Center for Excellence in Music Performance Education ANNUAL REPORT 2020

ANNUAL REPORT 2020

Table of contents Introduction: Vision and focus areas ...... 2 FA1: Connection between study and the music industry ...... 2 FA2: Students’ artistic development ...... 2 FA3: Collaboration in performance teaching ...... 2 FA4: Interaction between subjects and across genres ...... 2 FA5: Everyday musicians ...... 2 1. Results compared to the application and centre plan ...... 3 1.1 How does the vision, focus areas and activities fit together? ...... 3 1.2 The most important accomplishments in 2020 ...... 3 FA1: Connection between study and the music industry ...... 4 FA2: Students’ artistic development ...... 4 FA3: Collaboration in performance teaching ...... 5 FA4: Interaction between subjects and across genres ...... 6 FA5: Everyday musicians ...... 6 Digital learning and technology ...... 7 Student involvement and student-led projects...... 7 The CEMPE and AEC collaboration LATIMPE ...... 8 1.3. CEMPE and the SFU goals ...... 9 2. Dissemination of knowledge and practices ...... 10 3. Further progress ...... 11 4. Organisation ...... 12

Attachements CEMPE project 2020 Dissemination activities Financial account 2020

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Introduction: Vision and focus areas The overall aim of CEMPE is to be a catalyst for knowledge development in higher music education, as stated in the Centre Vision: The NMH’s Centre for Excellence in Music Performance Education (CEMPE) is a catalyst for knowledge development in higher music education. CEMPE aims to develop knowledge and experience to support performance students in their search for artistic excellence through a variety of learning contexts and to prepare them for work in a diverse and globalised music industry. CEMPE initiates projects in collaboration with its partners where students, teachers and researchers work together to explore collaborative and R&D-based approaches to teaching and learning in music performance education. Five focus areas (FA1 to 5) are defined in the second 5-year period (2019-2023), each with specific goals emphasizing knowledge development:

FA1: Connection between study and the music industry Objective: CEMPE will develop knowledge about the transition from being a student at a higher music education institution to playing an active role in the global music community and labour market of the future

FA2: Students’ artistic development Objective: CEMPE will develop knowledge about how to better stimulate the students’ own artistic development in higher music education programmes, in order to prepare for the transition from being a student at a higher music education institution to playing an active role in the global music community and labour market of the future.

FA3: Collaboration in performance teaching Objective: CEMPE will advance music performance teaching and learning by exploring and developing collaborative models for teaching

FA4: Interaction between subjects and across genres Objective: CEMPE will develop knowledge about and models for increased coherence and interaction between performance subjects and complementary subjects in higher music education

FA5: Everyday musicians Objective: CEMPE will enhance the quality and awareness of the students’ instrumental practice and mental and physical health Across all five focus areas, CEMPE aims to stimulate digital learning and technology- enhanced education and student involvement.

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1. Results compared to the application and centre plan

1.1 How does the vision, focus areas and activities fit together? CEMPE aims, as stated in the vision, to be a catalyst for knowledge development in higher music education (HME). New knowledge is needed in order to prepare students for a diverse and changing music industry. Second, the vision gives emphasis to collaboration, both when it comes to project design and as a key approach to learning and teaching. This is needed in order to ‘de-privatise’ a higher education context that is traditionally known for its small, personal or even private educational practices (one-to-one teaching in the master- apprentice tradition). The two core elements knowledge development and collaboration are followed up in the five focus areas (FA1 to 5). All FA objectives focus on development of knowledge and experience, and collaborative projects are key activities in each area. Moreover, most focus areas revolve around collaboration thematically. FA1 addresses the relationships between HME programmes and the labour market for musicians (including perspectives from entrepreneurship), and FA2 underlines that to stimulate the students’ own artistic development is necessary to fully prepare them for future work as musicians. FA3 addresses collaborative teaching and learning approaches explicitly, while FA4 examines models for increasing the collaboration, coherence and integration between HME subjects and between genres. Finally, FA5 addresses the relationship between musicianship, instrumental practice and musicians’ health and well-being issues. The key forms of activity reflect the focus on knowledge development and collaboration. CEMPE runs several projects (PhD-projects, Post Doc, collaborative staff projects, student- driven projects), which aim to develop new and relevant knowledge and experience for HME. CEMPE also invites sister institutions and HME students in Norway to apply for project grants, and CEMPE collaborates with international partners on key topics. Second, CEMPE arranges many conferences, seminars, debates and talks to disseminate knowledge and experiences and at the same time raise awareness of and facilitate debate on learning and teaching issues in HME. Third, CEMPE pays from 2020 increased attention to online documentation and sharing of key experiences and knowledge.

1.2 The most important accomplishments in 2020 There are three particularly important accomplishments in 2020 on the general centre level, and they have resulted in increased collaboration and student involvement and a more systematic approach to dissemination. First, CEMPE included more colleagues and students from sister institutions in CEMPE projects and initiatives and managed thereby to strengthen national and international collaboration and the role of CEMPE in joint development of higher music education, despite of the challenges caused by the covid-19 pandemic. Second, CEMPE experienced increased activity in the area of student involvement and is particularly happy about the initiatives students planned and launched themselves, such as the first national Music Student Conference that took place in 2020 (more details below) and STUDENT Talks addressing important topics. Third, CEMPE initiated in 2020 the project CEMPE Learn, which aims to develop an online platform where CEMPE will share key result and resources from the whole centre period. On

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CEMPE Learn, we will publish articles, videos, podcasts and other resources relevant for students, faculty and leadership in higher music education. CEMPE established two project groups who will help synthesise results and produce material for CEMPE Learn, called Syntheses One and Two. Below we present the most important results from each focus area and give more details about the three accomplishments above.

FA1: Connection between study and the music industry In 2020, Tanja Orning completed her Post Doc project The Performing Musician in the 21st Century. The completion of the project is a major accomplishment in this focus area, as it has resulted in several articles, conference presentations and a coming book presenting and discussing new knowledge and experiences relating to freelancing, portfolio musicianship, curating music and artistic entrepreneurship, all of them domains that have seen little research in Norway. The project connects directly to the goal of FA1, by exploring and presenting new knowledge on the competences needed to handle the transition from being a student to entering the working life. Orning’s project is linked thematically to Veronica Ski-Berg's Ph.D. project Institutionalizing innovation: Uncovering the protean music student, which examines whether there is a conflict between educational programmes and discourses and the reality of the working life for musicians. In 2020, CEMPE invited these two scholars to join the Syntheses One group, together with deputy director Nyhus, Jostein Gundersen (UiB) and Ane Kiran (CEMPE higher executive officer). This group will work to document and synthesise key experiences and topics from FA1 and FA2. This represents a shift from working on specific projects to examining and presenting results and experiences on a more overarching centre level, which CEMPE sees as an important accomplishment in 2020. The project group behind the WILMA project (CEMPE and RNCM, UK) completed the first, qualitative phase of the study examining professional placement in European higher music performance education and completed the development of a questionnaire that will be launched early 2021. The project will provide new knowledge on how and to which degree European HEIs use professional placement as a tool to prepare musicians for future work, and what kind of placement formats are used and why. These insights can inspire curriculum development and shed light on how to bridge HME education and the music industry.

FA2: Students’ artistic development CEMPE established focus area two in 2019 to complement the perspectives of FA1. CEMPE acknowledges that to enter and handle the working life of musicians requires a range of skills, including both portfolio and entrepreneurial skills and the ability to develop artistic ideas and projects. It also connects to the conceptualisation of the music performance student as ‘a researching artist’, which CEMPE developed in collaboration with partners in the LATIMPE project from 2019 (see the anthology Becoming Musicians: Student involvement and teacher collaboration, edited by Stefan Gies and Jon Helge Sætre, available on the NMH Brage open access webpage). The most important accomplishments in FA2 are continued work in the Core Portfolio project, courses on artistic supervision and the Think Tank on artistic research-based education. In sum, they provide new knowledge on the topic of FA2, and develops and evaluates new educational models.

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In 2020, CEMPE completed a second trial of the ‘core portfolio’ approach. Students here used digital portfolio to present artistic results and development, and to receive feedback from peers and a designated supervisor that is not their main instrumental teacher. This project thus exemplifies and evaluates a concrete model that enables HME programmes to actively stimulate students’ artistic development on an overarching programme level, that is, not linked to an existing subject but to the whole programme. CEMPE arranged in 2020 several courses on supervision in order to develop a pool of supervisors, and to explore the role and possible approaches of supervision of artistic work. Some approaches were also tested on students. An important accomplishment in 2020 concerns understanding the specific form of R&D- based education in artistic educational contexts, that is, artistic research-based education. There is done very little work to investigate the details and benefits of bringing the fields of artistic research (or kunstnerisk utviklingsarbeid) and learning and teaching in the arts closer together in higher arts education. The CEMPE Think Tank on artistic research-based education and the Scandinavian CEMPE seminar arranged in 2020 in collaboration with UiT are major steps forward in this respect.

FA3: Collaboration in performance teaching Two case studies are of particular interest when it comes to collaborative approaches to performance learning and teaching. These two projects exemplify the added value of collaborative approaches and provide examples of how to set them up. And perhaps even more important, they challenge and broaden the traditional understanding of the master- apprentice model in performance education. In addition, the work of LATIMPE contributes significantly to the goal of FA3, to explore and develop collaborative models of teaching (see the LATIMPE section below). In the project ePortfolio as a tool for learning, a case study was set up to investigate the potential benefits of a hybrid learning environment in chamber music instruction. A wind quintet and their teacher agreed to use online learning and communication tools (mainly CANVAS) in their regular chamber music course on bachelor level, and a researcher monitored how it affected their work compared to a typical setting. The case study revealed that the participants used CANVAS in a variety of ways. Digital forms of learning and communication changed and widened how they worked and what they worked with. It affected the feedback forms and culture, and the student and teacher roles and responsibilities. In the Collaborative Chamber Music Teacher study, CEMPE tested a teaching-through-playing approach in chamber music instruction, in cooperation with Australian partners. The findings suggest that working with professionals in a community of practice in a real-life setting intensifies and broadens learning of musical, social and general skills relevant for chamber music performance. Equally important is that the study challenges the notion of the master-apprentice model in HME, which through the study is re-imagined as a master- apprentice relationship of guided participation. The guidance in this collaborative setting comes from social partners’ feedback and from the hands-on involvement in and observation of the action culture of chamber music performance demonstrated as a social practice. The Syntheses Two project group will work to synthesise key results and produce resources from FA3, 4 and 5, and includes members with experience from previous CEMPE projects in these areas.

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FA4: Interaction between subjects and across genres In February 2020 CEMPE hosted the workshop seminar Free Classical - Improvisation and real-time music in collaboration with professor Geir Lysne who has led the Real-time music initiative of the Norwegian Wind Ensemble for many years. In all, 30 musicians and music students from Norwegian cities, as well as Gothenburg, Stockholm and Copenhagen took part in the seminar. In small groups, the participants were guided by an experienced musician working in the improvisatory/contemporary field, exploring improvisation within a classical framework for two days. The workshop seminar contributed to reaching CEMPE’s aims in several ways. Improvisation within classical frames is a highly relevant and sought- after competence for classically trained musicians. More and more, being able to improvise is a professional skill that is required by professional musicians. However, it is not yet part of the performance education. By arranging the seminar, CEMPE thus contributed to students developing relevant professional competence. The seminar also succeeded in bringing together Norwegian professional musicians and music students, as well as music students from Sweden and Denmark. In these ways, the seminar contributed to bridging the gap between studies and professional life. One student-led project was planned to address the same topic in November 2020, with a workshop seminar on improvisation for piano students at NMH, but this was postponed due to the increased restrictions we saw in Norway in November.

FA5: Everyday musicians Instrumental practice has been an important area in CEMPE for many years and has the now been complemented by several initiatives on broader health and wellbeing issues. CEMPE has since 2019 been preparing for a large, international conference of Musicians’ health and well-being meant to take place in April 2021 in collaboration with CREO and NTO (Association of Norwegian Theatres and Orchestras). Although many conferences have gone digital during the pandemic, a main aim with this conference was to establish a network for art and performance medicine, and thus, we have chosen to postpone the conference to 2022 when we hopefully can invite participants and speakers to a physical version of the conference. The topic of musicians’ health and well-being is an increasingly important focus area in CEMPE, not the least as a result of the covid-19 pandemic. CEMPE’s new student partners have taken Musicians’ mental health as their prioritised area and have had some initiatives in this area already in 2020 and are planning for more in 2021. They arranged one Student Talk addressing the Impostor Syndrome among musicians, a talk which attracted great interest from students and staff. In 2021 they are planning for a seminar on mental health called The Musician and the Psyche (Musikeren & psyken) which will take place on the same dates in April when the international conference was planned. The student partners have also conducted a survey among students, gathering close to 100 responses. Among other things, the survey revealed that mental health is still receiving too little attention according to students. The survey will be an important knowledge base for further work in this area.

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Digital learning and technology In 2020, CEMPE and the NMH Digitization Project invited NMH staff to apply for funding of projects related to online learning and technology. The initiative was based on a general need to examine digital learning more closely in HME settings, which is a goal in the CEMPE Action Plan, and by the acute challenges following the covid-19 pandemic. A total of 8 projects received funding. The main focus for all project leaders was to digitize central content elements in the subjects in question, and most of the projects chose to do this by producing various forms of video material. In addition to this, applicants were recommended to set up the project in such a way that it creates sustainable and relevant results for both teachers and students for a period of at least three years (for example in areas such as basic theory and technique). This will give the teacher more room to focus on following up the individual student when they are physically present. Another accomplishment was the Glasgow seminar on low latency streaming in music learning and teaching and an international AEC and CEMPE conference on technology in higher music education (see the LATIMPE section below). In sum, CEMPE has in 2020 paid much more attention to digital learning and technology, compared to previous years, and taken important steps to reach the goals of the action plan for the second period.

Student involvement and student-led projects Student involvement is an important focus area for CEMPE, and we experience that the strong student voice in CEMPE contributes to reaching our goals in effective ways. Student involvement in CEMPE includes student partners as part of the management, a high representation of student members in the steering group, an increasing number of student- led projects and regular STUDENT Talks, which is a discussion forum led by CEMPE’s student partners. We acknowledge that students are those who ‘knows where the shoe pinches’, and that student-led projects in fascinating ways address core issues and problems in higher music education, such as the Music Student Conference in October 2020 and the STUDENT Talks. Students contribute with content and competence that they feel lack in their education, such as the Children Concerts series and Ensemble3030, and involves and reaches out to other students in much better ways than teachers and management can, such as the Instagram account we started in 2020 that is owned by the student partners. Student partners was included in the CEMPE management for the first time in Aug 2018. In Aug 2020 we hired two new student partners, who have brought in new perspectives, with a strong attention towards the issues on mental health of music students and musicians. Since CEMPE started funding student-led projects, there has been a gradual increase in both the quality and quantity of applications. In 2020 we funded five projects, all of which in different ways contributed with relevant competence and experience that students felt missed in their studies. One particularly interesting project was initiated by two music education students who felt that producing concerts for children had low prestige in the conservatoire culture and that they lacked competence in this, although such concerts are a major source of income for many music graduates. Their project was therefore to start a series of children’s concerts, produced and performed by music students from the academy, guided by musicians with competence on performing for this specific audience group. Furthermore, the project had a research component, where a teacher at the Norwegian Academy was supposed to follow the groups as part of his R&D-project. They managed to arrange one concert before the national 7

ANNUAL REPORT 2020 restrictions to stop covid-19 stopped also this project. Hopefully, the students are motivated to start up the concert series when it is again allowed. We consider the project to be a valuable contribution to the study programmes and a highly relevant preparation for professional life. We were also very happy to see the first Norwegian music student conference come to life at the end of October 2020 after first having been postponed from April. The conference was led and owned by two master students at NMH who programmed the conference, made agreements with production and streaming companies and acted as hosts during the conference and lead conversations and panel debates. Following the guidelines of numbers of participants, distance and frequent hand sanitizing, we were able to have 35 students present in a concert hall at the Academy and reach far more through a stream available on Facebook. The keynote speech was a pre-recording done by Camilla Overgaard, one of the key persons in the AEC-SMS student working group that encouraged listeners to take ownership of their experience and understanding of what it means to be a successful musician. Then followed conversations with NMH alumni who had various kinds of careers, and a panel debate on the challenges students face in the music industry. The conference gave the CEMPE Team a successful experience with hosting hybrid events, with streaming, as well as arranging panel debates where some panellists were present physically and some digitally. A final major accomplishment in this area was to establish a forum for the students leading projects funded by CEMPE. We only managed to have one meeting in the autumn before covid-19 again made meetings difficult, but this first meeting showed that there are some real benefits in bringing students together in such a forum. We will start this up again in the spring. It is also worth noticing that CEMPE is contributing to putting student-centred learning high up on the European agenda through the work in the AEC-SMS working group. By taking part in central AEC-events, contributing to publications and writing on the latimpe.eu-webpage as well as the AEC-SMS webpage, our voice is heard and appreciated.

The CEMPE and AEC collaboration LATIMPE AEC (the main European organisation for conservatoires and music academies) and CEMPE established the Platform for Learning and Teaching in Music Performance Education (LATIMPE) as a long-term project under the AEC umbrella. In the period 2017 to 2021, the platform idea has merged with the EU-funded AEC Strengthening Music in Society project (SMS), where one vital part is developing student-centred learning and teaching practices and models in higher music education in Europe. LATIMPE is coordinated by a working group (SMS Working Group 5), chaired by CEMPE director Sætre and coordinated by CEMPE senior advisor Stabell. LATIMPE has in 2020 had a strong focus on digitisation and the use of digital tools in higher music performance education through four initiatives:

1. The international, online conference LATIMPE Platform 2020 – Students as researching artists. Music, technology and musicianship 2. Taking initiative to a special issue of Journal of Music, Technology and Education on the topic of digital tools in higher music education that will be published in 2021 with Jon Helge Sætre and Luc Nijs as guest editors. 3. Researchers’ Colloquium on the topic of Low latency streaming in music learning and teaching 8

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4. Contributing to the SWING project with an evaluation of learning and teaching perspectives on the use of LoLa in higher music education The LATIMPE Platform 2020 conference on the topic of music, technology and musicianship was successfully moved to digital platforms. 130 participants from all over Europe, North America and Mexico signed up for the conference. The programme kicked off by a keynote by Evert Hoogendoorn on how the logic of digital games can be used in education. Then followed 23 paper presentations and one performance presentation held by researchers, practitioners and students in higher music education, all linked to the topic of student- centred learning and digital tools. A conference report was published at Latimpe's website.. The Researchers’ colloquium for young researchers in Glasgow in January on online learning and teaching in music performance education comprised two days of presentations and discussions. The factors making this a valuable experience for all parties was the small size of the group, the different theoretical and practical perspectives brought in by the participants, and that the programme allowed for deep discussions and feedback from senior researchers to all presenters. This is a format that CEMPE considers to be fruitful for lifting specific themes, and thus, something we would like to do again in 2021, with another topic.

CEMPE and the SFU goals In sum, the 2020 accomplishments and results presented above contribute to the goals of the SFU initiative in several ways. The ongoing work to examine and explore the notion of artistic research-based education is particularly important in higher music education and contributes directly to the SFU goals of offering excellent R&D-based education and developing innovative ways of working with such education. The work of CEMPE does this from a special and innovative point of view, as the work focuses on a form of R&D that receives little attention outside higher arts education. It is vital that the higher arts education institutions continue to explore the possible synergies and connections between artistic research and education in the arts, and give input from this work that can innovate, complement and inspire the understanding of R&D-based education in the general field of higher education. The work of CEMPE in 2020 contributes also to exploring digital opportunities, through several of the projects mentioned above and through the development of CEMPE Learn. We believe that the results presented in this report also show that CEMPE contributes significantly to the goal of encouraging student engagement and ownership of learning, both at NMH, nationally (through student-led projects, seminars and conferences) and internationally (through the LATIMPE focus on student involvement, student-centred approaches to learning and the work related to the notion of the music student as a researching artist). CEMPE has in 2020 continued to develop new knowledge and has also come up with a more systematic approach to dissemination by establishing CEMPE Learn and the two synthesis groups. We aim to make CEMPE better equipped to contribute even more significantly to the SFU goal of disseminating knowledge and practices. The increasing international profile of the activities in CEMPE also suggests that the centre contributes to relating domestic affairs to international developments in higher education.

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2. Dissemination of knowledge and practices CEMPE developed in 2020 a communication strategy mapping main target groups and audiences. The purpose of the strategy is to increase the centre’s impact by making us able to communicate more focused and systematic. We strive to disseminate knowledge and best practices from our projects to relevant stakeholders through internal and external communication channels. CEMPE also acknowledges the value of dissemination through project participation. CEMPE works to stimulate the dialogue between the teaching institutions of higher music education nationally and internationally, and several of our projects therefor engage teachers and researchers from more than one institution. These ambassadors are key to strengthening the outreach to the right target groups, and to create awareness of learning and teaching issues in the broader field of higher music education. Our innovation project grants are also a means of strengthening the ties to other institutions. Thus, it allows us to reach further than what we would be able to without the other institution’s networks. National and international conferences and seminars are important parts of our national and international mandate of being a catalyst for knowledge development. Due to restrictions, these were in 2020 held digitally. What we lost in social arena and informal network we gained in the number of attendees. Doing these events digitally made them more accessible to people coming from all over the world. The format of online conferences inhibits a proper discussion, but nevertheless is a good tool for dissemination of knowledge and local practises to a wide audience. Key internal dissemination channels

• The CEMPE web page • Ongoing meetings and dialogue with NMH academic and administrative staff, heads of departments and the principal’s management team • CEMPE representation in most relevant NMH boards and committees • CEMPE Talks and STUDENT Talks – internal fora for discussion and debate for students and staff Key external dissemination channels

• The CEMPE web page • Research articles and conference presentations reporting from CEMPE projects (see attachment for details) • Dissemination through participation (project participation and external project grants) • CEMPE National seminars (in 2020 in collaboration with UiT The Arctic University of Norway) • The AEC and CEMPE Learning and Teaching Conference (LATIMPE, in 2020 online) • The CEMPE annual magazine (presents snapshots from the previous year and allows us to reflect on the meaning and effect of the work of CEMPE). • CEMPE Learn (from 2021)

Social media We also see the importance of being present online. We have increased our publication frequency on online platforms and social media, and we are seeing a major growth in followers, reach and engagement.

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In 2020 CEMPE started producing monthly newsletters. With more than 200 subscribers the newsletter is an effective way of spreading information about our activities and engage our network with announcements and invitations. The click-through- rate is more than 20% above NMH’s own newsletter send outs, indicating we have content relevant and interesting to our subscribers. 3. Further progress The CEMPE team and the Steering group will spend the spring term 2021 to plan the coming study year in detail. Several projects and initiatives will be continued, and we will also look for areas where extra work is needed. CEMPE will continue to focus on documentation and dissemination and will launch the CEMPE Learn platform in 2021. A new Centre director will be in place in August 2021, but we hope that the person in question will be able to join the planning process the next coming months. The CEMPE team hope to be able to engage in physical activities from August 2021 but needs also to continue to plan for online alternatives. There is also a need for discussing and planning the long-term financial situation with the NMH leadership, due to changes in national regulations concerning the use of financial provision, which will be implemented in 2022. Several activities are already planned for 2021:

• Launch CEMPE Learn • Formalise the collaboration between the CEMPE team and the NMH study administration • Launch a call for national project grants • Launch a call for national student-led projects • Launch a call for student-led projects in Europe through the AEC Strengthening Music in Society project • Arrange a Researchers’ colloquium in 2021 on assessment in higher music performance education, in collaboration with AEC through LATIMPE • Arrange The Musician and the Psyche seminar and increase the focus on mental health for music students and musicians • Relaunch the student forum • Give students who lead projects funded by CEMPE ECTS credits. We are working on a course description that can make student-led projects part of the elective courses. The student project forum will be an arena for providing the students leading projects with necessary skills and competence for doing so.

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4. Organisation The centre management is organised as a team comprising of a centre director, a deputy director, three advisors and two students. The centre management reports to the CEMPE Steering Group, and CEMPE reports to the board of NMH.

The CEMPE team • Damla Tahirbegi, PhD music education and music therapy • Jon Helge Sætre, Director, Associate • Tanja Orning, Postdoctoral fellow Professor in Music Education (PhD in

Music Education) 50 % position, 2016- 2021 The CEMPE Steering Group • Ingfrid Breie Nyhus, Deputy Director. • Project leader (PhD in Artistic Morten Halle, Vice Principal for Research) Education and leader of the steering 50 % position, August 2018–2023 group • Jon Helge Sætre, Centre Director • Ole Martin Solberg, student partner. • Student, Bachelor in Music Education Camilla Sønstabø Thorkildsen, Head of 20 % position August 2020 – June Academic Affairs and Research • 2021 Sidsel Karlsen, Professor in Music Education • Susanna Yttri Solsrud, student partner. • Student, Master in Music Education Julius Pranevicius, Professor in French 20 % position August 2020 – June Horn • 2021 Monika Nerland, Professor in Education (University of Oslo) • Ellen Mikalsen Stabell, Senior Advisor • 100 % position, June 2017–2023 (50 Elin Nilsen, leader of the NMH student % leave Aug 2020 – June 2021) committee (Jan-July 2020) • Annie Eline Lundgreen, leader of the • Ane Hagness Kiran, Higher Executive Officer NMH student committee (Aug 2020-) • 100 % position, January 2020–2023 Sverker Rundqvist, bachelor student (Jan-July 2020) • Malin Sjursen Wulvik, Senior • Executive Officer Oskar Goedvriend Lindberget, master 25 % position August 2020-2021 student (Aug 2020-)

PhD fellows and post doctors Regular observers • Peter Tornquist, Principal of NMH • Veronica Ski-Berg, PhD music • education Representative from DIKU • The CEMPE Deputy Director, Student • Torbjørn Eftestøl, PhD composition, music theory and music technology Partners and advisors

Attachments

1. Financial account for 2020 2. Budget for 2021-2023 3. Dissemination activities 4. Project overview

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CEMPE projects 2020

Project Focus Project title Period type area Description Project leader/partner institution Is the music student merely a reflection of higher music education, or does higher music education in fact reflect its students? The phd project investigates if there exists a ‘reality gap’ —a discrepancy between educational policies and the reality of the current job market - in which Instituionalizing innovation: Uncovering music graduates are required to navigate a ‘protean career’ whilst relating the protean music student 2018- Ph.d 1 to opposing musical ideologies. Veronica Ski-Berg/NMH The project aims to give the students valuable experience of fields of work Student that they are interested in, and can help give the students an idea of the Job shadowing 2017 - led 1 realities that await them once they graduate. Alice Lewin, Maia Viken/NMH Music student conference 2020 External 1 2020 - Student Practice arena for students investgating concert production and Johanna Scheie Orellana, Susanne NMH's concert series for young children 2021 led 1 dissemination for a young audience. Trinh/NMH

A study looking at the skills required of a portfolio musician in a globalised music industry. The aim of the project is to develop a common vocabulary The Performing Musician in the 21st 2015 - to describe new knowledge and experiences relating to freelancing, century 2020 Post.doc 1 portfolio musicianship and artistic entrepreneurship Tanja Orning/NMH

A study examining professional placement in European higher music. The project will provide new knowledge on how and to which degree 2018 - European HEIs use professional placement as a tool to prepare musicians Jon Helge Sætre/NMH, RNCM WILMA 2021 Ekstern 1 for future work, and what kind of placement formats are used and why Manchester

The Core Portfolio project is testing eportfolios as tool for reflection and development for music students. The Core Portfolio is aimed to give 2018 - students overview of their musical work, and stimulate awareness, critical Ingfrid Breie Nyhus, Tanja Core Portfolio 2021 Internal 2 thinking and dialogue on musical development and artistic profile. Orning/NMH A philosophical study of the potential in music for development, Music as transformative practice 2016 - Ph.d 2 transformation and formation in the metaphysical sense Torbjørn Eftestøl/NMH

Ingfrid Breie Nyhus/NMH, UiB, UiA, UiT, NTNU, HMH Stockholm, Think Tank for Artistic Research-based 2018 - Scandinavian network and discussion meetings on what R&D-based GU Gothenburg DKDM & RMC Education 2021 External 2 education can mean in terms of the growing field of artistic research. Copenhagen Develop the skills and knowledge in folk music transcription. Establish a 2020 - Student forum and platform for exchange of experiences, practises and dialogue Henrik Nordtun Gjertsen, Mikael Transkripsjonsforum 2021 led 2 between students, teachers and researchers within the field. Hedne/NMH/UiB The purpose of the project has been to develop knowledge about how digital learning portfolios (ePortfolios) on the LMS platform CANVAS can ePortfolio som verktøy for læring/i 2016 - serve as constructive learning tools for students and teachers in higher Eirik Birkeland, Jon Helge kammermusikkundervisning? 2020 Internal 3 music education. Sætre/NMH 2017 - Jon Helge Sætre, Ellen Latimpe 2021 External 3 Developing student-centred learning & teaching practices and models Stabell/NMH, AEC Jon Helge 2018 - The project studies what happens when a teaching-through-playing Sæthre/NMH/University of The Collaborative Chamber Musician 2020 Internal 3 approach is used in chamber music instruction. Queensland, Australia Monthly gatherings where students and teachers across departments and 2019 - genres meet and make music in combination with dialogue and Across 2020 Internal 4 discussions on relevant topics. Guro Gravem Johansen/NMH This project aims to forge links between current Scandinavian and international trends and pedagogical developments in the field of music 2018 - theory by inviting internationally acclaimed music theorists to visit the Current Trends in Music Theory Pedagogy 2021 Internal 4 NMH. Peter van Tour/NMH The project explores how the classical instrumental teaching can adapt Embodiment and aural skills for wood 2020- Innovation and benefit from using imitation and aural based teaching more often used wind 2021 20-21 4 in jazz instrumental training. Stian Førde Aarskog/NTNU Free classical - Improvisation and real-time 2019- This initiative investigates collective improvisation in orchestra/ensemble Geir Lysne, Ingfrid Breie- music 2020 External 4 settings within the classical idiom. Nyhus/NMH, DNBE (N) 2019 - A study of the undergraduate programme Bachelor of Music with FRIKA forum 2020 Internal 4 Individual Concentration (FRIKA) Ellen Stabell/NMH 2020 - Student Workshop seminar on improvisation for piano students at NMH. Improvisation for piano students 2021 led 4 Postponed due to covid-19 Susanne Trinh/NMH Learning and Emotions in a Chamber Music Self- Regulation, and Socially Shared Regulation of Learning and Emotions Rehearsal 2020- Ph.d. 5 in a Collaborative Music Ensemble Damla Tahirbegi/NMH

The MHPNC 2021 will be a national, Nordic and international forum for physicians, therapists, educators, artistic directors/employers, athletic trainers, performing artists/ performing arts students and other health care and performing arts professionals who seek to improve the 2020 - performance, health and well-being of musicians and performing artists. Ane Hagness Kiran/NMH, Creo, MHPC21 2022 External 5 Scheduled for April 2021, postponed due to covid-19. NTO Raise awareness and increase competence and knowledge on the link Ole Martin Solberg, Susanna The Musician and the Psyche 2020 - Internal 5 between mental health and musicianship. Solsrud/NMH Using music and dance, the project sheds light on the meeto-movement Transporting Mind Through 2020- and the imbalance between student and teacher and the power of music as Metamorphosis 2021 External 5 therapuy. Elin Kleppa Michalsen/UiS 2020 - Student Musical theatre conference and festival run by students. This year focusing Runa J. R. Fjeld/Høyskolen Musikal-i-teten 2021 led 1, 2 on musikal theatre for a younger audience. Cancelled due to covid-19. Kristiania 2020 - Syntheses One 2023 Internal 1, 2 Synthesise key results and produce resources from FA1 and 2 Ingfrid Breie-Nyhus/NMH, UiB The project aims to give students in Tbilisi diverse and relevant 2019 - Student perspectives and skills in creating and performing electroacoustic music, Mariam Gviniashvili, Giuseppe Making Waves 2020 led 1, 4 and give them an arena to showcase their work. Pisano, Mike McCormick/NMH An online platform where CEMPE will share key result and resources from the whole centre period, containing articles, videos, podcasts and other 2020 - resources relevant for students, faculty and leadership in higher music CEMPE Learn 2023 Internal 1,2,3,4,5 education. Ingfrid Breie Nyhus/NMH An area for discussion on current topics linked to higher music education. The talks are open to students and faculty and happens 1-3 times per CEMPE Talks 2018 - Internal 1,2,3,4,5 semester. CEMPE team/NMH Student A forum for discussion of relevant topics within being a music student - for Ole Martin Solberg, Susanna STUDENT Talks 2018 - led 1,2,3,4,5 NMHstudents only Solsrud/NMH Investigating how to stimulate improvisation and creative collaborative processes in music and dance using digital formats of sound and video. Its aim is to support the student’s artistic development and collaborative and 2020 - Innovation improvisational skills, as well as being a tool for networking via digital Kristoffer Alberts, Mari Access All Areas 2021 20-21 2, 4 platforms. Flønes/UiS 2019 - Student The purpose of the project is to create a platform where NMH performers, Ensemble 3030 2021 led 2, 4 composers and conductors can jointly work on newly composed music Anna Berg/NMH

Students in composition conduct their own works, and experience their own music from the perspective of the conductor. A collaboration between 2019 - Innovation the conducting and composition fields at the Norwegian Academy of I conduct myself 2020 19-20 2, 4 Music. Cathrine Winnes/NMH 2020 - Syntheses Two 2023 Internal 3,4,5 Synthesise key results and produce resources from FA3,4 &5 Jon Helge Sætre/NMH, 2020 - 8 projects exploring and developing new ways of teaching using digital Digitalization 2021 Interal digital teaching tools, methodology and material. Kristian Laier Nybø/NMH Special issue, Journal of Music, Education and Technology, on digital 2020 - learning and technology in higher music education. JH og Luc Nijs JMET 2021 External digital redaktører. Jon Helge Sætre/AEC

CEMPE dissemination, publications and networking activities 2020

Presentations Alberts, K. B. & Flønes, M. (2020) Access All Areas. Presentation at CEMPE’s Scandinavian seminar on artistic research in higher education, online, 12-13 Nov 2020. Biro, D. P. & Geuens, I. C. (2020) Sounding Philosophy. Presentation at the Latimpe Platform 2020, online. 13-14 May 2020. Biro, D. P. & Geuens, I. C. (2020) Sounding Philosophy. Presentation at CEMPE’s Scandinavian seminar on artistic research in higher education, online, 12-13 Nov 2020. Folgerø S. & Pedersen, G. (2020). Symphonies Reframed – som kunstnerisk utviklingsarbeid og valgemne. Presentation at CEMPE’s Scandinavian seminar on artistic research in higher education, online, 12-13 Nov 2020. Gjertsen, H. & Hedne, M. R (2020) Transkripsjonsforum - studentdrevet faglig og kunstnerisk utviklingsarbeid på tvers av institusjoner. Presentation at CEMPE’s Scandinavian seminar on artistic research in higher education, online, 12-13 Nov 2020. Gviniashvili, M., McCormick, M. & Pisano, G. (2020) Making Waves, Laying the Groundwork for The Future of Music Technology in Tbilisi. Presentation at the Latimpe Platform 2020, online. 13-14 May 2020. Michalsen, E. M. (2020) Transporting Mind through Metamorphosis. Presentation at the Goodmesh Concour 2020, online. December 2020. Nyhus, I. B (2020) About Artistic Research. Presentation at CEMPE’s Scandinavian seminar on artistic research in higher education, online, 12-13 Nov 2020. Nyhus, I. B., Orning, T., Salvesen, G. U. & Tamulynaite, G. (2020) The Core Portfolio project. Presentation at the Latimpe Platform 2020, online. 13-14 May 2020. Orning, T. (2020). Experiences from the other side: The assessment committee’s work. Presentation for Norwegian Artistic Research Programme, Jeløy Radio, Moss. January 9th 2020. Orning, T. (2020). "Fremtidens musiker", guest lecture at Royal Academy of Music, Stockholm, January 14th 2020. Orning, T. (2020). "Fremtidens musiker", Keynote at Center for Talent Development’s autumn seminar, Oslo, October 1st 2020. Orning, T. (2020). "Å øve Kagels ´Ludwig van`. Et eksempel på kollaborativt kunstnerisk utviklingsarbeid med studenter og lærere". Presentation at CEMPE’s Scandinavian seminar on artistic research in higher education, online, 12-13 Nov 2020. Rødevand, A. & Storheim, S. (2020) The Norwegian Music Student Conference. Presentation at the Latimpe Platform 2020, online. 13-14 May 2020. Ski-Berg, V. (2020). Musikkhøgskolens spøkelse [The ghost of the Music Academy]. Presentation at CEMPE Talks, Norwegian Academy of Music, Oslo, Norway, February 26th 2020. Stabell, E. & Tamulynaite, G (2020) FRIKA-forum – kunstnerisk utvikling og refleksjon for utøvende bachelorstudenter. Presentation at CEMPE’s Scandinavian seminar on artistic research in higher education, online, 12-13 Nov 2020.

Sætre, J. H. (2020). Chamber music tuition enhanced by digital learning management systems: An explorative case study from higher music education. Presentation at the Latimpe Platform 2020, online. 13-14 May 2020. Sætre, J. H. (2020). ePortfolio som læringsverktøy i kammermusikk. Presentation at NMHs monthly seminar DIG Læring: Canvas og video som refleksjonsverktøy, online, October 21st 2020 Sætre, J. H., Bordin, A. M., Hahn, K., Prchal, M., Storheim, A. & Stärk, A. (2020). The student as a researching artist: Student-centred learning in the digital age. Presentation at AEC Annual Congress: Going (on)line, Connecting communities in the digital age. Online, November 2020.

Research reports Lie, M. B., Bye, T. A. (2020) 5 år etter: En musikksosiologisk undersøkelse av unge og nyetablerte musikeres levekår fem år etter fullført utdanning. Research report. Trondheim: NTNU Institute for music

Peer-reviewed articles Caplin, W. E. (2020) Cadence in Fugue: Modes of Closure in J. S. Bach’s Well-tempered Clavier, Music Theory and Analysis (MTA), volume 7, 2020 (4), pp 118–177. Eftestøl, T. (2020) Fold over fold: Musikk og filosofi som transformativ praksis. In Ø. Varkøy & H. Holm (Ed.), Musikkfilosofiske tekster. Tanker om musikk – og spr k, tolkning, erfaring, tid, klang, stillhet m.m. (pp. 313–328). Oslo: Cappelen Damm Akademisk. https://doi. org/10.23865/noasp.115.ch17 å Kvammen, A.C., Hagen, J.K., Parker, S. (2020). Exploring new methodical options: Collaborative teaching involving song, dance and the Alexander Technique. International Journal of Education & the Arts, 21(7). Retrieved from http://doi.org/10.26209/ijea21n7

Articles in review Sætre, J. H. & Zhukov, K. (forthcoming). Let’s play together: Teacher perspectives on collaborative chamber music instruction. Music Education Research. Zhukov, K. & Sætre, J. H. (in press). ‘Play with me’: Student perspectives on collaborative chamber music instruction. Research Studies in Music Education.

Web and magazine articles CEMPE Annual 2019-2020. Oslo: Norwegian Academy of Music. (English) (Norwegian) Dirdal, L. C. (2020) Morgendagens musikkbransje. https://nmh.no/aktuelt/morgendagens- musikkbransje Dirdal, L. C. (2020) Paths towards artistic development. https://nmh.no/en/news/veier-til- kunstnerisk-utvikling Dirdal, L. C. (2020) Hva er suksess. https://nmh.no/aktuelt/hva-er-suksess Dirdal, L. C. (2020) Frykten for å bli avslørt. https://nmh.no/aktuelt/frykten-for-a-bli-avslort Kiran, A. H. (2020) Hvordan gjøre seg resilient. https://nmh.no/aktuelt/hvordan-gjore-seg- resilient Krokaa, K. (2020) Studenten på veggen. https://nmh.no/aktuelt/studenten-pa-veggen

Stabell, E. M. (2020) CEMPE Talks; Musikkhøgskolens spøkelse. https://nmh.no/aktuelt/musikkhogskolens-spokelse Stabell, E. M. (2020) Om å bygge en frilanskarriere. https://nmh.no/aktuelt/bygge-frilanskarriere Thoresen, L. (2020) Ørets ettertanke – reflektert lytting. https://nmh.no/aktuelt/orets-ettertanke- reflektert-lytting

CEMPE outreach – online platforms • Monthly CEMPE newsletter • CEMPE web site: www.cempe.no • Facebook: https://www.facebook.com/musicperformanceeducation • Instagram: https://www.instagram.com/cempe.nmh/

Latimpe dissemination, publications and networking activities 2020

Presentations Allocchio, C. & Bordin, A. M. (2020) SWING, results after the first 2 project years. Presentation at the Annual AEC COngress and Assembly, online, 6-7 November 2020. Bordin, A. M., Hahn, K., Prchal, M., Stärk, A., Storheim, S. & Sætre, J. H. (2020) Student Centred Learing in the digital age. Presentation at the Annual AEC Congress and Assembly, online, 6-7 November 2020. Bordin, A. M., Gies, S., Stabell, E. M., Storheim, S. & van Els, S. (2020) LoLa, the SWING project, the digital shift. Presentation at the annual meeting for International Relations Coordinatiors, online, 24-25 September 2020.

Peer-reviewed articles Gies, S. (2020). Student-Centred Learning in Higher Music Education. In: Bologna Process Beyond 2020. Fundamental Values of the EHEA. Bononia University Press, June 2020.

Web and magazine articles Bordin, A. M. & Messa, V (2020) Collaborative Instrumental Teaching. https://latimpe.eu/collaborative-instrumental-teaching/ Overgaard, C & Van Els, S. (2020). Diversity in Higher Music Education: An E-mail Interview with Camilla Overgaard and Susanne van Els. https://on-curating.org/ Stabell, E. (2020) The Latimpe Platform – a conference report. https://latimpe.eu/latimpe- platform-2020-a-conference-report/ Van Els, S. (2020) Student Initiative. https://latimpe.eu/student-initiative/

Other Podcast on Lola Podcast SWING evaluation

Conferences and seminars 2020 When What Where Main contributor Reach Jan 15-17th Researchers' Colloquium on LoLa Glasgow RSC Latimpe 14 Feb 7-8th Friklassisk debate,presentation & concert NMH Geir Lysne, Alison Blunt, Christopher Redgate, Jürg Brinkman 20 Feb 26th CEMPE Talks NMH Veronica Ski-Berg 25 March 3rd Across - explorative practise NMH Guro Gravem Johansen 5 March 6th Career Day NMH Inger-Kristine Riber 50 May 13-14th Latimpe platform 2020 Online Collaboration with AEC. Keynote Evert Hoogendoorn 130 Sept 18th How to be a resilient musician... NMH Anja Lauvdal og Heida K. Johannisdottir 35 Sept 22nd STUDENT Talk #7 - Impostor Syndrome NMH Jo Fougner Skaansar 30 Oct 30th Music student conference NMH/online Camilla Overgaard, Even Lynne, Sigrid Røyseng, Gry Bråtømyr 500 Nov 12-13th Seminar on artistic research-based education NMH/online Collaboration with UiT. 70

Financial account 2020

Funds Note* Budget 2020 Income 2020 DIKU 4 000 000 4 000 000 NMH project funds 4 620 000 4 080 009 Other 1 150 000 -253

Total income 8 770 000 8 079 756

Expenditure Note* Budget 2020 Expenditure 2020 Staff costs 2 7 000 000 6 889 109 Purchase of services 970 000 875 811 Innovation project funds incl travel 3 120 000 131 143 Student involvement incl travel 4 150 000 125 764 External project resources incl. WILMA 5 300 000 402 213 Communication services 400 000 216 691 Equipment 6 50 000 10 029 Other operation expenses 750 000 305 189 Travel costs 300 000 93 596 Conferences, seminars, meeting costs 200 000 61 929 Communication and dissemination (publications, web) 150 000 89 653 LATIMPE incl travel 7 50 000 123 184

Total costs 8 770 000 8 080 138

Notes Note 1 - Other income Refund participant fee after cancellation of conference -253 Note 2 - Staff costs Direct staff costs 4 927 140 Overhead staff approx 40% 1 961 969 Note 3 - Innovation projects Innovation project Access All Areas Uis 60 000 Innovation project Kroppsliggjøring blåseropplæring NTNU 60 000 Innovation Sammensatte ensembler NMH 11 143

Note 4 - Student involvement incl travel & journalists Musikkstudentkonferansen 61 778 STUDENT Talks 5 207 Student innovation project Body Respect UiA 8 000 Student innovation project Musikal-i-teten Musikkteaterhøyskolen 20 000 Student innovation project Making Waves NMH 5 245 Student innovation project Ensemble Sonore 10 078 Student innovation project Ensemble 3030 3 256 Job shadowing 12 201 Note 5 - External projects resources WILMA incl travel 316 904 Other project resources 85 309 Note 6 - Equipment Ex. purchases for student projects & LATIMPE 10 029 Note 7 - LATIMPE incl travel costs and equipment purchase 123 184 Note 8 - various budget posts cost groups from budget 2020 not alligned with cost groups in financial report. Here for visibility. -63 173