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Innovative Conservatoire: a five year collaboration in professional development for teachers and innovation in conservatoires 2011-2015 Report from the 6th seminar ~ May 2012, Dartington

HHelsinki, Finland

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Contents

Page

1. Innovative Conservatoire 6th Seminar 15 – 18 May 2012 - Profile of

participants

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2. Programme 6th Seminar 15 – 18 May 2012

2.1 Tool-box for Teaching 2.2 Selection of participant Inspirations 2.3 Workshop proposed by Ilona Sie Dhian Ho 2.4 Visionaries, realists, and critics session

3. References

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13 15 26 39

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Innovative Conservatoire 6th Seminar Participants

Seminar Directors

Helena Gaunt Dr Helena Gaunt is an oboist. Her current research focuses on one-to-one and small group tuition in conservatoires, and the role of improvisation (verbal and musical) in developing professional expertise. She is Assistant Principal (Research & Academic Development) at the Guildhall School of Music & Drama and a National Teaching Fellow (2009). Helena is a director of the Innovative Conservatoire.

Bart van Rosmalen Bart is a cellist specialising in improvisation and also a theatre director. Until recently he held the position of Head of the research programme ‘Teachers of the 21st Century’ at the Royal Conservatoire of the Hague. His research and practice as an artist focuses on ‘Connecting Conversations’ between art, science and business professionals to contribute to innovation and organisational change. Bart is currently Associate Lector (Interdisciplinarity and Open Innovation) at the ArtEZ Institute of the Arts.

Facilitators Gemma Carey

Dr Gemma Carey is senior lecturer in Keyboard and Convenor of the Bachelor of Music Programme at the Queensland Conservatorium Griffith University. She is also Head of the Pedagogy Department. In addition to teaching piano, Gemma has designed Pedagogy programs at both Undergraduate and Graduate level and for Community teachers. Gemma’s expertise and research interests are in the area of Performance Pedagogy, Curriculum and Teaching and Learning. She has presented and published papers in the field of Instrumental Pedagogy both nationally and internationally. Gemma is the author of New Understanding of ‘Relevant’ Keyboard Pedagogy in Tertiary

Institutions. Celia Duffy

Celia Duffy is Director of Academic Development at the Royal Conservatoire of Scotland. Career experience ranges from lecturing in music at Goldsmiths, University of London to commercial software design and project management and new applications of C&IT in higher education. As Head of Research at the

Conservatoire, she founded the National Centre for Research in the Performing Arts, and led the

team responsible for development and management of research, consultancy and knowledge exchange activities. Celia is currently leading the Conservatoire’s Curriculum Reform, an

ambitious project aiming to re-define the contemporary conservatoire learning experience and re-position the Conservatoire’s offer. Robert Schenck

Robert Schenck, Senior Lecturer at the Academy of Music and Drama, University of Gothenburg, Sweden, presently teaches flute, chamber music and stage presence. As Head of the Chamber Music Programme for over 30 years, he has been instrumental in developing strategies and methods within the Performance Department of the Academy. Previously, he has worked, lectured and taught extensively within the area of instrumental teaching methods and is the author of a widely read book in Swedish on that subject. In connection with his participation in

the Innovative Conservatoire, Robert has been working on integrating coaching methods with his teaching at the Academy.

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Aaron Shorr

Since settling in the United Kingdom in 1984, Aaron Shorr has established an international career as soloist, chamber musician and educator. As well as appearing as a soloist at London's South Bank in over thirty concertos, he has toured extensively as a recitalist and chamber musician worldwide. Aaron studied at the Manhattan School of Music in New York and the Royal Academy of Music

in London, where he received their most prestigious prizes for performance. A professor and researcher at the Royal Academy of Music in London from 1992, Aaron founded the Academy’s historical piano research seminars. In 2006, he was appointed Head of Keyboard at the Royal Conservatoire of Scotland. He is the founder and artistic director of the Academy’s International Piano Festival and a board member of the Scottish International Piano Competition. Dinah Stabb

Dinah has been a professional actor since 1970. She has been a member of both the National Theatre and the Royal Shakespeare Company and has extensive TV credits. During the last 10 years she has combined this with directing and teaching at the School. She works with young musicians to enable them to play with confidence and ease in performance. She is the Chairperson of the Advisory Board to the 'Ecole des Ecoles', the Association of European Drama Schools. Dinah has been involved in a collaborative teaching project at the Guildhall School of Music and Drama since 2009, encouraging connections to be forged between the Music and Drama departments.

Tine Stolte

Tine Stolte is a Core teacher for the Teacher Training Programme of the Prins Claus Conservatorium in Groningen. She is also a member of the INVITE Polifonia working Group of the AEC that is looking into instrumental and vocal teacher training in European conservatoires. Tine is a classical singer and singing methodology teacher.

Gerda van Zelm

Gerda worked at the Dutch Radio Choir in Hilversum between 1987 and 1993, as a voice teacher at the conservatory of Alkm between 1980 and 1989, and the conservatory of Arnhem between 1990 and 1995. Since 1992, Gerda has worked at the Royal Conservatory of the Hague and from 2001 at the conservatory of Groningen. She is currently Head of the Vocal department at the Royal Conservatory.

Project Management RebeccaCohen

Rebecca Cohen studied music at the University of York and currently holds the position of Research Manager at the Guildhall School, where she oversees the management and delivery of research and academic development activities across the School, working closely with Dr Helena Gaunt. In addition to the Innovative Conservatoire, Rebecca’s project management experience includes the 2nd International Reflective Conservatoire Conference and a number of high profile events across the Campus as part of the Guildhall’s ResearchWorks series. Rebecca is a pianist and violinist.

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Filmmaker Walter Stabb

Walter Stabb is a research-based filmmaker. An alumnus of the University of Nottingham and The London Consortium, he has worked in various production and post-production roles on a range of documentary films broadcast by the BBC and HBO and screened at international film festivals. Recent work includes a three-day shoot in the Haute-Savoir with John Berger and Tilda Swinton and an on-going research project with the Guildhall School of Music and Drama.

Participants Xavier Barbeta

Xavier Barbeta studied piano at Conservatorio Superior de Música de Badalona and at "Rimsky-Korsakoff" State Conservatory of St. Petersburg with Leonid Sintsev. He has won prizes such as 1st Prize in the National Piano Competition Jacinto Guerrero, Toledo (1994), and 4th Prize in the International Competition Dichler-Sato, Vienna (2002). He performs regularly as a soloist and in chamber groups and ensembles such as OBC, BCN-216, Banda Sinfónica de

Barcelona and the Murtra Ensemble. He has been Professor at ESMUC (Escola Superior de Música de Catalunya) since 2005 and has taught Performance Practice, Theory of Interpretation, and Piano. Xavier is especially interested in piano teaching and has translated many pedagogical articles from Russian into Spanish. He is currently preparing his Ph.D. at UAB. Rik Bastiaens

Rik Bastiaens studied organ with Dorthy de Rooij, and Theory of Music at the Maastricht Academy of Music. He continued his musical development by studying composition and conducting at the Royal Conservatory of Music in Brussels, Belgium. He has been the organist of the Binvignat organ in the Mathias Church in Maastricht since he obtained his degree in Organ Teaching in 1997. His organ playing is directed mostly at improvisation which is also the topic of his Master studies in Artistic Research at the Maastricht Academy. His research focusses on time management in choral improvisation using the fundaments of partimento playing. Rik Bastiaens is currently working as a

teacher of music theory and coordinator of research at the Maastricht Academy of Music. Christoph Baumann

Christoph grew up with western classical music and is also deeply rooted in the percussive idioms of contemporary jazz and Afro-Cuban music. His artistic work oscillates between improvising and composing. As a pianist and in particular as a composer he assumes stimulating or critical stances by means of playfully confronting and fusing attitudes and mentalities. His pervading interest to bring different musical styles into a dramatic context is particularly evident in his speciality, to tailor his composed and improvised music tightly to theatre and radio plays, dance, films and his three speech-operas. Baumann teaches music at the Music Universities of Lucerne and Bernand performs internationally with a variety of soloists and ensembles. Since the late 70s he has been

noted for unconventional projects such as the Jerry Dental Kollekdoof, the Latin-experimental band Mentalities, Cadavre Exquis, Baumann Large Ensemble, Afro Garage and Hausquartett. His musical work is well documented on CD.

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Richard Benjafield Head of Wind, Brass and Percussion at the Guildhall School of Music & Drama since 2009, Richard’s current interests are in assessment and mentoring. A percussionist who started his career in 1988, he was the founder of Ensemble Bash, and worked extensively with London Sinfonietta, all of London’s contemporary chamber ensembles, and the BBC Symphony Orchestra. Richard has collaborated with artists as diverse as Steve Reich, Billy Cobham, Richard Alston, Joanna MacGregor, John Woolrich, Ghana Dance Ensemble, Colin Currie, Marque Gilmore, and the Hardingham Sculpture

Foundry. Daniel Berg

Daniel Berg teaches percussion and chamber music and is the programme coordinator within the classical Performance Department at the Academy of Music and Drama, University of Gothenburg. Daniel’s interest in teaching and education has resulted in music and teaching literature. His book “Studies for Marimba” is used in the percussion program in many universities throughout the world. His books for children and young people “Play Marimba 1 & 2” are currently standard literature in music schools in Sweden and the Nordic countries.

Wolfgang Braun

Wolfgang has studied a vast array of music genres. Current work includes commissioned compositions and arrangements for different styles of music such as classical, jazz, pop and theatrical productions. He has composed pieces for the WDR Big Band, Metropole Orkest, German Jazz Orchestra, RTL Orchestra, RWE Orchestra, Swabian Youth Symphony Orchestra, Schauspielhaus Köln, Singer Pur (ECHO Classic Award) only to name a few. He has developed creative concepts which interlink music with dance, film, and art. His diversity as a composer/arranger, musical

director, and pianist/keyboardist has led him to, amongst other countries, Germany, the Benelux Countries, Italy, Canada, and the US. As a lecturer at the Maastricht Academy of Music, he also stage-manages interdisciplinary music projects designed in collaboration with his composition students. Ronald de Ceuster

Ronald de Ceuster is educated in two art discplines; theatre and fine art. After a period of making and directing theatre, Ronald has been working as an artist for the past 20 years, making site specific installations. In addition, Ronald teaches making theatre, scenography and design at the Institute of Arts, ArtEZ. Acting out of form and reacting on exisisting forms, locations and situations is the binding element in all of his work.

Karst de Jong

Karst de Jong studied music theory and piano (classical and jazz). He held teaching positions at the Conservatory of Amsterdam and the Royal Conservatoire of the Hague before being appointed professor of improvisation and music-theory at the Escola Superior de Música de Catalunyain Barcelona (ESMUC). He is furthermore active as a performer, composer and arranger.

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Dmitrij Golovanov Dmitrij Golovanov a well-known and sought after Jazz pianist in Lithuania and teaches at the Lithuanian Academy for Music and Theatre. A graduate of the Lithuanian Academy of Music and Theatre he also studied at the Hochschule für Musik und Theater "Felix Mendelssohn-Bartholdy" in Leipzig, Germany. He was winner of the “Vilnius Jazz Young Power 2007” competition, and also the International Piano Improvisation Competition in Vilnius (2008). As a member of the group

“Riot” he won first prize at the Jazz Hope 2005 competition. This year he will play at the semi-final of the Montreux Jazz Solo Piano Competition. For the last ten years, Dmitrij has been an active participant of jazz festivals in Lithuania and abroad. He performs various styles of music ranging from traditional, modern - creative, free jazz to classic/jazz crossover and experimental electronic music. He has been a member of several influential local and internatinal groups including Beat Freisen Spelunkenorchester and Herbie Kopf SwiLit. Collaborations include trio VD, Jeff Cascaro, Jacob Riis, Limor Shapira, Byron Wallen, Eska Mtungwazi and many others. Ingela Hellsten

Ingela Hellsten works as a vocal teacher at the Academy of Music and Drama, University of Gothenburg, and as a singer within the fields of jazz and improvised music. Principally, Ingela teaches on the BA programmes in music, specialising in Improvisation, where the focus is to enhance artistic mastery of the solo instrument. In addition she focuses on ensemble playing in order to develop individual musical expression. Her main subjects are: Voice, Ensemble, Vocal methodology Improvisation/Interplay. She has been taking courses on teaching methods for university level and

coaching methods that she is working on integrating into her teaching. Jo Hensel

Jo Hensel (horn) graduated from the Guildhall School of Music & Drama in 1991 and has since had a fulfilling playing career. As a member of the Academy of St Martin in the Fields and the OSJ for the last 14 years, Jo has been active in education and outreach work. Having undertaken a degree in psychology and spent a formative 4 years as Director of Music at a school in Cheltenham, Jo became Deputy Head of Wind, Brass and Percussion at the Guildhall School of Music & Drama in January 2011.

Tet Koffeman Tet Koffeman studied at the Hilversums Conservatorium (AHK) where she graduated as a jazz singer. She currently performs with several groups as a singer, composer and singer/songwriter. (Antonia, album Roots & Wings, 2004) As a workshop leader and vocal coach she has developed a workshop series on improvisation and communication called Vocal Playground, where she performs with both amateur and professional (jazz & classical) singers.

Since working at the Utrechts Conservatory (HKU) she has developed a new Bachelor of Music course called Musician 3.0, creating, performing, communicating. Jeroen Koster

Jeroen Koster (MSc) studied the violin at the Amsterdam Sweelinck Conservatorium, the Royal Northern College of Music in Manchester and the Utrecht Conservatorium. He combined his musical education with his passion for Learning & Change by attending the Utrecht University. There, Jeroen studied Educational Sciences & Consultancy and graduated cum laude (with honours). Currently, Jeroen combines his work as an HRD-professional at the Dutch Centre for Leadership & Entrepreneurship de Baak with his work as a freelance professional violinist.

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Carlos Lopez-Real Carlos is a saxophonist, composer, improviser and educator, specialising in jazz. He features on over 15 albums, numerous session recordings, and tours extensively. As a promoter, he founded the E17 Jazz Collective and has curated several club venues. He is professor of contemporary jazz at the Guildhall School of Music & Drama, where he gives classes, one-to-one lessons, coaches ensembles, sits on exam panels and mentors 1st year students. He is particularly interested in the nature of communication and interaction within improvisation, together with how collaboration impacts upon lifelong learning. His series of repertoire books is published by Spartan press.

Alistair MacDonald

Alistair MacDonald is a composer & performer. He has been working with technology to explore and create sound since the days of reel to reel tape recorders, and his music reflects a love of sound born of a fascination with his first record player. Much of Alistair’s work is collaborative; he has worked with performers, artists and choreographers from different media and backgrounds and in different countries and he makes work for performance, broadcast and installation.

Danny McGrath

Danny McGrath was trained on the three-year Acting Programme at the Guildhall School of Music & Drama. He subsequently trained with Phillippe Gaulier in Mask, Buffon, Play and Clown. Danny has developed his movement work under the teaching of Trish Arnold, Sue Lefton, Wendy Allnutt and Shona Morris. He works as an actor in theatre and television and teaches at the Guildhall School of Music & Drama. Danny has worked as a Movement Choreographer at Birmingham Rep: Romeo & Juliet, Old Vic London: Aladdin, Royal Court: Savages, Manchester Royal Exchange: Henry V.

Eilís O’Sullivan

Irish flautist Eilís O’Sullivan was a scholarship student of the Royal Conservatoire of Scotland, graduating with BA (Hons) and MMus with Distinction. She has been distinguished with awards which include the Silver Medal of the Worshipful Company of Musicians, London and first prize in the Governor’s Recital Prize at the Scottish Conservatoire. As an

orchestral musician she has freelanced with the RSNO, SCO, BBC Wales, NSOI and RTECO. Recitals include performances at St. Martin in the Fields, London, Sir Adrian Boult Hall, Birmingham, NCH Dublin, and with Crash Ensemble in Germany. Guest concerto engagements include orchestras in the United States, Scotland and Ireland. Currently she is a lecturer at the CIT Cork School of Music. Toms Ostroskis

Toms received a BMus from the Jāzeps Vītols Latvian Music Academy in 2002 and a MMus from Guildhall School of Music & Drama in 2004. Since 2000, Toms has been an active member of the EPTA (European Piano Teachers’ Association) in Latvia. Toms has taught piano performance at the Jāzeps Vītols Latvian Academy of Music since 2006.

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Frank Peters

Frank Peters is a pianist, performing all over the world as a soloist and chamber musician. His repertoire ranges from the great Classical composers to contemporary music in all its forms. For many years Frank Peters performed and taught in China. Many Chinese students have come to Holland to study with him and it is these experiences which have given him an insight into the problems faced by Asian students coming to Europe. He currently teaches at the ArtEZ Institute of the Arts where he is interested in cultural differences within the education system and folk

psychology. Anto Pett

Anto graduated as a pianist and composer from the Tallinn Conservatoire (now renamed the Estonian Academy of Music and Theatre). Since 2002, Anto has been professor of improvisation at the Estonian Academy of Music and Theatre. He has developed an original method of teaching improvisation and has held master classes presenting his method in many music academies and conservatoires in Europe. Anto has performed improvisations as a soloist and with several ensembles in festivals and concerts throughout Europe. In 2007, Fuzeau published Anto Pett’s Teaching System.

Timora Rosler

The Israeli/Dutch cellist Timora Rosler took first prize at the 1996 "Stuttgart International Cello Competition". In 1997 she won the "Vriendenkrans of the Royal Concertgebouw" in Amsterdam. A year later she won a special prize for her interpretation at the "XI International Bach Competition" in Leipzig. Timora has appeared in many international concerts and participated in numerous music festivals. Timora is also a cello teacher at the Utrecht Conservatory of Music. She has given master classes at the International Conservatoire Week in

St. Petersburg in Russia, International Cello Congress & Festival in Israel, Cello festival Dordrecht, Utrecht String Academy in St. Vallerin in France and Strings Winter Academy Davos in Switzerland. Timora plays on a Thomas Dodd cello from 1800. Ilona Sie Dhian Ho

Ilona Sie Dhian Ho studied in The Hague, Netherlands and Bloomington, USA. In her performance of the Beethoven Concerto in the Concertgebouw she was described as “… an extrovert and charming solistic personality…” She is professor at the Royal Conservatoire of The Hague and Prince Claus Conservatoire Groningen.

Aivi Tilk

Aivi Tilk earned her Bachelor’s degree at the Estonian Academy of Music and Theatre. She has since worked as an assistant conductor of the accordion orchestra and a free improvisation teacher. Alongside this she has won several accordion competitions. She is currently a teacher of free improvisation at the Estonian Academy of Music and Theatre.

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Jos van der Sijde

Jos currently manages music education and preliminary education of classical music, choir and wind band conducting, Composition, Music and Studio productions (CMS) at Prins Claus University. He has previously served as department head and artistic manager for Codarts Conservatoire Rotterdam. He is also active as a conductor and musician. Robert-Jan Vermeulen

Vermeulen was the leader of the Amsterdam Jazz Quintet with which he recorded four CD’s. In addition, his trio has accompanied artists such as Sal Nistico, Tom Harrell, Chet Baker and Jesse van Ruller. He has been digging deep into the music of Thelonious Monk with the band Ugly Beauty, a group with drummer Han Bennink and saxophonist Benjamin Herman. In recent years he has become more interested in free forms of improvisation. With saxophonist Frans Vermeerssen he started the improbop group Talking Cows. They have undertaken several international tours together and play regularly in the Netherlands

and Germany in clubs and festivals. Robert is a piano teacher (Jazz & Pop) at the ArtEZ Conservatory in Arnhem. Eithne Willis

Eithne Willis holds a BA degree in Music and Irish from University College Cork and a Diploma in Violin Teaching from the CIT Cork School of Music. Her work in the CIT Cork School of Music is primarily teaching violin to students of all levels from beginner to post Grade 8 and Degree. Her current responsibilities on the degree programme include examining/assessing, taking on the roles of Year Tutor, Module Co-Ordinator and from September 2011, Performance Studies Supervisor. She also works as a tutor for the Cork Youth Orchestra and as an examiner for

the County Cork School of Music. She is a founder member of the Cork Chamber Orchestra and a former member of several other Cork- based ensembles. Tereze Ziberte

Tereze graduated with a masters degree at the Latvian Academy of Music in 2003 and from 2001-2002 was an exchange student in the class of Prof. Gerhard Peters’ at the Hochschule für Musik Köln. In 2009, she completed her doctoral studies at the Latvian Academy of Music. Since 2008, Tereze has held the position of Head of String instrument performance pedagogy at JVLMA, and since 2009, has lectured in the JVLMA String department. Tereze is a prize-winner in several solo and chamber music competitions and has participated in international festivals as a member of string quartet Riga Viva.

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6th Seminar Programme

Voices of the Artist in Society

Dartington, UK, Saturday 19 - Tuesday 22 May SATURDAY 19 MAY Time Activity Venue 18:00 19:30

Dinner Dinner includes welcoming new participants, and we will invite each of them to say a few words about their motivation to join the seminar and a dream they have for themselves as an artist and teacher.

Restaurant

19:30 21:30

Getting to know each other and sources of inspiration Speed dating Working form: The first 30 minutes will be devoted to speed dating when you will ask each other one of these three questions and then have a short discussion:

How did you choose your instrument/discipline as an artist?

Can you describe an example of an “artist in society” that has inspired you?

What would you love to achieve as an “artist in society”. Sources of Inspiration Preparation 1: Bring a source of inspiration that is particularly relevant to you concerning the question of a changing society. It can be a quotation from a book (fiction or non-fiction), a piece of poetry, a painting or other visual image. It can also be a musical score or text that is related to the concept of a changing society. Be prepared to relate your own role as an artist and musician to your chosen inspiration. Working form: In core groups of 5-6 (see page 5), two of you will present your source of inspiration to the group. Each of the listeners in the group will then pick up on words or expressions the teller uses and asks the teller to expound on them or discuss them. Later in the seminar, participants will have the time to present their sources of inspiration. Note: Sources of inspiration submitted in advance have been uploaded to the private area of the website under : Seminar 6 / Inspirations

Studio 6 Gather in Studio 6 Core groups see page 5

21:30 Evening snack available Restaurant

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SUNDAY 20 MAY Time Activity Venue 08:00- 09:00

Breakfast Solar

09:00- 10:30

Giving and Receiving: One of the approaches to think about the musician in society is to realise that the balance between giving and receiving is changing in contemporary professional practice. It is not just about „doing your thing‟, but more and more about being in giving/receiving dialogue with market, audience, partners and commissioners. Fundamentally it is perhaps a more collaborative process. Work Form: Groups - some will be musically based and others physical movement. Each participant will attend two sessions

Various See page 5 Mixed groups

10:30- 11:00

Coffee break Optional - sign-up sheet in the Great Hall for chamber music and other activities at 8pm

Screens (off the Great Hall)

11:00- 12:30

Giving and Receiving: continued

Various See page 5

12:30- 14:00

Lunch

Solars

14:00- 18:00 14:00-15:30 15:30-17:00 17:00-18:00

Sources of Inspiration 2 and a „making session‟ In their core groups, participants will make or create an installation inspired by some of the inspirations, a step beyond improvisation, although improvisation may be included. We will explore a process of enlarging our existing artistic practice, whilst keeping closely connected to what is at the heart of our identity. We will work in our core groups, and will ensure that in each of these there is also some expertise in the process of “making”, e.g. a composer or theatre maker. Working form: In core groups, we share the remaining 4-6 sources. present the source, then an improvised response (a short piece), each moving to the next in swift succession. Then a final discussion about striking points. Note: coffee available to collect between 15:00- 16:30 (screens) Making session Working form: In core groups, choose a space at Dartington and make an installation. The sources are the starting material. It can be helpful to subdivide the group into pairs and trios. Promenade Working form: Promenade to look at the installations, with a short “curtain” discussion in between.

See core groups on page 5 & rooms on page 6

18:00 18:30

Break

18:30 20:00

Dinner

Solars

20:00 Optional sessions: Vocal playground, chamber music, improvisation and other sessions proposed by participants.

Various

21:30 Evening snack available Solar

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MONDAY 21 MAY Time Activity Venue 08:45 09:45

Breakfast Check taxi schedule in the Great Hall for departures on Tuesday 22th May

Solar

09:45 10:45

Improvisation session or sessions proposed by participants Working form: Improvisation sessions: small groups led by key improvisers. The session will develop practical improvisation skills. Alternatively, participants can attend the participant workshop proposed. Participants choose from one of the following:

See below

Improvisation & Participant sessions

1. Music round the corner, Ilona Sie Dhian Ho, Royal Conservatoire of the Hague (see details below)

Ship Studio

2. Improvisation 1 (tbc at Dartington) Studio 3

3. Improvisation 2 (tbc at Dartington) Great Hall

4. Improvisation 3 (tbc at Dartington) Studio 6

5. Improvisation 4 (tbc at Dartington) Griffiths room

6. Improvisation 5 (tbc at Dartington) Studio 1

10:45 Collect Coffee from screens and move to next session Screens

11:00- 12:30

Toolbox for teaching: strategies for enabling students to stay connected/reconnect to their artistic identity and motivation (“reaching in to reach out”) A session to investigate the meaning of “ownership “and “personal investment“ in artistic practice. How can we help our students develop and sustain a sense of meaning in their work as they learn their craft? What strategies in teaching and curriculum planning can encourage the emergence of their own voice, and an understanding of their value as a creative artist? Please think about examples from your own experience and be prepared to share them in discussion. For example projects undertaken in collaboration with other disciplines, or self-directed community projects.

Studio 6

12:30- 14:00

Lunch

Solar

14:00- 16:00

Institutional Plans Working form: coaching technique of Visionaries, Realists and Critics. This will be preparation towards each institution making a statement of intent.

Core groups

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A particular focus is on the idea that realising yourself as a musician in society is not a „solo‟ act. It always means finding and creating sustainable connections: with colleagues, with other disciplines, with professionals in other practices and reaching out in growing interdisciplinarity. Furthermore, successful change and innovation are always rooted in small groups that collaborate. The strategy of the innovative conservatoire is based on this concept of the dynamic power of small groups of „professional friends‟. We will work on the perspective of collaboration as a way of developing work further. Who are your and our allies? What are useful connections to make? How can dynamic momentum be generated?

16:00- 18:00

Break

18:00- 19:30

Dinner Solar

19:30- Celebratory Event: Chamber music, improv groups, perhaps some elements from the “Making” session.

Great Hall

21:30 Evening snack Screens/Great Hall

TUESDAY 22 MAY Time Activity 08:30 Breakfast (complete evaluation questionnaire), return room keys Solars 09:50- 10:00

Taxi‟s depart

Monday 21 May – Toolbox for teaching (AM) Toolbox session ~ Example In the book “The Art of Possibility” Transforming Professional and Personal Life Benjamin Zander describes a tool for the following problem. In class after class he found his students to be in a “chronic state of anxiety over the measurement of their performance so that they would be reluctant to take risks with their playing”. At the beginning of a new semester of his interpretation class he announced: “each student will get an A for this course. However, there is one requirement that you must fulfil to earn this grade: Sometime during the next two weeks, you must write me a letter dated next May, which begins with the words: “Dear Mr. Zander, I got my A because……..” and in the letter you are to tell, in as much detail as you can, the story of what will have happened to you by next May that is in line with this extraordinary grade”. In writing their letters the students are to place themselves in the future, looking back, and to report on all the insight they acquired and milestones they attained during the year as if those accomplishments were already in the past. Everything must be written in the past tense. Phrases such “I hope”, I intend” or “I will” must not appear. The students may, if they wish, mention specific goals reached or competitions won. But Zender makes it clear that he is especially interested in the person the students will have become by next May. He is interested in the attitude, feelings and worldview of that person who will have done all she wished to do or become everything he wanted to be. He tells them he wants them to fall passionately in love with the person they are describing in their letter. The Art of Possibility, Transforming Professional and Personal Life, Rosamund Stone Zander and Benjamin Zander.

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Additional Activities offered by participants Sunday, 20 May Vocal Playground Tet Koffeman, Utrecht Conservatory As a workshop leader and vocal coach, Tet Koffeman has developed a workshop series on improvisation and communication called: Vocal Playground, which she is performing with both amateur and professional (jazz & classical) singers and instrumentalists. “ Letting go is the keyword. More than working on „shaping‟ the voice, in these sessions we‟re mostly looking for freeing the voice, together with creativity and expression. Our body knows perfectly well what to do, we can rely on it more and control it less. And being curious! Surprising yourself while playing is the most beautiful gift.” In each new group all participants bring in their own musical luggage, experience and creativity. Together we look for a set of rules that make the playground a safe and inspiring place. Physical awareness, ear training and playfullness are anchors in these sessions. At the Utrechts Conservatorium she‟s now performing this class with all students from the new Bmus Musician 3.0, students of Music and Education and students of Bmus classical voice. Feedback: Thijs (guitarist): „It‟s really challenging to express my ideas without hiding behind my guitar..‟ Charlotte: (classical singer): „I‟m always focussed on doing the best I can. I‟ve learned that there are no mistakes. And people accept you acting crazy, as long as you‟re not embarrased yourself.” Louis (amateur composer): “A whole day of singing and movement in my body. Surprised by the sound coming out of my small chest! Beautiful encounters!”

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Selection of participant inspirations on the theme of Voices of the Artist in Society

Inspiration: Carlos Lopez-Real, Guildhall School of Music & Drama Authenticity, Courage and Mirrors

After the recent Reflective Conservatoire Conference I‟ve been thinking a lot about authenticity and courage, both in institutional and personal terms. As an artist in society I aspire to have a clear vision and to share that vision. Sometimes that vision is clearer, sometimes it‟s not so clear, and the question of how my own voice fits into that vision changes. Sometimes I feel more confident that I know my voice, but other times I doubt myself. Of course my voice changes too. Even when I‟m feeling confident that the voice I‟m aware of is authentic then it‟s another step to have the courage to share that voice. We probably all adapt to circumstances and edit what we share of ourselves, but wouldn‟t it be great to have the courage to share our authentic voice in an uninhibited way? Or would it? Maybe this is losing the balance between „self‟ and

„other‟… The images of Mandela and Ghandi below are so iconic that it‟s easy to take these people for granted. For me, and for millions of others, they represent the epitome of authenticity and courage. Of course there are many lesser known figures who have equal, if not greater, authenticity and courage, but somehow the fact that Mandela and Ghandi are so much a part of the public consciousness has an additional power. I remember watching on live TV the moments when Mandela was finally released from prison after 27 years. It was a defining moment in my life; I was at university at the time, and one of the most powerful feelings I remember was the sense of connection with millions of other people around the world who were watching. Did this „shared experience‟ tell me something about myself?

We don‟t live in a vacuum, and we can‟t find our authentic voice merely by introspecting. It‟s often said that the artist holds a mirror up to society, but perhaps it‟s equally true the other way around. Maybe society holds a mirror up to the artist, and they can only really know themselves and find their authentic voice in relation to society. In a way this isn‟t really saying anything more than „you need to live a life if you‟re going to have anything to say‟. But it makes me reflect on the symbiotic nature of the relationship between the artist and society and on the implied collaboration involved in that relationship.

The image at the top of the page is a mirror, a „sound mirror‟. It‟s origin is actually quite prosaic; it is one of many similar sound mirrors that were built during the first world war and located around the coast of Britain, acting as a very large „ear‟, a precursor to radar, listening out for enemy planes. But the picture of this long-disused piece of stone makes me think of it in slightly more mystical terms. If we are open, if we truly listen, what will we hear? What will we learn about society, about ourselves, and about how we work together?

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Today‟s environment is one in which collaboration and partnership are more necessary than ever before, and as an artist I feel I have lots of related issues to get to grips with. I can‟t simply „do my thing‟, that‟s clear, and yet I feel a tension. Is there compromise of the authentic voice when we collaborate? Is it changed? If so, then perhaps this is a good and necessary thing. The process of collaborating may reveal our authentic voice, and give us the supportive context in which to have the courage to share that authenticity.

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Inspiration: Gemma Carey, Queensland Conservatorium

Musee des Beaux Arts

About suffering they were never wrong, The Old Masters: how well they understood Its human position; how it takes place While someone else is eating or opening a window or just walking dully along; How, when the aged are reverently, passionately waiting For the miraculous birth, there always must be Children who did not specially want it to happen, skating On a pond at the edge of the wood: They never forgot That even the dreadful martyrdom must run its course Anyhow in a corner, some untidy spot Where the dogs go on with their doggy life and the torturer's horse Scratches its innocent behind on a tree. In Brueghel's Icarus for instance: how everything turns away Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water; and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on.

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Inspiration: Aivi Tilk, Estonian Academy of Music & Theatre

London

My source is a panoramic photo of London. For me all these houses symbolize artists in society. There are so many different houses (artists). There are no better or worse ones, just different ones. When I first saw the picture, I thought "Why do we need all these skyscrapers, if the human being is so small and can´t see all the beauty from the ground that skyscrapers present?" And then I smiled. It reminded me, that not a long time ago there was one amateur drummer who asked me pretty much the same "Why do you need all this musical high education, if average people can´t understand your professional art anyway?" The shortest answer would be - you don´t. But if you do care and climb on top of the skyscraper, you can see the most beautiful view that you could ever imagine to exist. And then you see that every house makes a difference, no matter small or big. Every house presents new way of seeing things - things that you didn´t need before and suddenly you can´ t live without. Every house influences lay of the land. And if there is a house, that is old, you can either renovate it, if you can´t live without it, or it can create a space for something totally new. And if you look at the panorama, you realize how colourful our society of artists really is.

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Inspiration: Gerda van Zelm, Royal Conservatoire, Hague

YO! Operaflat

In November 2009 students of the vocal department of the Royal Conservatory and other music high schools in the Netherlands participated in the project “The Operaflat” in the YO! (Youth Opera) festival in Utrecht. Students in the early years of their education were asked to sing a 3 minute opera in the door opening of one of the apartments in the building. At every apartment with a balloon outside, the public could ring the bell and after opening the door a singer would start his/her short performance. Texts were written by school children from the neighbourhood and music was written by young composition students. The students were helped “staging” their performance by young stage directors and organized their own costumes and make-up. Bringing the opera so close to the public, in a neighbourhood where classical music, let it be opera, is not part of everyday life, was a big challenge for the students.

The project was received with great enthusiasm by inhabitants, the public and singers.

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Inspiration: Robert Schenck, University of Gothenburg, Academy of Music

Musician in Society

The used marker and pointers at the bottom of the above images lay tired after their use, and matching colors on the board fade into one another. Perhaps it is all a remnant of some kind of seminar or classroom session. The writing is barely legible, and in a language foreign to the majority of observers. Are the photos above unfocussed, rhapsodic installations taken at a modern art museum?

Do they reflect our fuzzy and unclear picture of the “Musician in Society”? Are we afraid to approach this subject with focused vision and open minds, wary of what awaits us musicians in the future?

What will the music scene be like in 2050 when my grandchildren, if societal and personal well-being allows, are at the zenith of their adulthood and, in the best of scenarios, also of their family lives and professional careers? 2050 is both far away and just around the corner.

Looking 40 years back instead, to 1970, doesn‟t feel very difficult at my age, and I realize that “before we know it” 40 more years will have passed, and 2050 will be upon those who are still around to witness it. Though a great many drastic changes have taken place since 1970, our larger musical institutions are in fact still intact, although some of them barely surviving at the moment. Indeed, the music we members of the Innovative Conservatoire are lovers and practitioners of also survives and in certain contexts still flourishes.

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But perhaps we are at a crucial moment right now when the rapid changes, having originated in the 20th century, are beginning to “take their toll”, if one chooses to see it that way. What music schools, conservatoires, symphony orchestras, wind quintets, jazz trios and acoustical instruments will exist in 2050, and in what shapes and forms? Who will be interested in them?

What is happening right now with “our” forms of music-making as they encounter accelerating globalization, migration and technological advances (including all their positive effects and great potential), not to mention enormous population growth and environmental upheaval? Are we musicians clear about what we hope my grandchildren will be experiencing in the way of music when in their 40‟s? Do we, without consciously reflecting, wish that “our” world of music will still be around for them? Can we picture and accept radical and unpredictable differences compared to today?

Above all, what do we want to do right now with our music under current circumstances? Are our music, our way of performing it and our audiences stagnant in relation to the above-mentioned rapidly changing contexts?

In January, 2009, I met a group of approximately ten young classical music students at the Academy. They were about to begin a special, three term chamber music track in which they had elected to participate. Before anything about the track was presented, I posed the following question to them: what characteristics will you need to be a successful and sought-after professional chamber musician upon completing your bachelor studies in one and a half years?

As they answered collectively, I abbreviated their comments on the white board in the order they came up. All the items under “attitudes” were brought up before any of the comments concerning their playing skills, just as they appear on the board, and translated below.

(on attitudes:)

an individual in ensemble context - up to the individuals - Quartet = 4 conductors

social skills - easy to cooperate with

open - to criticism within the ensemble

listen to each other

let everyone take space

present

dependability - on time, manage your tasks, be a role model

fond of chamber music

unique - and show it, the program, ..., the concept, the theme,

individual charisma - within the ensemble

outspokenness - dare to communicate more than the written music

pride

dare to sell your “product”

integrity

stand up for your program

(on playing:)

the chamber music conversation

listening

know your part

technique

knowledge about the music

harmony studies

understanding - what, when, the (historical) times, why?

the score

Among other things, the ensuing three semesters of the chamber music track contained:

“Traditional” chamber music instruction

Interpretation seminars with theory teachers

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Communication skills sessions with drama teachers

Practice in written reflection

Public concerts in various forms

A series of children‟s concerts

Inspiration seminars with successful professionals

I believe the students left the program fairly well equipped for today‟s professional requirements. Whether or not they will then be successful at making a living in today‟s highly competitive and limited freelance market, and whether or not they will adapt to the markets of 2020 or 2030 (if that market does still exist), well… time will tell.

Inspiration: Celia Duffy, Royal Conservatoire of Scotland

I was in India over Christmas and was struck by different cultural approaches to the 'Musician in Society' theme. The last picture is just for fun, but there was a real contrast between the imported European forms as represented in the girls brass band and the experience of being in the canoe at dusk with Thomas and the oarsmen who enthralled us with traditional rowing songs. Here was a close connection with music as a natural, normal community activity. We responded (by invitation!) with some Scottish boat songs but none of the other nationalities represented in our group of c.10 felt comfortable doing that. Can't help feeling we've lost something important in western society in our attitudes to music making.

Inspiration: Helena Gaunt, Guildhall School of Music & Drama

Caravaggio‟s chiaroscuro – the light and dark of Milan in crisis

At our last seminar in Dartington, I had a powerful experience where I began to understand and own the importance of rough and raw sound as well as conventionally beautiful sound in my playing. And I experienced in a new way how this relates to the different qualities in my own energy, both dark and light. My training and experience as an oboe player has been almost exclusively to focus on the conventionally beautiful, or “light” energy, this being what is desired to produce the right sound and approach to being a classical performer. The joining of light and dark in my internal world and in my music was liberating, a relief. It made me feel easier and opened a vein of creativity. After the seminar I started to reflect on this theme of light and dark. What other insights could I discover? I found myself attracted to the painter Caravaggio. I‟ve always been fascinated by his work, though I‟m not sure I‟d say I liked it! As I explore, I am struck by the way in which his life and world, and profound struggle in society are all played out in his work. There is no way in which I can think of him other than as an artist “in society”.

------------------------ Where did his art come from? One part that has leapt off the page for me is the extent to which he recreated on canvas the world around him as he had experienced it, intentionally to a degree and subconsciously. His work catches vividly what he saw - the physical images, what he internalized from the intensity of his experience and the zeitgeist of Italy at the turn of the 17th century. His art embodies the relationship between him as artist and society.

Caravaggio‟s art is made from darkness and light. His pictures present spotlit moments of extreme and often agonized human experience. A man is decapitated in his bedchamber, blood spurting from a deep gash in his neck. A man is assassinated on the high altar of a church. A woman is shot in the stomach with a bow and arrow at point-blank range. Caravaggio‟s images freeze time but also seem to

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hover on the brink of their own disappearance. Faces are brightly illuminated. Details emerge from darkness with such uncanny clarity that they might be hallucinations. Yet always the shadows encroach, the pools of blackness that threaten to obliterate all. Looking at his pictures is like looking at the world by flashes of lightning. (Graham-Dixon, A. (2010) Caravaggio: A Life Sacred and Profane London, Penguin: p3)

1576, October. Caravaggio, aged 5 is living in Milan. The city has been hit by the plague. No one really knows its origins, and people only have an inkling of how it really spreads. A mystery, it is perceived as a curse, a terrible visitation from a vengeful God. Symptoms are grim, and piles of bodies on carts roll through the streets day and night. Carlo Borromeo (Archbishop of Milan and radical reformer of the Catholic faith) is convinced that the only way to salvation is through passionate identification with the suffering of Christ. He stages a series of public re-enactments of Christ‟s journey to Calvary, and orders 3 days of fasting. He himself plays the part of Christ, “with a large rope around his neck, barefoot and hooded, dragging his clothes on the ground, and with a large Crucifix in his arms.” (eye witness Jesuit Paolo Bisciola). Huge crowds are exhorted to join these public demonstrations. And Bisciola describes the detail:

Borromeo ordered temporary altars, lit with candles, to be set up throughout the streets of the city, „so that to walk in the streets was like walking in church.‟ As autumn advanced, and as the nights drew in, the city seemed ablaze with the „lights of piety and religion‟. On a multitude of outdoor altars „there burned a great quantity of candles and much insense.‟ Flame and shadow: Milan had become a city of chiaroscuro. (p.51)

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Bacchus

In its own way Bacchus embodies what I see as Caravaggio‟s extraordinary ability to play with light and dark (in paint and metaphorically), - the air of mystery and challenge as Bacchus offers the glass of wine to the viewer with an enticing and questioning eye is exciting and terrifying at once.

There is a decanter on the table in front of him, two thirds full of a wine so darkly crimson that it looks almost black. There are bubbles at its surface and its level is askew, a minute touch of realism that makes the moment captured in the painting seem ever more fleeting. The wine is still swinging in the heavy bowl of the decanter. The boy-god has just set it down, after pouring a glassful of the liquid into the fine-stemmed Venetian goblet that he holds, delicately, in his left hand. He offers the wine to a viewer of the painting. His expression is gently quizzical, his half-raised eyebrow both invitation and challenge: unriddle me if you can. The Bacchus is a sophisticated, courtly work of art, calculated to catch the eye and then hold it. It is an enigma embodied as a rich store of captivating details. Viewed from a certain perspective, the picture seems ripe with sensuality, bordering on outright lubricity. The barely draped boy might be no more than an elaborately wrapped sexual gift. Does he himself not hint at that possibility, with the suggestive play of his right hand in the knot of black ribbon that binds his clothes?

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That would be the profane approach to the picture. But there is space for a devout approach too. There is another way of undoing that knot. Bacchus is the god of wine and of autumnal fruitfulness, and in keeping with that Caravaggio has given him another of his overflowing baskets of fruit. The black grapes have never seemed so lustrous, the figs so ripe. But the foliage once more is withered, the apple worm-eaten, the quince and the plum bruised. The pomegranate has split and collapsed, disgorging its fleshy seeds. Once more, a sense of Eucharistic implication hovers in the still air. Summer has become autumn and the sere leaves at the basket‟s edge are the presage of death to come. But there is hope here too: the transcendent promise of eternal life is contained in the glass of wine held so carefully by the boy-god – and with such precise metaphorical intent – directly above the basket of decaying fruit. (p.154-55)

---------------------- The Musicians

The Muscians is a relatively early Caravaggio. It‟s unusual in that it does not show us musicians in concert, nor does it fulfil the escapist Arcadian pastoral scene relatively popular at the time. Rather we are watching musicians preparing, and somewhat dishevelled, undressed. Are we sure that the performance is going to happen? Have they been disrupted during their rehearsal? The lead singer has his back to us and is clearly not yet ready to perform. Cupid is more focused on the grapes than the task in hand. Something is in the making, there are all kinds of possibilities and nothing is certain. It reminds me that we are always in the process of making. And that making is a dance between the immediate context and what we bring to it. Perhaps there is a problem if we try to make the situation all “light” – beautiful, packaged. Where are the elements of dark? The picture was painted for the Cardinal del Monte, actively involved in the Papal court and known for his broad and experimental musical taste. He hosted impromptu musical gatherings at his various residences, pushing forwards the boundaries of taste, and discovering in less formal settings for example the musical and raw emotional potential of a single accompanied voice in contrast to the dominant vocal styles of polyphony. He gathered artists around him too, Caravaggio among them. It was a laboratory of innovation. Caravaggio may be paying tribute to Del Monte for this role in the picture. Most important is that the laboratory is within society rather than set apart, and is open for us to see.

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Workshop proposed by participants

Presentation: Music Round the Corner, Ilona Sie Dhian Ho, Royal Conservatoire of the Hague

To be successful in attempts to engage people in classical music I think we have to focus on the strong abilities music has. One of them is to generate a sense of bonding in emotional events. Music used to play an important role in ritual moments of individuals (funerals, weddings) and communities (coronations). The meaning of music at these moments was clear: comfort (requiem), contemplation (church related music). This is also a tradition in many cultures outside the western world. Apparently there is a human need for music at these events. In a practice based research project I want to investigate whether this could be re-introduced in society now. A group of musicians (Master students of the Royal Conservatoire, supervised and selected by professor of violin) will offer a variety of repertoire to be played at ritual moments. The City Musicians will be connected to two different neighborhoods in The Hague, Laakkwartier and Vogelwijk. They will do research on the population and perform at various locations to make the group known locally. There will be personal interaction between musicians and clients without intervention of a manager. The research questions I will focus on is: How do musicians and customers interact in this project? What kind of and how many performances develop?

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Tool-box for teaching: Strategies for enabling students to stay connected/reconnect to their artistic identity and motivation

Participant contributions

Emergence of one’s own voice and ownership – dealing with reading texts and critical discussion To create a safe environment which encourages student independence, student voice and risk taking Students in some courses come from different cultural backgrounds in which there can be a real feeling of hierarchy dependent on individual performance ability. There can also be language difficulties resulting in reluctance to contribute verbally. One way of encouraging students to express themselves is as follows:

Give students a text to prepare in advance to a specific pedagogical topic. Make the text available on line in digitised form. The text can be accompanied by guiding questions.

During the class, discussions relating to these readings and questions can start in pairs to encourage confidence and then open up for larger group discussion – the focus is on the ideas and issues raised as opposed to the person who raised them which fosters a non-judgmental approach

Encourage on-line discussion forums for students to raise issues relating to their own learning and teaching and readings

Get students to write up reflections of lectures and send to the lecturer electronically (email etc). This helps the lecturer to understand each individual‟s thoughts and also gives the more reserved students another way of expressing their voice. This can also inform future lectures in terms of interaction, topics for the course etc.

Collaboration with peers and with a musician in society Incorporate into a curriculum the opportunity for students to go into the „real‟ world and interview a musician in society whom they admire and respect. Certain questions can be asked of this interviewee e.g. what inspired them to be where they are? How do they express their own voice in their performance/work etc? I heard you say? Bring back a recording of this and write a reflective account for discussion with peers in a group situation.

Gemma Carey, Queensland Conservatorium Working from long-term goals back to the present Often students can be overwhelmed by the number of possible things that they could be practising or working on. Also it‟s not always clear for them where this is all leading. I find a good framework is to start with long-term goals and work backwards to the present. I ask students to think about, and write down, some very specific goals which we then discuss and refine together. They first state long-term goals, then medium-term goals which will feed into the long-term vision, and finally short-term goals (what do they need to be doing right now, that will feed into this?). We revisit these every few months. It‟s a great way to keep focused on the big picture, and how what you are doing now is leading to your long-term vision. However, there needs to be room for spontaneity, and for goals to change. We change, our needs change, and we must be aware of the need to change our goals as a result. Hence regular revisiting. Also it‟s important to celebrate the achievements of your goals in the here and now, not all value should be placed just on the long-term vision. The achievement of short- and medium-term goals should be celebrated in their own right (Thanks to Karst de Jong for suggesting this last point).

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Write a letter to yourself from the future Get the student to imagine themselves as a 60-year-old. What will they be like, what will they have done? As this 60-year-old, write a letter to yourself about your future direction. This could involve detail of what long-term vision has evolved, what the student is actually doing now, suggestions, encouragements, observations etc. etc…

Carlos Lopez-Real, Guildhall School Developing individual performance-related programmes for students In the CIT Cork School of Music we have a series of modules run over years 3 and 4 of the BMus programme, which allows the student to choose an area of performance of special interest and to devise a programme of practical study in that area. The student documents the learning in a portfolio that comprises: a reflective journal – a weekly summary and evaluation of the work undertaken by them; audio/visual recordings of their week to week progress; and any research material generated by them in the course of their study. There is no performance exam associated with these modules; instead the written portfolio and DVD are assessed at the end of the semester by a panel. “These modules have proven to be an excellent and innovative way of developing individual performance-related programmes for students, along with an appropriate development of the capacity to reflect and document practice-based research”. Please refer to the presentation given by Gabriela Mayer on “Developing Autonomy and Promoting Reflective Learning” from seminar 5.

Eithne Willis, CIT Cork School of Music Approaches to issues around identity In order to help students find their identity as musicians, it is necessary to open a creative process to find the „real person‟ and to create a relationship of trust. In order to facilitate this, in a class of students, they must play to each other and afterwards state (or perhaps even better write) at least three positive things about the performance of their fellow students. These should not just be technical observations but more holistic observations, and can be formulated in creative ways (as we have seen at the ICON seminars: using stories, images, words or phrases). The aim of this exercise it to focus on the whole personality of the student, as it is seen from outside, so that s/he can be more aware of their individuality. Normally, when we ask musicians for an opinion we are always looking for negatives that must be solved, rather than positives that may be developed. Improvisation, coaching and other tools that have been explored in previous ICON seminars are very helpful in achieving this.

Xavier Barbeta, ESMUC

Peer Assessment First ask the student what s/he thinks about what they have just presented (composition, performance). This can allow the student ownership of their success and failures. Follow this with peer assessment if there are others present. This helps the others grow too, and facilitates a conversation with the student in question, which can be inhibited if led by a teacher. Performing in unusual contexts Develop competences and flexibility necessary to be able to perform in unusual settings. Change your understanding of the audience from something threatening to something more familiar. Develop an ability to talk to the audience about your music. Take responsibility for making appropriate artistic choices in unusual contexts.

Ilona Sie Dhian Ho, Royal Conservatoire of the Hague

Alistair MacDonald, Royal Conservatoire of Scotland

Finding more playful ways in addition to traditional teaching like free improvisation, creating/writing down a self-created story. Encouraging students to ask / engage in questions and to search for the answers. Questions like "why do I play this?", "what is this piece about?", "what does this music mean to me?"etc. Finding connections and relationships with the piece they play with any other art sources (texts, visual art, parallel

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piece of music), to help them recognize its meaning in other dimensions and other art forms. This will allow them to explore their fantasy and broaden their horizons.

Dima Golovanov, Lithuanian Academy of Music & Theatre

Timora Rosler. Utrecht Conservatory

Main subject Piano: group lesson assignments to make a video interview with an artist of special interest to the student. Required subjects that should be covered in the video: network, education, inspirations, how they work and practice, experiences in life. Goals: to learn about the professional motives and artistic choices of a role model. The video will be shared with the peer group. Then observe and reflect with the group. Suggested last step (Tine): finally a round of sharing how these observations connect to the students own inner sources.

Robert Vermeulen, ArtEZ Institute of the Arts

Teaching class (required for all students): we ask students to reflect on learning situations or moments that have been important or decisive for them during their instrumental education. Ask them to describe the moment and why it was important for them. When where and what happened. For instance the atmosphere, age and which people were involved. After this, students share their experiences in a group. They reflect whether or not the elements of these experiences are still applicable on their current learning.

Tine Stolte, Prins Claus Conservatorium

Play with your students on stage. Lower the gap between 'professor' and student. Make them experience the collaboration with experienced artists and learn from that. Create consciously opportunities for them and plan it! Example: a composition class, writing in 19th century style for the piano. Mixed group of pianists and composers (who are mostly also quite good players). Each student has to write a piece AND play somebody else's piece. Teacher also plays one of the pieces. Responsibility is a key factor. End result: concert with audience at the end of the course.

Karst De Jong, ESMUC

1.Put the student(s) in charge, make them responsible from the start 2.Help them with planning/structure i.e. the project, the concert programme etc. Think big to small and allow them to search. 3. Integrate craftmanship / tools into creative processes.

Daniel Berg, Academy of Music & Drama, University of Gothenburg

Wolfgang Braun, Maastricht University

Choose and know the consequences. Have a discussion with the student about what s/he wants and what it takes (consequence) to achieve this and introduce them to the possibilities within the institution. If the student doesn‟t know what he wants he should be encouraged to put his trust in the choices that the teacher and the institute makes for him to prepare him for the moment he is ready to make his own choice. Even if this choice is to choose another teacher or another institution. Get to know students and accept them, it gives freedom. Show interest in the musical world of the student. We have to take the first step towards the student and COMMUNICATE.

Aivi Tilk, Estonian Academy of Music & Theatre

Christoph Baumann, Lucerne University of Applied Sciences and Arts

Rik Bastiaens, Masstricht University

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Other potential ideas include: The main instrumental teacher The main instrumental teacher must challenge the student on aspects of both technique and artistry. The teacher develops into a coaching role, coaching the student to “reflect in action”. Co-teaching Co-teaching / personal masterclasses develop a platform for the student to develop their own voice, to integrate different pieces of advice from teachers with different perspectives. Sensitive management needs to recognize the maturity of the student, and how teachers might co-operate in a dialogic manner. Assessment & self-reflection Enabling assessment to become a continuous cycle of reflection on personal progress and performance, and to remove the traditional blockage point associated with the reception of a mark. In trying to move away from numerical quantifiability, devising a process that enables the student to develop their artistic voice through a period of self-reflection. The assessment panel would award marks in the normal way and write the feedback comments on the assessment form. The student would receive the comments but not the mark. A review meeting (between Head of Department and student) after a period of ten days would include a discussion of the assessment, in addition to other aspects of the student‟s participation in the course. After this, the student would be free to collect their mark. The aim is that, by the time of the meeting, the student would have already started the feed-forward process, evaluating their work less by the mark and more by the feedback comments, facilitating deeper self-reflection. Other ways Another way of drawing students away from numerical quantifiability is to get them used to assessments. There can be monthly exams from the first year, which are pass/fail only. Fails are redeemable by a retake. The first exam with a mark awarded would come at the end of the first semester, by which time they would have accumulated some practice in their stage culture.

Eilis O‟Sullivan, Cork School of Music Tereze Ziberte-Ijaba, Jazeps Vitols Latvian Academy of Music

Richard Benjafield, Guildhall School

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Visionaries, realists, and critics session on the theme of Voices of the Artist in Society This working form, derived from Viva Coaching AB by Helena Wennerhill, uses three roles: The visionary V: The visionary is the part of us who sees possibilities and has the ability to escape from the "net" of today. The visionary is creative and thinks in metaphors and images. He/she remembers previous successful projects and has role models. He/she thinks positively and sees no limits. The realist R: The realist is the organizer within us. The focus is on action. R is V's engineer. It is the Realist who can make the vision come true. The critic C: C can be your inner voice or someone else's. C cares about the success of the vision. Each individual has different roles within them, and this exercise ensures that they are acquainted with these. In groups of 5-6, the exercise starts with the visionary, asking the group what is their dream? What do they want to achieve? Once V has spoken, the group moves to the realist station, and question what the realist says to them. What needs to be done in order to realize the vision? What resources are needed? What are the various steps? The group moves back and forth between V and R before the critic is introduced. The group move to the Critic station. Only the realist speaks to the critic, and there is no direct communication between V and C. The group consider what does the critic have to say? What are the risks in the vision? Is it worth the trouble? The group return to R to experience the Critic‟s comments as a gift in assisting R in realizing V. The group moves between the C and R stations, being open to the voice of C and letting R respond to C‟s comments. The goal of the exercise is to create a practically empowered vision. Below are the summaries of each session from the seminar.

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Robert Schenck‟s Group Visionary Artists need to:

Become a central part of society where the arts really count and reflect the real human condition. Hold a mirror up to the world, that can begin to look at human conflict from a different perspective – East West Divan Orchestra etc.

Put Music back on the centre stage of society in a way that it enjoyed throughout the 17th and 18th Century in the Royal Courts of Europe.

Demonstrate their creativity as a means of changing society and benefiting all walks of like. Through discipline, skill, motivation, team work, new and innovative approaches to problem solving and invention.

Trust to the integrity of the art form and the individual artist– that seriousness and excellence are compelling.

Realist

Develop a coherent message, one which unites the many institutions and individuals within the sector.

Marshal forces to articulate the alternative values that the arts present – at a time when capitalism is being rejected as a false god could we bring forwards the life changing possibilities of the arts.

Encourage eminent members of the sector (individuals and institutions) to lobby the media and governments to change the profile. We need to demonstrate the value of the work.

Encourage and support the individual artist‟s voice. Critic

This is a lost cause. The Arts no longer have this kind of muscle.

No one will listen to us.

Society has become too materialistic to be persuaded by artistic values.

There are too many factions within the Arts for them to produce a coherent message and stand together. Too many vested interests.

Gemma Carey‟s Group Visionary

Artists that connect to their own inspiration to communicate with and move audiences

To communicate a clear artistic image and to invite audience members to share this and feel involved/connected, regardless of genre

Inspirational, passionate teachers that through their own voice empower students to learn and find their inspiration e.g. through acquiring new skills

To broaden the mindset of artists in society, moving away from a „clique‟ mentality

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Artists that engage with other art forms to push boundaries. Realist

Improve decisions around when to outsource aspects of an artist‟s work, e.g. Marketing, project management, and identifying relevant organisations to undertake these tasks where support is required. Promotional materials are critical; e.g. in Jazz, potential to move away from verbal descriptions that try to describe how music sounds or self-referential copy, but to focus for example on how it could make the audiences feel/ the experience. Potential to entice new audiences (where current audiences already have an awareness of performers/repertoire).

Develop more creative choices of repertoire to communicate with different audiences, particularly new audiences, to find repertoire that is meaningful to them.

Exploring different and innovative environments/venues for performance that can have a more profound impact on audiences. Offering different experiences e.g. performing improvisations on the street and asking the public for views on how it was for them. Talking more and connecting with audiences, rather than a need to change the core artistic product itself. Exploring contrast within programmes, more spontaneity.

Artists in society need to be more open, to get in touch with their „core being‟ to encourage others to do so and to receive them. Taking up new skills e.g. in a related disciplines to find another means to express themselves could liberate performers to adopt new perspectives to approach and engage students and audiences.

Focus on developing artists who push boundaries with their audiences.

„Every beginning is weak, but the vision can be strong and it builds‟ Critic

It is not possible to please all audiences all of the time. Drastic changes to publicity materials e.g. to eliminate the word jazz to avoid usual connotations may alienate loyal audiences.

Offering too much diversity for audiences and attempting to be to universal in artistic terms can compromise quality

Develop what you know rather than trying to develop a new skill.

It is easy not to realize what is already there e.g. a regular concert series, why need to continually expand?

Gerda van Zelm‟s group Visionary

To be free artists, fully employed, valued across society, able to do the things they want, in the lead in society

Artists truly embedded in society, not divorced from society through their education

A structure where funding follows the creativity of artists first and foremost, and then all kinds of other things are able to circle around and connect with artists‟ creativity

Artists whose voices change something in society. Musicians who, having completed their education, can find a place to go, and have the capacity to create something that wasn‟t there before.

Artists who understand the responsibility of the potential of what it is to be an artist in society

Artists in society who are not forced to have a specific “voice”

Musicians in society who are noticeable, and are happy people

Musicians who are able to enjoy listening to music rather than automatically analyzing it and making critical judgments about it.

A place for every artistic voice – the full spectrum of colour from diverse voices

Artists who understand the difference between great art and the greater good of artists. The possibility to accept two worlds: art for art‟s sake, applied art in society.

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Realist

Focus on developing strong artistic personalities and self-belief in young artists. Focus on transforming the education of young children too

Develop advocacy and the arts of persuading those who hold purse strings

Commission and undertake research into why things are the way they are, why the education process is creating difficulties for artists when they have to make the transition to professional life and find themselves separated from society.

Develop conservatoires as laboratories, not dedicated exclusively to preserving, the cannon, and drawing on audiences and artists outside to help form and renew curricula

Develop new media, other ways of communicating with audiences

Improve support for students who are less strong although talented, particularly mental support mechanisms, eg along the line of how sports people are supported. Musicians tend to be alone much more.

Improve decision making around when to outsource parts of work, not doing things all yourself. Help musicians to understand when to get help from eg promoters, project managers etc. Develop a course in commercializing your work – understanding IP, individual rights.

Champion and provide environments for experimentation. This is necessary, or you will be stuck and stay in the 19th century. Artists in society need to be constantly on the lookout for future practice.

Be clear for students about the dangers of the profession, help them to develop a realistic outlook. Offer sessions to help students and artists to develop self-awareness and understanding, being open to critique from outside and using it positively.

Develop processes of evaluation as a form of discussion and exchange, where marks are not being given, judgments are not being made – this will help support particularly those who lack confidence

Create and share evidence of the impact (particularly economic) of music in society

Abolish the degree structures in music because this does not reflect the reality of artistic value

Develop knowledge and understanding about how to support students in developing strength in their voice.

Critic

There is no place in the profession for weak artists. They should realize this and leave.

There is no interest for your music. Background music is the currency of today

You don‟t realize what is already there, support structures etc. Why do we need to create more of these, when what exists is not sufficiently used?

Artists should stand on their own feet

Laboratories run the risk of failure, too much experimenting

There are too many examples of artists who never went to an institution – let nature do its work. There is no need for conservatoires

There isn‟t time to babysit the students when much focus is needed on craft

If you accept diverse artistic voices, the basic craft level goes down

You can‟t abolish the degree structure because if you do, you won‟t have time to check the qualities of the teachers. At the moment degrees indicate that the teaching is of a sufficiently high quality.

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Celia Duffy‟s Group Visionary

We need to rebuild an audience for classical music

Need to reach more people

Could be done by a large café bar, say in the centre of Barcelona, that had a small ensemble in residence and every night a staged performance as well as public rehearsals

In wrap up: we‟ve made a good step forward, but not mission completed! Realist

Need money; co-operation; management; architecture

Money: could come from content-hungry media sponsorship; also from the city

Co-operation: include conservatoire students as well as professionals

Management: of the café and an overarching company, separate artistic from commercial management

Architecture: has to be open and inviting

Students could be performers

Build an audience through schools with strong outreach

Need to change the mind set of students Critic

Can musicians rehearse seriously in an open environment?

We tried this – it didn‟t work

A lot of money is needed to set it up

Financial climate is against us

Who would select the artists and how would we monitor artistic quality?

Would a building really build an audience?

Students want to pay for money, so fees would need to be factored in

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Tine Stolte‟s Group Visionary

To give people a sense of joy, a real experience

To open their eyes to beauty and take away any distinctions between people

To see the world differently…to borrow their eyes and ears

Create a place where people can talk to each other. Audiences and performers relating to each other, with less fear and less differences

Young people would love classical music

We know it is worth doing, don‟t be afraid just do it

We must dream else we will lose what we know is valuable Realist

Young people can take part in the process…shadow the rehearsals

Soloists talk before concerts

Audiences interested in meeting performers…give them a chance to exchange experiences

Need to return to live performances the emotional exchange between performer and audience. The experience will stay in the body

Work together in groups let them (audiences) choose ideas

Change clothes policy…no more black tie and formal dress

Financial support always needed but a re-assessment of how funding is generated is essential

Critic

Global brand of Classical music is doomed…it is too expensive?

Modern culture is about celebrities, TV and DVD‟s

Classical music is out of date and too esoteric to be funded any more

What is the point of making an effort it is an out of date commodity

How are you going to pay for it?

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Voices of the Artist in Society ~ References

Hewett, Ivan (2003). Introduction and Chapter 1: Depths and Shallows. Music

Healing the Rift. London, Continuum. (1-35).

Renshaw, Peter (2003). Connecting Conversations: The Changing Voice of the Artist. Institut del Teatre and Escola Massana, Barcelona.

Renshaw, Peter (2011). Working Together: An inquiry into collaborative learning across the Barbican-Guildhall Campus. London, Barbican Centre and Guildhall School of Music & Drama.

Sennett, Richard (2012). Together: The Rituals, Pleasures and Politics of Cooperation. Yale University Press, New Haven.

Van Rosmalen, Bart (2012). The composer, between autonomy and commitment.