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The Future of Education in Music Production in a European Perspective: from Sophia to EQF
Högskolan Dalarna, Akademin Språk och medier, Ljud- och musikproduktion.
2011 (engelsk)Inngår i: The art of record production / [ed] Simon, Zagorski-Thomas, San Fransisco, 2011Konferansepaper, Publicerat paper (Fagfellevurdert)
Abstract [en]

The purpose of this paper is to discuss important aspects of future higher education in music production, this based on three different music educational research projects relevant to education in music production. As a result of the Bologna Process, the European Parliament and the Council in 2008 adopted the European Qualifications Framework (EQF). The EQF has eight reference levels and the learning outcomes on these levels are depicted in three categories: Knowledge; Skills and Competence. To describe knowledge in categories is not a new idea. Ancient Greek philosopher Aristotle (1999) describes five aspects of knowledge: Techne: Art; Episteme: Theoretical knowledge; Phronesis: Practical judgement (includes inquiry and reasoning); Sophia: Wisdom (a combination of intellect and knowledge); Nous: Intellect or intelligence (a form of perception like intuition). From three different studies (Gullö 2010; Holgersson 2011; Johansson, in progress) we present some of the results relevant to the purpose of this paper. In the first study (Gullö 2010) eleven professionals were interviewed, all music production teachers or active music producers. The main result was that the skills required for both music producers and music production teachers are varied and extensive. Psychology and leadership, music, technology, ethics, law and copyright, entrepreneurship and cultural timing are particularly relevant to music production. In the second study (Holgersson 2011) eight students were observed in one-to-one tuition on violin, classical guitar, saxophone and electric guitar. The results show that the students use three main approaches: adaptation, reflected navigation and indifference. These approaches vary and overlap. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The third study (Johansson in progress) is a case study of two ambitious and talented young musicians, one classical guitarist and one singer-songwriter, and their work to establish themselves in the music world. The results show that they both use media and information technologies to promote themselves, and that higher education not is enough for them to succeed in their careers. These three studies show that today's students need a different education than that traditionally is offered. Teaching strategies based on the master-apprentice model (the Sophia category) has historically been successful but the master-apprentice model is no longer an obvious choice in today’s education with the criteria’s set out in the EQF. In conclusion, we question teaching methods where students, perhaps more or less without reflection, follow their master's advice. Instead, we want to see new teaching methods developed, methods that well meets the needs of today's students. Such methods should in our perspective focus on developing the students’ knowledge, skills and competence, including Phronesis, a form of knowledge we think is very important for those who want to be successful in the future music industry.

sted, utgiver, år, opplag, sider
San Fransisco, 2011.
Emneord [en]
Music production, music education, learning outcomes, knowledge, Ljud- och musikproduktion
Forskningsprogram
Övrigt, Musik som karriärväg.
Identifikatorer
URN: urn:nbn:se:du-6324OAI: oai:dalea.du.se:6324DiVA, id: diva2:522496
Konferanse
Art of Record Production Conference , San Fransisco, 2-4 December 2011, 2011
Tilgjengelig fra: 2012-02-24 Laget: 2012-02-24 Sist oppdatert: 2012-08-08bibliografisk kontrollert

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