Artistry and musical skills in music teacher training – NL

I. Abstract 2

II. Introduction.. 3

III. The Example. 4

IV. Commentary. 6

V. Contact 7

I. Abstract

The Royal Conservatoire, The Hague, NL has a four year music teacher training programme for music education in schools, with approx. 40 students. This example of practice shows how artistry plays an important role in the program. The music teacher training programme at the Royal Conservatoire emphasises artistic and musical qualities in the development of music teachers in training. There are several reasons underlying this principle.

II. Introduction

The Royal Conservatoire is an international institute with a high level of performance demanded of both teachers and students. In entrance exams high standards are demanded which are built on throughout their subsequent studies. The institute provides a full programme of concerts, performances, composers’ festivals, etc. The school possesses concert halls, a theatre and studios, all with their own production team. This culture and the specialist facilities strongly influence the department of music education.

There is the assumption that music education needs an artistic and musical approach. Therefore music teachers should have artistic and musical competences. and these competences vary for each musician. There is systematic attention to artistic and musical expertise through public performances and a variety of instrumental and vocal lessons. In the work placements and in the pedagogic and didactic lessons artistic and musical aspects have continuous attention. This is supported by systematic reflection by the student on how he/she develops artistically and musically.

III. The Example

In principle students who apply for music teacher training at the institute have an artistic and musical focus. Music is their passion, and although they want to become a music teacher, they are strongly motivated by Music. By taking this as an important starting point, the musical needs of the students reinforce the musical and artistic direction in the curriculum.

The curriculum contains the following aspects:

·      demanding entrance requirements for the main instrument;

·      learning of main instrument for four years;

·      final public recital in one of the concert halls in which a student can show more than just expertise on a main instrument;

·      compulsory twice yearly informal recitals;

·      reflection on study progress (assessed);

·      consultation between instrumental teachers and teacher trainers;

·      3,5 years of lessons in song accompaniment at the piano with final recital;

·      lessons in composition, improvisation and arranging ending with a public concert;

·      3,5 years choir (75 min per week) with regular concerts;

·      a big music theatre production each year with two or three performances;

·      each year a pop concert on location (i.e. a pub in the city) as a result of the pop- and rock lessons;

·      each year a song evening in which each student performs a song accompanying him/herself at the piano;

·      a cultural trip each year for all students, prepared by 3^rd year students, in which interdisciplinary cultural activities are undertaken (so far Paris, Köln, Gent, Brussels, London);

·      individual and group contributions to institutional projects (e.g. participation in composer’s project),and related school-based projects These have included projects with Ligeti, Reich, Kurtag, and Goebbels; also incidental concerts;

·      possibilities for work placements at institutes of arts (concert halls, musical productions, art schools, etc.).

The Shortcuts The Case 2007 fragmenten  show some typical stage situations.

IV. Commentary

During their studies, students experience music in a broader context than just a pedagogical setting. Their relatively high performance qualities definitely contribute to their ability as music teachers. The institute however does not stimulate enough the exchange and collaboration of students from different departments. Students of the teacher training department do not participate enough in the opportunities available. In fact, the music teacher training department is still a separate department (as are the other departments). Another aspect is that most experiences are those of music as art (or as a segment of art). One can argue that other forms of musical practices should be involved as well (e.g. informal practices).

V. Contact

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