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Appendix 7-8
Cluster #4 Music schools
Gretchen Amussen, sous-directrice des affaires extérieures et de la communication
Conservatoire national supérieur de musique et de danse de Paris
209 avenue Jean-Jaurès, 75019 Paris
Globalization and Higher Education in Music
Mundus Musicalis
Rationale and background
Isn't music (training) already international?
Increasing competition in higher music education
Changes in the music profession
Lack of information relative to Bologna process internationally
Project Details
Funded by Erasmus Mundus programme of the EU
Dates : 1 December 2005 - 1 December 2007
Coordinated by Norwegian University of Science and Technology - Music Dept.
Project Objectives
Provide better employability for musicians through improved recognition of qualifications
Provide greater understanding of professional music training systems in/outside Europe
Enhance attractiveness European professional music training
Improve quality European professional music training
Project Partners
○-Norwegian University of Science and Technology - Music Dept.
○-Birmingham Conservatoire (UK)
○-McGill University - Schulich School of Music (Montreal, Canada)
○-Conservatoire de Musique et d'Art Dramatique du Québec
○-University of Adelaide - Elder Conservatorium (Australia)
○-Queensland Conservatorium, Griffith University (Australia)
○-Keimyung College of Performing Arts (Korea)
○-Universidade Federal do Rio Grande do Sul, Institute for the Arts (Brazil)
○-National Association of Schools of Music (NASM)(USA)
○-Association Européenne des Conservatoires (AEC)(Europe)
Planned outcomes
On-line national descriptions of professional music training systems (structures, qualifications, quality assurance etc.)
Documents on international recognition relative to the music profession
Study of non-European music students
| Factors conducive to student mobiliy |
Factors challenging student mobility |
Comparability credit point system (ECTS)
Modularization and semester based curricula prevalent in most countries
Many successful models of good practice
Numerous programs organized in 3 cycles (Bachelor-Master-PhD) |
Considerable variety in levels of access
Differing terminology and nature of programmes
Confusion between radically different pedagogical approaches
Progressive full year courses vs. semester abroad
No match between academic years (Northern and Southern Hemispheres) |
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Work in progress
Mapping of music training systems
Structural analysis
Content-based analysis
Advocacy issues at the international level
Formulation of recommendations
Political and governmental representatives
Senior management staff in conservatoires
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