirqualityenhancementactivitiesonall3cycles.
i:TheuseofECTS(EuropeanCreditTransferSystem)creditshasbeenagreed
uponin theframeworkoftheBolognaDeclarationProcess.However,it isstillnotcustomaryto
usecreditsforThirdCyclestudies.Inthefewinstitutionsthatdomakeuseofthissystem,thetotal
numberofcreditsrangesbetween120-240credits.
Some institutionsmaybrokerpartnershipagreementsbeyondtheEuropeanspacetoimplement
theirThirdCycle programmes.Theprincipalchallengewith this is todevelop mutually compati-
blevalidationandqualityassuranceprocesses.However,thereareindicationsthatsuchjointpro-
grammeswillbecomemorecommoninthefuture.
Thea p ex lg(APEL)isanimportantconsiderationforinstitu-
tionsgrantingdegreesinvolvingpracticalmusicmaking.Sincetheexperienceofmanystudentsen-
teringsuchprogrammeswillhavecomefromprofessionalwork,itislaudablethatthisworkshould
beconsideredaspartofthestudentsoverallprofile.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-
essthatmeetstheregulatoryneedsofboththeinstitutionanditsgoverningbodieswillneedtotake
place.Thisprocessandits associateddocumentationwilldifferfrominstitutiontoinstitution,but
generallyinvolvesaprocessofprogrammedevelopment,auditingandexternalscrutinypriortothe
approvaloftheprogramme.Curriculumdevelopersmustworkcloselywithallbodiesofgovernanceinordertoassurethatthespecificrequirementsforvalidationaremet.
Inmanyinstitutions,ar scanbeahelpfulintroductiontotheprocessofvalidation.
Thisstatementshouldsetoutclearlythereasonsfordevelopinganewprogramme,theplaceofsuch
aprogrammewithintheinstitutionalstrategy,itspotentialprofilenationallyandinternationallyand
thekindsandnumbersofstudentsthattheprogrammemayattract.WhereThirdCyclestudieshave
notexistedpreviously,itisimportanttowritethedocumentinsuchawaythatstaffandstudentstak-
ingFirstandSecondCyclestudiescanseetherelevanceofaThirdCycletotheirownexperiences.
Thestatementshouldalsooutlinelong-termaimsforThirdCyclestudies,andthegeneralstrategies
tobedevelopedinsupportofsuchaims.
ThirdCycleprogrammeswithinanyinstitutionneedtobebothfinanciallyviableandcapableofbe-
ingimplementedwithoutdeleteriouseffectsuponotherimportantprovisionwithintheinstitution.
Toprovethis,manyinstitutionsrequirea r sthatoutlinesboththecurrentpro-
grammeprovisionintermsoffinancialandphysicalresources,andmakesprojectionsforwardto
accountforfuturedevelopment,usuallyonatime-scaleoffiveyears.Themanagementteamofthe
institutionwillneedtoapprovetheResourceStatement,aswillcertainnationalgovernmentswith
directinstitutionallinks.
Apg rv dshouldbewritten,thatdescribesindetailthemannerinwhichthe
programmewilloperate,includingitsdailymanagement,thecurricularstructures,unitdescrip-
tions, examinationprocessesand regulations.The validationdocument shouldaddressstaffand
studentfeedbackabouttheproposedprogramme,andaddressanyquestionsraisedduringtheproc-
essofgatheringthisfeedback.
Atthecompletionofthevalidationprocess,theProgrammeReviewDocumentcanbecomethebasis
forthes h,whichshouldcontainalltheorganisationalinformationthatastudentwill
requireforthecourseoftheprogramme,andbecomestheprincipaldocumentforthedailyopera-
tionoftheprogramme.
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c e ogg pg rv
a mgprocessesoperatewithinmostinstitutionsofferingThirdCyclestudies.Thisin-cludestheannualanalysisofcohortstatistics(i.e.numbersofstudentsgraduating,numberswho
havenotpassedtheirexaminationsandsoon),gatheringofannualfeedbackfromstaffandstudents,
managerialconsiderationof changestobe implementedwithintheprogramme,andthedevelop-
mentofanannualactionplanfortheimprovementofthestandingprogramme.Allthisinformation
shouldbegatheredandanalysedwithinaunifiedAnnualMonitoringReport,completedatthesame
timeeachyear,andpresentedforconsultationandapprovaltointernalandexternalbodiesgovern-
ingtheThirdCycleprogramme.
BecauseoftheinnovativenatureofThirdCyclestudiesinmusic,s dvisimportantto
enhancetheresearchenvironmentandtomaintainhighstandardsofteachingandlearningwithinprogrammesthatareworkingatthevanguardofmusicresearch.Staffdevelopmentcanbecar-
riedoutasteamevents(e.g.staffdiscussionsaboutassessmentcriteriarelatingtoperformance)
andcanalsoinvolvetrainingtailoredtoindividualneedsandaspirations.Staffdevelopmentactivity
shouldalsobereporteduponwithintheAnnualMonitoringReport.
Qq/ voftheentireThirdCycleprogrammeisnecessaryinordertomaintain
standardsandtocreateaspaceinwhichlarge-scaleprogrammeinnovationsmaytakeplace.Such
processesusuallyreplicateinitialvalidationsintermsofthedocumentationproducedandthekinds
ofscrutinytowhichtheprogrammeissubjected.
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Association Europenne des Conservatoires,
Acadmies de Musique et Musikhochschulen (AEC)
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Tel +31.302361242 Fax +31.302361290
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