Now that CEMPE is nearing the end of the center period, the think tank's collaboration is coming to an end, but the development of artistic research-based music studies continues. What potential and challenges do we see today for the further development of the interaction between music education and artistic research (AR)? To shed light on this, we talked to three of the members of the think tank: Deputy Dean and Associate Professor Jostein Gundersen at the Grieg Academy in Bergen, Professor Tone Åse at the Department of Music at NTNU in Trondheim and Professor Henrik Frisk at the Royal College of Music in Stockholm.
- What have you found most interesting in your work with the think tank for AR-based music education?
Jostein Gundersen: - For me, it has been important to gain an insight into what is going on at the different institutions, and in the (lack of) connections between the bachelor's, master's and PhD programs. It is clear that we need to create better connections between the study levels, and also a broader understanding of the concept of AR. AR must form the basis of the programs if there is to be any point in offering PhD degrees and having AR in the positions of academic staff.
Tone Åse: - It has been very clear that we are all in a development phase when it comes to understanding and defining concepts, practicing and being aware of what artistic research and development work is and can be in the various colleges; not least how and to what extent we perceive the education as AR-based. Although I think that parts of our art education programs are in many ways AR-based, because many teachers are active with their own artistic projects that feed naturally back to the institutions and the students, I feel that there is a lot to be gained from thinking even more specifically about how our parallel to research-based teaching can be structured. For me, the most concrete thing that came out of the think tank was the work on creating a resource bank that I believe will be a useful tool for me to use as a teacher at master's level.
Henrik Frisk: - The obvious takeaway from this project is to learn more about the needs and insights of other institutions. That kind of traditional collaboration, discussing specific needs in seminar-like forms based on a general ambition to increase the research connection in artistic education, is extremely important for our field. The second, for me very instructive aspect was the more scientifically rigorous review of the definition of what research connection is and can be. This made me realize the importance of the "right" competence being in place, and that if it is not, it will be difficult to build up knowledge in the long term.
- What challenges should be addressed in further development?
Tone Åse: - I think that a lot of hidden AR interaction is already taking place at some institutions, and that there is great potential in raising awareness of this. Otherwise, it can seem challenging to find the balance between, and time for, everything students need to learn to become good craftsmen, artists and cultural workers.
Jostein Gundersen: - It's important that artistic development work is written into the main discipline. In my opinion, this does not happen in a systematic way today. Some students experience a close connection between AR and teaching in their main discipline, while others probably encounter AR mainly outside their main discipline, in support or elective courses. Here, I think the Rhythmic Music Conservatory in Copenhagen has taken a very exciting approach where AR is the main discipline for all students, while instrumental teaching is a supporting subject.
Henrik Frisk: - The big challenge is to break the long tradition of the teacher's internalized and embodied knowledge, even if it is conscious, remaining internal. This belongs to a culture that we unfortunately cannot break with the help of guidelines or discussions, but which perhaps above all belongs to certain genres. The day this type of knowledge is also released to a greater extent, we will see a major change and then many issues will be resolved. I believe this can be achieved, among other things, by consciously and consistently publishing professors' artistic practice as part of the institution's accessible knowledge. Then the dichotomies that are often set up between writing/speaking, thinking/playing and practical/theoretical can begin to dissolve. It is how we view knowledge that can change how we relate to the meaning of that knowledge.
Tone Åse: - If artistic development work is to permeate the teaching more, it must be worked on structurally and made visible in curricula and course descriptions, and it must not least be considered a good idea by those who will be doing this teaching. In addition, we need good methods and tools.
Jostein Gundersen: - It's also important that students are not only exposed to, but eventually also included in the staff's AR projects and encouraged to initiate their own. The latter happens very clearly at the Grieg Academy's master's program in performance or composition. My impression is that it is a bit more random what happens earlier in the program, and even more random whether the students are included in the staff's ongoing AR projects.
- What does good artistic research-based music education entail in your opinion?
Henrik Frisk: - I think that good research-based artistic education is one that strengthens the student's willingness to work systematically with their own learning. Not all students should continue as researching musicians, but a research attitude to their own learning can benefit those who choose to play orchestra just as much as those who want to stay in academia. Therefore, good research-based artistic education is not just one thing, but all types of teaching practices that stimulate the student's research attitude. The world needs proven knowledge that is based in an artistic practice.
Jostein Gundersen: - Good AR-based education should first of all be based on AR: It is important that as many staff members as possible have AR in their position, take responsibility for this part of their work, and practice it in such a way that they can document results and share these with students and the rest of the world.
Tone Åse: - I think good AR-based education is about several things. Firstly, a genuine desire to question one's own practice, including those parts of it that one might think one has no control over, such as traditions, framework conditions, prevailing cultures and truths. It's also about methodological approaches that make it natural to involve students in these questions, and to train them to be curious, open, critical and at the same time confident - in not quite knowing, but trying.
Jostein Gundersen: - A particularly important step that has been taken at the Grieg Academy is to include main instrument teachers as supervisors in the project courses at master's level. In this way, we want to build a bridge between reflection and performance. The main instrument teachers must engage in the students' reflections, while the teachers' own projects serve as examples for the students to a greater extent than before. Another important measure at the Grieg Academy is that all artistic research PhD candidates have a 25% duty to teach BA and MA students in their main discipline and various theoretical and practical subjects. In this way, the students meet our PhD candidates in their everyday lives, which helps to familiarize the students with their work and to show them models for AR.
Tone Åse: - We still have many hierarchies that create insecure students - both between teachers and students and between students. Without good and concrete methods, it's difficult to turn this around. I think it's important to start early with reflection that can equip students to make their own choices: Let more learning situations be characterized by questions, discussions, investigations and choices.