![]() ![]() A smaller but growing group of institutions, such as the Irish World Academy of Music and Dance (Limerick) or the Institute of Contemporary Music Performance (London), does not address western classical music at all. Some also offer jazz, popular, and indigenous folk musics-in Europe, the International Academy of Music and Performing Arts Vienna, and the Sibelius Academy, University of the Arts Helsinki provide longstanding examples. Many specialist HMEIs of the kind described in this paper have a focus on western classical music. Nevertheless, it is not intended for this to suggest that the content of the paper reflects the full range of HME delivered across universities. In some contexts such institutions are referred to as “conservatoires,” “music academies,” or form part of “universities of the arts.” For the purpose of this paper, however, the term HMEI is used in order to be inclusive across this nomenclature. They usually engage a strong international student body, with a large proportion of teaching staff also working as professional music practitioners. Higher music education institutions (HMEIs) particularly offering practical disciplines in music performance, composition and creative practise form the focus of this paper. Higher music education (HME) holds a leading position within music education as a whole, providing a pipeline into an array of professional music fields and curating research and innovation agendas. Shifting Ground for Higher Music Education We propose that this idea, connecting societal and artistic vision and practise, is equally essential for HMEIs as it is for musicians, and sits at the heart of the roles they evolve within their local communities and wider society. Based on this discussion we propose a conceptual foundation: the “musician as a maker in society,” in which developing vision as a musician in society, underpinned on the one hand by immersion in musical artistry and on the other hand sustained practical experience of connecting and engaging with communities, offers invaluable preparation for and transition into professional life. To support our argument we draw on the particular ethnomusicological concept of “musicking,” and we look toward a partnering of artistic and social values in order to enable HME to respond dynamically to societal need, and to continue to engage with the depth and integrity of established musical traditions and their craft. We identify apparent dichotomies of value within contemporary HME, including between intrinsic and instrumental purpose in the arts, cultural heritage, and new work, artistic imagination and entrepreneurship, and we argue that creative tensions between what have hitherto easily been perceived as opposing concepts or competing priorities need to be embraced. We examine concepts such as artistic citizenship, social responsibility and civic mission increasingly perceived to be relevant to the sector, and we explore their connexions to concepts of artistic excellence, imagination and creativity, and musical heritage. We argue that there is an urgent need for fresh orientating frameworks through which to navigate HME’s development. The paper has a particular focus on the sector within HME that is dedicated to intensive practical craft training for performers, composers, programmers, producers, managers, and teachers. Recognising complex challenges and opportunities in this field, HME is addressed from dual perspectives: educating the next generations of professional musicians, and higher music institutions’ (HMEIs) engagement in society. ![]() This paper considers the purpose, values and principles underpinning higher music education (HME) as one of the performing arts in a context of turbulent global change. 7Rhythmic Music Conservatory, Copenhagen, Denmark.6Department of Social and Humanitarian Disciplines, Kharkiv National Kotlyarevsky University of Arts, Kharkiv, Ukraine.5Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen, Brussels, Belgium.4Escola Superior de Música de Catalunya, Barcelona, Spain.3Academy of Music, University of Zagreb, Zagreb, Croatia.2Royal Conservatoire of Scotland, Glasgow, United Kingdom.1Royal Welsh College of Music & Drama, Cardiff, United Kingdom.González Delgado 4 †, Linda Messas 5 †, Oleksandr Pryimenko 6 † and Henrik Sveidahl 7 † Helena Gaunt 1 *, Celia Duffy 2, Ana Coric 3 †, Isabel R. ![]()
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