Pop & Jazz Platform Meeting Codarts, Rotterdam 12-14 February 2016
Banding Together In times of change/flux
POP AND JAZZ PLATFORM Rotterdam 2016
The AEC would like to express deep gratitude to the Codarts Rotterdam for hosting and co- organizing the PJP Meeting 2016. The AEC team would also like to express special thanks to the members of the PJP preparatory working group for their tremendous support in organizing the platform programme.
POP AND JAZZ PLATFORM Rotterdam 2016
Contents
INTRODUCTION ...... 4 PROGRAMME ...... 5 Thursday 11th February – Working Group Meetings ...... 5 Friday 12th February ...... 5 Saturday 13th February ...... 7 Sunday 14th February – VOCON MEETING ...... 9 Biographies of the Guest Speakers ...... 10 Jesse Boere – NewNote Speaker ...... 10 Olivier Toth - CEO Rockhal, Luxembourg ...... 11 Eric Ineke - IASJ ...... 11 Ros Rigby – EJN President ...... 12 PJP Statement of Purpose ...... 13 The FULL SCORE Project ...... 14 Project Outlines ...... 14 AEC’s ‘FULL SCORE’ project: objectives, actions and expected results for PJP/EJN/IASJ elements ...... 16 The PJP Bulletin n. 1 – Table of Contents ...... 17 Update on the European Agenda for Music...... 18 PRACTICAL INFORMATION ...... 19 Relevant addresses and numbers ...... 19 Map of Locations ...... 20 Hotel information ...... 21 List of restaurants ...... 22 Information on fee payment ...... 23 PJP PREPARATORY WORKING GROUP ...... 25 AEC Office Staff ...... 26 Codarts Staff ...... 26
POP AND JAZZ PLATFORM Rotterdam 2016 INTRODUCTION
The Pop&Jazz Platform participates in the AEC’s FULL SCORE project which is now in its second year. Three consecutive annual meetings have been designed around AUDIENCE DEVELOPMENT/ENGAGEMENT - the overarching theme set by the EU Culture Commission. Our upcoming conference in Rotterdam will follow up the meeting at the Berklee College of Music in Valencia in February 2015 on diversity and identity amongst artists and audiences. It will be a joint meeting with our two project partners IASJ (International Association of Schools of Jazz) and EJN (Europe Jazz Network). The event will therefore bring together experts from both the educational and the business/entrepreneurial side of Jazz, Pop and related musics. We believe that such an encounter can help to refresh our views on curriculum and provide students with the tools and information necessary to make a living as future artists.
Banding Together In times of change/flux
A joint meeting with Europe Jazz Network and the International Association of School of Jazz exploring new ways of strengthening the connections between higher education training for pop & jazz musicians and the professional ‘ecosystems’ of European festival, venues and activists that promote these genres. The sessions will explore challenges and opportunities of developing and evaluating students’ skills and competences in a learning environment that is partially embedded in the ‘real world’ of concerts and audiences.
The Pop&Jazz Platform is an ideal environment for AEC’s focus on audience engagement. Jazz, Pop and related musics represent music in flux. Change is part of it. The music requires us to pursue a portfolio of activities at the same time. We create our own music, compose, improvise, produce, teach, promote ourselves and others and keep in active touch with our audience via social media and beyond. The PJP is happy to participate in FULL SCORE project enabling us to share expertise with the larger AEC community and beyond which can help create a better future for everyone.
The Pop&Jazz Platform has been so far a valuable and meaningful meeting ground for educators and administrators but the 2016 meeting will open up to students as one of the main goals. We targeted exchange students of pop and jazz departments studying in the Netherlands during the month of February 2016, who could apply to be selected as part of the student delegation of the platform. The selected students will work together with the members of the AEC FULL SCORE Students working group and will be required to take an active role in the meeting by joining discussions, expressing their opinion, giving input, organizing and moderating sessions, thus taking part in the conference in a meaningful and visible way.
We all currently experience times of drastic changes and challenges in Europe and the entire world: Fear is on the rise, cultural depth and freedom in general are being threatened. It is one of the saddest moments when we hear about people being killed during a concert as has happened recently in Paris. Music and music education is needed more than ever as it facilitates peaceful human beings. Jazz, Pop artists in particular interact with their audiences in a very direct way. It is our responsibility as educators and artists to always be aware of how important our work is for the entire community. The whole world has become an audience. We should really aim for a good performance.
Stefan Heckel Pop and Jazz Platform Chairman
POP AND JAZZ PLATFORM Rotterdam 2016 PROGRAMME
Banding Together In times of change/flux
A joint meeting with Europe Jazz Network and International Association of Schools of Jazz exploring new ways of strengthening the connections between higher education training for pop & jazz musicians and the professional ‘ecosystems’ of European festival, venues and activists that promote these genres. The challenges and opportunities of developing and evaluating students’ skills and competences in a learning environment that is partially embedded in the ‘real world’ of concerts and audiences
Thursday 11th February – Working Group Meetings
Students meetings: afternoon (15:00 – 19:00) – Room WMDC - A0.01, followed by dinner in the Codarts canteen
Pop & Jazz working group meeting: 18:00 - Room WMDC - A1.04
Friday 12th February
Registration opens 9:00-9:30 Maas Podium
Coffee Available
12th
Friday PJP Q&A session – informal introduction for newcomers and 9:30 – 10:30 talking about the Pop&Jazz Platform's purpose, history and Maas Podium future POP AND JAZZ PLATFORM Rotterdam 2016
Opening Event Music Introduction Opening remarks by 10:30 – 11:00 • Stefan Heckel, PJP Coordinator Maas Podium • Wilma Franchimon, Chair of the Board of Codarts • Harrie van den Elsen, AEC Council Member • Stefan Gies, AEC Chief Executive
Networking with Refreshments 11:00 – 11:30 (Meeting of the panelists of Plenary Session I in front of the Foyer Maas Podium stage)
Plenary Session I
Beehive by Lars Andersson, Malmoe Academy of Music and PJP working group member
“Newnote Speech” by Jesse Boere, alumnus of Codarts Jazz and Berklee Valencia
CONNECTING FUTURE MUSIC
11:30 – 13:00 Moderator: Udo Dahmen, Popakademie Mannheim and PJP Maas Podium working group member
Maria Pia De Vito - PJP Eric Ineke - IASJ Ros Rigby - EJN Olivier Toth - IMMF Jesse Boere – NYU Abu Dhabi and IMC Sylvain Devaux - AEC student working group 2 more students
13:00 – 14:30 Lunch Maas Podium
14:00 Tour of Codarts Pop and Jazz Department Codarts Building
Main Hall Codarts 14:30 – 16:00 World Café (3 shifts, 9 tables) - follow-up small group Building discussion on the plenary session I topics
16:00 – 17:15 Networking with refreshments Cafeteria Codarts
Cafeteria and 17:15 – 18:00 Bar Camp 1 - Intro Small Hall Codarts Introduction by Udo Dahmen and topics selection Building
POP AND JAZZ PLATFORM Rotterdam 2016
Concert
18:30 – 18:45: Jazz - Stok 18:45 – 18:50: VJ Main Hall Codarts 18:30 18:50 – 19:05: World Music – New Way Building 19:05 – 19:10: VJ 19:10 – 19:25: Pop – Southbound 19:25 – 19:30: VJ
Restaurant 19:30 Dinner The Pilgrim Brewery
Saturday 13th February
9:30 Registration continues
Plenary Session II 10:00 - 11:30 Round Table LEARNING FROM EACH OTHER Diversity in jazz/pop education across Europe „The Pop&Jazz Platform caters to the needs and development of the pop and jazz programmes in the AEC member institutions“ Maas Podium (from the PJP statement of purpose)
Moderator: Stefan Heckel, Kunstuniversitaet Graz and PJP working group chairman
February Linda Bloemhard, Codarts Rotterdam and AEC PJP working group member Annemarie Maas, Utrechts Conservatorium and VOCON representative
Saturday 13 Angelo Valori, Head of jazz/pop at Conservatorio di Pescara, Italy Indrikis Veitners, Head of jazz / Jazeps Vitols Latvian Academy of Music Inaki Sandoval, former teacher at Conservatori del Liceu Barcelona and newly appointed director at Viljandi Culture Academy/University of Tartu, Estonia Joe Wilson, Head of Curriculum at Leeds College of Music
Participation from the student delegation POP AND JAZZ PLATFORM Rotterdam 2016
11:30-12:00 Networking with Refreshments Maas Podium
9 Breakout Groups chaired by the panelists of Plenary Session II and PJP working group members (take your coat with you in the rooms)
Follow the number on your badge
Main Hall: Group 1 – Hannie Van Veldhoven and Joe Wilson
Main Hall: Group 2 – Stefan Heckel Rooms Codarts 12:00 – 13:00 Small Hall: Group 3 – Erling Aksdal Building
A0.01: Group 4 - Lars Andersson and Indriks Veitners
B0.13: Group 5 – Maria Pia De Vito and Inaki Sandoval
A1.04: Group 6 - Udo Dahmen
B1.08: Group 7 Annemarie Maas
A2.04: Group 8 - Linda Bloemhard
A2.09: Group 9 – Angelo Valori
Cafeteria Codarts 13:00 – 14:30 Lunch Building
Codarts Building 14:30 – 15:30 Bar Camp 2 – Group discussion on the selected topic
AEC Projects on Audience Engagement
15:30 – 16:00 Music Introduction The FULL SCORE Project – Audience Development Strand, Main Hall Codarts Building presentation by Stefan Gies, AEC Chief Executive
NAIP – Strategic Partnership Project in New Audiences and Innovative Practices, by Renee Jonker, Royal Conservatoire The Hague POP AND JAZZ PLATFORM Rotterdam 2016
Closing Session moderated by Hannie van Veldhoven
News from the VOCON, the pop and jazz vocal teachers network
16:00 – 16:30 Student Group Statement News from the AEC by Stefan Gies
Video Announcement of the PJP Platform 2017
Closing Remarks by EJN, IASJ and AEC PJP
Farewell Drinks – Please fill in the Participants Cafeteria Codarts 16:30 – 17:30 Questionnaire Building
Small Hall Codarts 16:30 – 18:30 PJP/IASJ/EJN Meeting Building
The EJN Board Meeting will take place from 9:00 to 16:00 in Room A3.04
Sunday 14th February – VOCON MEETING
Plenary session – Small Hall Codarts Building
WHO ARE YOU- WHAT INSPIRES YOU 9:00-10:00 Sharing your artefact as a means of meeting each other. (artefact =a source or an example of inspiration) 10:00-11:30 small performance & Presentations Codarts, Susanna Mesia, etc (two to three presentations of around 20 minutes each)
11.30-12.00 -Coffee Break-
Breakout groups : 12:00-14:00 Small group conversations with a host, brainstorming about how we want to shape and use Vocon how an organisation as VOCON could operate what subject will be appealing what kind of meetings will be successful what can you do with VOCON in your own conservatoire banding together with other initiatives like Artez Vocal symposium
POP AND JAZZ PLATFORM Rotterdam 2016
Biographies of the Guest Speakers
Jesse Boere – NewNote Speaker
Jesse Boere is a Global Academic Fellow of Music at the New York University Abu Dhabi (NYU Abu Dhabi) and Executive Board Member of the International Music Council. He received his bachelor’s degree in Vocal Jazz & Fusion Studies at Codarts, University for the Arts in Rotterdam, the Netherlands, and graduated magna cum laude from Berklee College of Music in Valencia, Spain, with a major in Contemporary Performance and a concentration in studio production. Being the youngest of four brothers, who were all invested in music and playing various instruments, define his boyhood years. He was a sweet but headstrong soloist soprano in a local boys choir (the root for his love for choral music) until he discovered jazz. He then started pursuing music more seriously. During his conservatory studies, he began focusing on songwriting and composing music for himself and others. While in Valencia, he co-wrote a composition for the National Dance Company of Spain and wrote music for a record that he would later release under the name Jesse Bell, entitled Nothing Is The Same (2015). He also discovered his love for writing jazz songs in the early 20th century style (Tin Pan Alley style), the topic of his thesis at Berklee. Following this love of songwriting, he recently co-founded a production & publishing company with songwriter Baer Traa, for which he writes extensively. In liaison with these musical endeavors, Boere actively developed leadership and advocacy skills during his college years by taking up positions in various boards and committees. He was a successful fundraiser for the Netherlands Student Chamber Choir and later presided as president for that choir. This led to the involvement with the European Choral Association and the European Music Council and later the International Music Council and the Dutch Council for Culture, often in youth advisory positions. He is now an Executive Board member of the International Music Council (IMC) until November 2017, working on putting IMCs Five Music Rights into action and developing a Digital Agenda for Music. The curious traveler and adventurous wanderer that he is, Boere moved to the Middle East in 2015 and accepted a fellowship position at NYU Abu Dhabi, where he explores teaching and provides academic support and enrichment to a student body heralding from over 100 countries speaking nearly 100 distinct languages, while working on his own artistic and professional development. Currently he works on a songbook with 50 songs in the distinct early 20th century Tin Pan Alley style.
POP AND JAZZ PLATFORM Rotterdam 2016 Olivier Toth - CEO Rockhal, Luxembourg
Having a professional background as a lawyer, Olivier had the opportunity to make his passion also his profession. A passionate musician and music aficionado since his youth he became CEO of the Rockhal when it opened in 2005.
As CEO and head of booking he succeeded in implementing the venue on the roadmaps of most major touring productions and developed SONIC VISIONS, Luxembourg’s international showcase festival and music conference. Olivier is also founding board member of Luxembourg’s music export office music:LX, chairman of the Music Managers Forum (MMF) Luxembourg and Executive Director of the IMMF, the International Music Managers Forum.
Eric Ineke - IASJ
Eric Ineke started his career in the sixties. Musicians like Philly Joe Jones, Shelly Manne, Elvin Jones and Tony Williams were his inspiration. In 1969 he made his first record with Ferdinand Povel. From the seventies on Eric played with the Rob Agerbeek Quintet, the legendary Rein de Graaff/Dick Vennik Quartet, the Ben van den Dungen/Jarmo Hoogendijk Quintet and the Piet Noordijk Quartet. During his career he recorded numerous CD’s and toured with many American soloists like Dexter Gordon, Johnny Griffin, George Coleman, Jimmy Raney, Barry Harris, Eric Alexander, Grant Stewart and David Liebman. For more than 40 years he is the drummer of the Rein de Graaf Trio and appears on numerous national and international Jazzfestivals like Northsea Jazz, Nice, Pescara, Ivrea, Urbino, San Remo, Athens, Helsinki, Pori,Toronto, Montreal and New York. He teaches at the Royal Conservatory and The Jazz School The Hague Since 2006 he is leading the Eric Ineke JazzXpress, a swinging band in the hard-bop tradition. He published his first book ‘’ The Ultimate Sideman’’, which he wrote together with David Liebman, in 2012 for Pincio Publishers. Selected discography: -Eric Ineke Jazzxpress: Flames ‘n’ Fire – Xpressions in Time-Jazz XL, Blues, Ballads and Other Bright Moments- Cruisin’ -Eric Ineke Jazzxpress feat. Deborah Brown: For the love of Ivie -David Liebman: Lieb plays The Blues a la Trane- Lieb plays The Beatles < Daybreak/Challenge -Jimmy Raney: Raney ’81 < Criss Cross -Barry Harris: Post Masterclass Concert -George Coleman/Bob Agerbeek Trio: On Green Dolphin Street < Bluejack -Al Cohn: Rifftide - Dave Pike/Charles McPherson : Blue Bird -Ronnie Cuber/Nick Brignola: Bariton Explosion -Conte Candoli/Bob Cooper/Rein de Graaff Trio: Thinking Of You < Timeless POP AND JAZZ PLATFORM Rotterdam 2016
Ros Rigby – EJN President
Ros Rigby OBE, Performance Programme Director, Sage Gateshead/ President Europe Jazz Network.
Ros Rigby trained as a dancer at the Royal Ballet School (White Lodge), followed by an MA Hons in English at the University of Edinburgh and the one-year Post Graduate Diploma in Arts Administration run by the Arts Council of Great Britain.
Following roles at the Beaford Centre, North Devon (Dartington Trust) and the Peterlee Development Corporation, in the early 1980s she created and led new programmes of arts and cultural development for Gateshead Council as the first Arts Development Officer in the North of England..
Ros was invited to join Alistair Anderson as founding Co-Director of Folkworks in 1988. Their trailblazing work saw the organisation develop into the UK’s foremost producer, presenter and educator in folk and traditional music. She was awarded the OBE in 1999. Folkworks, with Northern Sinfonia, was a founding partner of Sage Gateshead, and in 2001 Ros was appointed Performance Programme Director with responsibility for all areas of popular and contemporary music; since the opening of Sage Gateshead in 2004 her team have established a number of successful annual festivals, including the Gateshead International Jazz festival, and presented thousands of well known artists from around the world.
Ros was elected to the Board of Europe Jazz Network in 2011, and was elected as President in 2014. POP AND JAZZ PLATFORM Rotterdam 2016
PJP Statement of Purpose
Preamble
Higher Music Education (HME) in Europe has changed over the last decades. Classical music training has been supplemented with various other genre programmes, predominantly jazz and pop - in that order. There are a few institutions that offer only jazz and/or pop programmes, but the majority of such programmes are within otherwise classical institutions. Since broad international meeting grounds for these institutions most often are on an executive level, mostly recruited from classical music, the new programmes tend to be underrepresented. The establishment of the PJP was intended to create a European meeting ground for these programmes within the membership institutions of the AEC for programme heads as well as other staff in these programmes.
There is always the danger of dividing the community when one establishes “sub-cultural” forums, and the ideal situation is, of course, that the musical communities are united. However, the particular issues that concern the newer programmes need to be addressed separately for the time being. Some of them go to the core of how music is taught, learned and made. In addition we may see an increase in genre diversity in the HME institutions in the future, so these issues may become even more urgent to address. The goal of the PJP is to contribute to a broader and deeper understanding and greater diversity, not to undermine unity or create division.
The PJP profile
• Being a platform in the AEC the PJP subscribes and adheres to the Vision, Mission, Aims, Objectives and ‘Credo’ of the AEC. • PJP will contribute to the development of the AEC by informing on and problematizing educational, pedagogical, musical, professional and institutional issues on the basis of the particular expertise and experience the PJP community possesses. • The PJP caters to the needs and development of the pop and jazz programmes in the AEC’s membership institutions. • The main activity of the PJP is to organise meetings on a regular basis for the pop and jazz programmes in AEC membership institutions addressing musical, pedagogical, educational, professional and institutional issues, at the same time providing a meeting ground for networking and the sharing of experiences among the programmes. • The PJP and its name reflect the fact that apart from classical music, the predominant programmes in HME are pop and jazz programmes. However, there are numerous other genre programmes both inside and on its way into the AEC member institutions, and the PJP seeks to be inclusive in this regard. • The PJP seeks to stimulate to the discourse on all issues relevant to the pop and jazz programmes and beyond. Genre diversity in HME may be a complex issue and pose challenges for the institutions, and other ways of categorising the field than by genre are possible, for example by differences and similarities in teaching/learning and differences and similarities in the musical processes, how music is made. The PJP will therefore in particular stimulate the discourse on the concept of genre, genre diversity, teaching and learning processes, self-perception and identities.
POP AND JAZZ PLATFORM Rotterdam 2016 The FULL SCORE Project Project Outlines
FUlfiLLing the Skills, COmpetences and know- how Requirements of cultural and creative players in the European music sector ‘FULL SCORE’
FULL SCORE is a 3-year-project coordinated by the AEC with support from the European Commission through the scheme “European Networks” of the Creative Europe programme.
Cultural and Creative Higher Education (CCHE) has a crucial role to play in strengthening the capacity of the cultural and creative sectors to adapt to change. Its graduates will become the leading cultural and creative players of tomorrow and, if equipped with the appropriate skills, competences and know-how, will contribute decisively to strengthening these sectors and to promoting innovation within them.
In the musical field, conservatoires are the dominant institutions for the delivery of CCHE, and AEC is the European network which represents around 90% of these institutions right across the EHEA. AEC has had significant impact in encouraging conservatoires to adapt to change and embrace innovation; its proposed framework partnership, ‘FULL SCORE’, represents a bold new step in the Association’s continuing work to provide this impetus.
‘FULL SCORE’ has the following six objectives: A. To strengthen and connect the levels and branches of the music education sector, helping it to become a key and united voice for music within the cultural debate B. To strengthen and connect the quality enhancement frameworks surrounding all levels of music education so as to ensure a coherent trajectory in the development of the skills, competences and know-how of young musicians, whether destined to be the cultural and creative players or the engaged audiences of the future C. To ensure a full and effective engagement of conservatoire leaders in the development of a European Agenda for Music that seeks: to stimulate musical creativity and creation; to improve the circulation of European repertoire and the mobility of artists throughout Europe; to support musical diversity and ensure music education for all; to strengthen the recognition of the societal value of music; and to reach out to new audiences and develop new publics D. To help cultural and creative players to internationalise their careers and activities, by further developing the AEC annual forum for exchange and mobility and by creating a common European platform for advertising job vacancies for instrumental and vocal musicians and composers in CCHE E. To share examples of innovative approaches to genre diversification, contemporary orientation and cultural stimulation that have been implemented by European conservatoires, and to encourage wider take-up of these approaches POP AND JAZZ PLATFORM Rotterdam 2016
F. To draw upon the perspectives of young musicians, in higher education and beyond, so as to make systematic use of their views about how best to facilitate their access to professional opportunities and how to engage in new and innovative ways with contemporary audiences
The priorities of ‘FULL SCORE’ reflect these objectives, and focus around the ways in which AEC can support conservatoires through meetings, conferences, workshops and the development of suitable tools. With support from the Creative Europe programme, the project will deliver significant added value in ways that are deliberately intertwined with AEC’s regular activities and events, and with the working groups that plan and deliver them. This not only offers valuable synergies and efficiencies, it also structures the content of both the project and the events within an integrated 3-year perspective, building links with other relevant events, networks and organisations and achieving cumulative and durable outcomes.
In order to deliver these priorities and initiatives, AEC has formulated the following specific actions: A. Strengthening of the European Music Education Sector: overseeing at least one joint project with EAS and EMU and exploring potential synergies and future strategies for the sector to train the musicians of tomorrow An action linking the Boards of all three organisations and building future strategies B. Evaluation for Enhancement: assessing how effectively all the stages and strands of music education in Europe work in a coherent way to provide future cultural and creative players with skills, competences and know-how that will contribute to strengthening the cultural and creative sectors A joint action with EAS and EMU on evaluation of the development of musicians’ skills, competences and know-how spanning HME, pre-college ME and Music Pedagogy C. Conservatoires and the Development of Cultural Policy for Music: sharing innovative approaches to promoting music, highlighting the value of its role in European culture and encouraging wider take-up of these approaches An action engaging the views of conservatoire leaders in the formation of a European Agenda for Music, in conjunction with EMC and its other members D. Career Development towards Professionalisation and Internationalisation: helping cultural and creative players to internationalise their careers and activities by delivering workshops for International Relations Coordinators (IRCs) and career centre staff in conservatoires, collecting employment data, and developing online tools supporting international career mobility An action that will provide the existing, vigorous network of IRCs with a new and more powerful information infrastructure, combining capacity-building sessions with the development of online tools for helping musicians and music teachers to internationalise their careers E. Conservatoires as Innovators and Audience Developers: sharing innovative approaches to genre diversification, contemporary orientation and cultural stimulation that have been implemented by European conservatoires, and encouraging wider take-up of these approaches An action based on a 3-year planned sequence of PJP meetings, elaborating these themes in a connected and cumulative way and featuring a seminal joint meeting with EJN and IASJ in 2016 F. Young Musicians as International Networkers: drawing upon the fresh perspectives of young musicians, in higher education and beyond, to enrich the debate about engaging in new and innovative ways with audiences and facilitating access to professional opportunities An action that builds ambitiously upon the AEC’s action plan for student involvement (2013) and embeds this within AEC events and activities for the period 2014-2017 (work will include outreach to the European Student Union, European Youth Forum, European Music Council’s Youth Committee, IMC Youth and Jeunesses Musicales International)
Please visit the AEC Website to follow up the progress achieved in each FULL SCORE strand and to access/download the available outputs produced during the course of the first half of the project lifetime.
POP AND JAZZ PLATFORM Rotterdam 2016 AEC’s ‘FULL SCORE’ project: objectives, actions and expected results for PJP/EJN/IASJ elements Objective, Year 1 To hold an event on internationalisation and identity in contemporary musics, sharing innovative approaches to genre diversification, cultural stimulation and audience development Actions, Year 1 Adopting a 3-year strategy (The Audience [Re-]engaged) to widen the scope of the AEC PJP meeting across this period Organising the first meeting of this strategic initiative Producing the first Platform ‘bulletin’ Taking forward liaison with EJN and IASJ Expected Results, Year 1 A successful PJP Platform delivered on internationalisation and audiences, with exchanges of innovative practice First ‘bulletin’ resulting from this Platform A 3-year strategy (The Audience [Re-]engaged) presented to delegates as part of this meeting Memoranda of cooperation signed with EJN and IASJ to stimulate synergies Objective, Year 2 To hold a joint PJP/EJN/IASJ event exploring new ways of strengthening the connections between higher education training for pop & jazz musicians and the professional ‘ecosystems’ of European festival, venues and activists that promote these genres. Actions, Year 2 Delivering jointly with EJN and IASJ a PJP platform on musical ‘ecosystems’ and audiences, as part of the strategy The Audience [Re-]engaged Producing second Platform bulletin Implementing agenda for continued cooperation with EJN and IASJ Expected Results, Year 2 A successful Platform on Audience Development delivered jointly with EJN and IASJ, in line with strategy The Audience [Re-]engaged Second Platform ‘bulletin’ published and widely disseminated AEC-PJP statement of purpose updated to reflect 3-year strategy Cooperation with EJN and IASJ enhanced, with reciprocal attendance at the partner organisations’ meetings sustained Objective, Year 3 To address the roles as cultural citizens and leaders taken on by musicians who engage in innovative approaches to genre diversification, contemporary orientation and cultural stimulation, and to link these to audience development Actions, Year 3 Organising the final meeting of the 3-year strategy The Audience [Re-]engaged, addressing the roles of contemporary musicians as cultural citizens and leaders Producing a final publication on audience development with reflections drawn from all three Platform meetings Producing a new strategy for 2018-2020, including structured cooperation with EJN and IASJ Expected Results, Year 3 A successful third Platform delivered as the culmination of 3-year strategy The Audience [Re-] engaged Updated AEC-PJP ‘Statement of Purpose’ adopted by delegates Final publication on audience development strategies in relation to contemporary music, with reflections drawn from all three Platform meetings A fresh 3-year strategy (2018-20) formulated, including sustained cooperation with EJN and IASJ POP AND JAZZ PLATFORM Rotterdam 2016 The PJP Bulletin n. 1 – Table of Contents
During Summer 2015 the AEC published the Bulletin n.1 of the AEC Pop & Jazz Platform Meeting 2015 under the title ‘Jazz, Pop and ME, Developing diversity and identities among artists and audiences” produced under the framework of the FULL SCORE project
The bulletin documents the first phase of its three-year exploration of aspects of audience development and engagement that is being conducted within the frame of the AEC Pop & Jazz Platform (PJP). It contains the details of the 2015 PJP meeting, together with reflections on audience development by PJP Working Group (WG) members.
For the first of these three meetings, PJP has focused on ‘Developing Diversity and Identities among Artists and Audiences’. This theme implies, amongst many issues, re-thinking the relationship between these two groups, as the provider-receiver model is an increasingly inadequate way to characterise what goes on in our culturally and technologically dynamic world of musical production and consumption. The overall title of the 2015 meeting, ‘Jazz, Pop and ME’, may also be seen as reflecting the needs of young and upcoming artists – our students – to find their own voice and survive in the globalised business of music.
This Bulletin available in Eglish, German and French at the AEC Website at www.aec- music.eu/pjpbulletins
The separate articles from the first bulletin have been made available online in blog format with a possibility to leave comments under the following address: www.pjpbulletinfullscore.wordpress.com
Table of Content: Foreword: the Audience [Re-]engaged Introduction to the PJP Valencia 2015 Bulletin PJP Working Group 2014 - 2015 I. PLENARY SESSIONS Plenary Session I - Keynote Speech by Danilo Pérez Some reflections on diversity, based upon the keynote speech and the showcase concert Plenary Session II – Panel discussion II. WORLD CAFE DISCUSSIONS Diversity, Identity and Audience-building off the beaten track - a discussion with Muhammad Mughrabi Talking to Merlijn Twaalfhoven at the World Café How to create new audiences using new media: the implications and challenges for the higher music education sector – a discussion with Scott Cohen Discussion on Identity at the World Café Discussion on Audience at the World Café III. BAR CAMP SESSIONS Women in jazz Teacher-training within Pop and Jazz Education The differences in educating (future) jazz-musicians and pop-musicians IV. THOUGHTS AND OPINIONS 39 Diversity and identities amongst artists and audiences Interviews with speakers and participants Live improvised music and audiences – a personal reflection Call and response - what could be the contribution of popular music to the ongoing debate on audience development? VoCon: a first official meeting The different perfspectives of audience development
POP AND JAZZ PLATFORM Rotterdam 2016 Update on the European Agenda for Music
The European Music Council’s proposal to create a European Agenda for Music has been widely welcomed and supported by EMC members, including AEC, EAS and EMU. The main goal of this initiative is to constitute a platform which brings together the whole music sector in order to allow stakeholders to participate more effectively and with one voice in European cultural policy-making. Working in close cooperation with the European Association for Music in Schools (EAS) and the European Music School Union (EMU) und under the framework of its project ‘FULL SCORE’, the AEC has offered to jointly coordinate work on that part of the Agenda which deals with music education. As part of this work, AEC, EAS and EMU have committed to consult their respective members about the priorities to be addressed in the European Agenda for Music: what should be in it and how it should be constructed and, eventually, used. In the summer 2015, the three organizations sent a questionnaire to their member institutions requesting them to answer the following aspects: How a comprehensive European Agenda of Music could help you in your work to promote music (in your organization/ at personal level) Primary benefits of having a comprehensive European Agenda for Music Suggestions for changes as making the most positive contribution to music education in Europe Potential actions that could be taken by your organization for the contribution to positive change in European music education
The results of this questionnaire disclose both the common views and the different priorities of the three organizations representing the education sector. They can be found at the AEC website. In addition, the AEC continues to gather feedback from its member institutions with a view to produce a position paper representing the voice of higher music educations institutions. AEC encourage their members to speak up and contribute to the production of this paper by providing feedback in the participant questionnaire.
POP AND JAZZ PLATFORM Rotterdam 2016
PRACTICAL INFORMATION
Relevant addresses and numbers
Maas Podium - Registration and morning Sessions St. Jobsweg 3, 3024 EH Rotterdam
Codarts Rotterdam – Afternoon sessions and group meetings WMDC Building Pieter de Hoochweg 125 , 3024 BG Rotterdam
Pelgrim Brewery – Dinner on Friday Aelbrechtskolk 12, Rotterdam
Emergency MOBILE NUMBER
Sara Primiterra – AEC Events Manager –0031/639011273 – 0032/496207303
Taxi companies
RTC 010-4626060 www.rtcnv.nl
Taxi St. Job 010-4257000 www.st-job.nl
Stadstaxi Rotterdam 010-8182823 www.stadstaxirotterdam.nl
Watertaxi 010-4030303 www.watertaxirotterdam.nl
Public Transportation
Tram From Central Station: Line 8 direction Spangen, name of the stop is Pieter de Hoochweg, 2 min walk to WMDC
Metro The closest stop is called Coolhaven, 5 min walk to WMDC, metrolines A, B and C stop there. Unfortunately there isn't a direct line from Central Station, but from Coolhaven you can be in the centre within 5 minutes (important stops: Beurs, Eendrachtsplein).
POP AND JAZZ PLATFORM Rotterdam 2016 Map of Locations https://www.google.com/maps/d/edit?mid=zcleeE6UdCuY.kQK1lZowjToQ&usp=sharing
POP AND JAZZ PLATFORM Rotterdam 2016 Hotel information
Please note that hotel reservations should be made by the guests directly with the hotel of their choice. Special rates for AEC congress participants are only valid until the indicated date and require a reference code upon booking. As the number of rooms at special rates is limited, we would recommend that you book your accommodation as soon as possible on the hotels websites.
Note: Neither AEC nor Codarts will cover any booking cancellation fees.
HOTEL BREITNER Address: Breitnerstraat 23, 3015 XA Rotterdam, Paesi Bassi Telephone:+31 10 436 0262 Website: www.hotelbreitner.nl
HOTEL EMMA Address: Nieuwe Binnenweg 6, 3015 BA Rotterdam, Paesi Bassi Telephone:+31 10 436 5533 Website: www.hotelemma.nl
NH HOTEL WILHELMINAKADE (NHOW) Indirizzo: Wilhelminakade 137, 3072 AP Rotterdam, Paesi Bassi Telefono:+31 10 206 7600 Website : n-how-rotterdam.com
HOTEL PORT Address: Pieter de Hoochweg 115, 3024 BG Rotterdam Telephone : 31 10 477 9628 Website : www.hotelport.nl
HOTEL STROOM Address: Lloydstraat 1, 3024 EA Rotterdam, Paesi Bassi Telephone:+31 10 221 4060 Website : www.stroomrotterdam.nl
POP AND JAZZ PLATFORM Rotterdam 2016
List of restaurants
Willem Buytewechstraat
De Machinist 45 www.demachinist.nl
Verhip Sint-Jobsweg 21 www.verhiprotterdam.nl
Hotel Stroom Lloydstraat 1 www.stroomrotterdam.nl
Wijn of Water Loods Celebes 101 www.wijnofwater.nl
Rauwdauwer Westzeedijk 399 www.rauwauwer.nl
Abrikoos Aelbrechtskolk 51 www.rotterdam.abrikoos.nl Stadsbrouwerij de
Pelgrim Aelbrechtskolk 12 www.pelgrimbier.nl
Le Souq Delfshaven Voorhaven 54b www.lesouq.nl Nieuwe Binnenweg 575-
De Olijventuin 581 www.olijventuin.nl
POP AND JAZZ PLATFORM Rotterdam 2016
Information on fee payment
The date of payment is considered to be the date when the payment was authorised by the participant or his/her institution, as confirmed on the order of payment.
The actual conference fee depends on your date of registration and payment. Please take into consideration that in order to receive an invoice you should please send a mail to [email protected]
Amount of the Registration Fee (per person)
For Registration For Registration and Payment made and Payment made Category by after 15th January 15th January
Representative of an AEC - EAS - EMC - EMU member institution 140 euro 190 euro member institution
Representative of a non AEC - EAS
- EMC - EMU member institution 440 euro 490 euro member institution
Student from an AEC member
institution
90 euro 110 euro
[First 15 students admitted to the
platform are allowed for FREE]
The participation fee will not be reimbursed for cancellations notified after January 31st.
The participation fee includes: • conference documents • participation to all plenary and parallel session • participation to the networking moments • possibility to display information brochures posters and materials about AEC members institutions • Coffee Breaks • One organized Dinner (Friday 12) POP AND JAZZ PLATFORM Rotterdam 2016
• Two organized Lunches (Friday and Saturday) • Concerts organized by the hosting institution • Assistance by the AEC Office Staff
Bank details for payments
BNP Paribas Fortis Kantoor Sint-Amandsberg, Antwerpsesteenweg 242 9040 Sint-Amandsberg, Belgium Account Holder AEC-Music IBAN: BE47 0016 8894 2980 SWIFT/BIC Code: GEBABEBB VAT number/ N° TVA/ USt-IdNr. BE 503 980 425
When making the transfer, please clearly quote:
• Invoice number or • the code of the event (PJP 2016) and • the last name of the participant • the name of your institution (if fitting) Example:, PJP2016, Smith, Gotham Conservatory POP AND JAZZ PLATFORM Rotterdam 2016
PJP PREPARATORY WORKING GROUP
Stefan Heckel - Chairman Kunstuniversität Graz (KUG), Graz
Linda Bloemhard Codarts, Rotterdam
Erling Aksdal Norwegian University of Science and Technology, Trondheim
Udo Dahmen Popakademie Mannheim
Hannie van Veldhoven HKU Utrechts Conservatorium
Maria Pia de Vito Saint Louis College of Music, Rome
Lars Andersson Malmoe Academy of Music
Simon Purcell Trinity Laban Conservatoire of Music and Dance, London
POP AND JAZZ PLATFORM Rotterdam 2016
AEC Office Staff
Stefan Gies Chief Executive
Sara Primiterra Events Manager
Susan Togra Díaz Student Intern
Katerina Prodromidou Student Intern
Codarts Staff
Linda Bloemhard Head of jazz department
Wessel Coppes Head of Pop department
Wilma Franchimon Head of Executive Board
Claire Hell Production office Codarts
Wies Peeters Production office Codarts
Gert Postelmans Building manager