CEMPE Annual Report 2019

CEMPE

ANNUAL REPORT 2019

Centre for Excellence in Music Performance Education

CEMPE.NO

TABLE OF CONTENTS

ABSTRACT ...... 2 VISION AND OBJECTIVES ...... 3 CEMPE ORGANISATION ...... 5 PROJECTS AND DISSEMINATION 2019 ...... 6 CEMPE projects 2019-2020 ...... 6 Innovation grant projects 2019-2020 ...... 12 Student-led projects 2019-2020 ...... 14 Dissemination (seminars, conferences) ...... 14 ACHIEVEMENTS AND IMPACT ...... 16 PLANS 2020 ...... 18 FINANCE ...... 19 PRESENTATIONS AND PUBLICATIONS ...... 20

ABSTRACT 2019 has been an active year at CEMPE. A new organisational model is well in place, and the centre is working on 38 local, national and international projects organized in five focus areas: Connection between study and the music industry, Students’ artistic development, Collaborative models of performance teaching, Interaction across genres and between subjects, and Everyday musicians. More than 70 students and staff have leading roles in the projects, and they come from 22 institutions and organisations in eight countries. International collaboration (collaboration with AEC and with international research partners) and student involvement (in management and projects) are increasing, while the focus on projects on digital learning and technology in music performance education could be better. The report gives evidence of local impact (a large number of NMH students and staff participating in CEMPE projects and activities) and national impact (providing arenas for sharing and funding opportunities). A constant challenge for CEMPE is to find ways of including enough instrumental teachers in projects and activities. CEMPE defines itself as a catalyst for knowledge development, and report a substantial number of presentations, events and publications. It is important that CEMPE starts developing a strategy for summarizing and communicating the overall outcome, experiences and lessons learnt as a SFU in the field of music.

VISION AND OBJECTIVES

From the start in January 2014, CEMPE worked to complement traditional one-to-one teaching and to ‘de-privatise’ higher music performance tuition, to take more institutional responsibility for developing students instrumental practising, and to develop educational programmes that are relevant to future musicianship. The overall motivation for applying for an SFU was to encourage greater emphasis on R&D-based education in a higher education context that has largely been founded on personal, experience-based knowledge and to strengthen the collaboration between teachers and researchers, both in conducting the R&D work itself, and in the application and testing of results from R&D.

Main outcomes of the Interim Evaluation in 2017 were a revised Centre vision, and revised aims and actions. After 2017, CEMPE has aimed at being a catalyst for knowledge development through collaborative projects, and we have aimed at expanded student involvement.

Centre Vision The NMH’s Centre of 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.

CENTRE objectives from the 2019-2023 Action plan

The long-term action plan 2019-2023 defines four main objectives:

No Objectives

1 CEMPE will advance music performance teaching and learning by exploring and developing collaborative models for teaching 2 CEMPE will enhance the quality and awareness of the students’ instrumental practice 3 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 4 CEMPE will develop knowledge about and models for increased coherence and interaction between performance subjects and complementary subjects in higher music education

In 2018-19 this categorization were revised to the 5 focus areas below (CEMPE at a glance), with headlines that facilitate broader communication, and some changes such as the third objective becoming divided into two focus areas, namely number 1 and 2.

Tomorrow’s musician (CEMPE at a glance)

Connection between study and the music industry

Students' artistic development

Collaboration in performance teaching

Interaction between subjects and across genres

Everyday musicians

Three more main aims of the centre sort under all focus areas. They are

 to address perspectives on technology and digital learning in higher music education  to encourage a larger degree of student involvement in higher music education  to support the strengthening of R&D-based education in higher music education

CEMPE ORGANISATION

The CEMPE team Jon Helge Sætre, Director Guoste Tamulynaite, student partner Associate Professor in Music Education Student, Bachelor of Music with Individual (PhD in Music Education) Concentration (composition/piano) 50 % position 20 % position 2016–2023 September 2018–June 2020

Ingfrid Breie Nyhus, Deputy Director The steering group Project leader (PhD in Artistic Research) Morten Halle, Vice Principal for Education 50 % position and leader of the steering group August 2018–2023 Jon Helge Sætre, Centre Director Camilla Sønstabø Thorkildsen, Head of Ellen Mikalsen Stabell, Senior Advisor Academic Affairs and Research (PhD in Music Education) Sidsel Karlsen, Professor in Music Education 100 % position Julius Pranevicius, Professor in French Horn June 2017–2023 Monika Nerland, Professor in Education (University of Oslo) Ane Hagness Kiran, Higher Executive Officer Elin Nilsen, leader of the NMH student (BA with honours in Performing Arts, committee Music) Simen Skrebergene, master student 100 % position January 2020–2023 Regular observers

Peter Tornquist, Principal of NMH Guro Utne Salvesen, student partner Representative from DIKU Student, Master in Performance (singing) The CEMPE Deputy Director, Student 30 % position Partners and advisors September 2018–June 2020

PROJECTS AND DISSEMINATION 2019

CEMPE projects 2019-2020 In 2019, several projects ended, such as Instrumental Practice and Performance Preparation in an Interactive Sphere (Hatfield, NMH), Developmental workshops on instrumental practice (Nielsen and Johansen, NMH) and Crossing the line (Brøske and Lysne, NMH). Six innovation grant projects also came to their conclusion (read more): On the inside (Sveen, UiB), Music physiology (Ege, UiB), Self-studying music therapy improvisation (Gilbertson, UiB), The sustainable musician (Thingelstad and Wiik, UiT), Finding rest (Herresthal and Parker, NMH) and Interplaying folk songs (Pedersen and Løvlid, NMH).

The following is a presentation of active, ongoing projects in 2019.

Focus area one: 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

Title People Inst. Project summary Dur.

The Job Salvesen, NMH The project aims to give the students valuable 2017- shadowing project Skrebergene, and experience of fields of work that they are Bakke. alumni interested in, and can help give the students an idea of the realities that await them once they graduate. The performing Orning NMH A study looking at the skills required of a portfolio 2015- musician in the (Post.doc) musician in a globalised music industry. 2020 21st century Institutionalizing Ski-Berg NMH Is the music student merely a reflection of higher 2018- innovation: (Ph.D.) music education, or does higher music education Uncovering the in fact reflect its students? How are students and protean music professors relating to the discrepancy between student educational policies and the reality of the current job market in HME? WILMA – Work- Phillips, RNCM The WILMA project is investigating the ways in 2018- integrated Habron, (UK), which HME institutions offer professional 2021 Learning in the Sætre. NMH placements to their students. How are these Music Academy professional placement programmes implemented in European Conservatoires and Universities?

The first project gives current students a chance to meet alumni from NMH and learn from their experiences. Orning examines what competences and skills musicians need in portfolio careers, and Ski-Berg investigates how the higher education discourse relates to job marked requirements and policies of entrepreneurship. The WILMA project aims to explore how (or if)

6 professional placement is used as a study component in European higher music education. In short, these projects explore the connection between study and the music industry for musicians from the viewpoints of job opportunities, skills and competences, and study- placement perspectives. A central issue of the relation between study and music industry is, however, artistic development and reflection, which is the main topic in the next focus area.

Focus area two: Students’ artistic development

Title People Inst. Project summary Dur.

Music as Eftestøl NMH Music as transformative practice is a philosophical 2016- transformative (Ph.D.) exploration of the potential for development, practice transformation and becoming that music harbour.

Core Portfolio Nyhus, NMH The Core Portfolio project is testing eportfolios as 2018- and Artistic Orning, tools for reflection and development for music Mentor Salvesen, students. The Core Portfolio is aimed to give Tamulynaite students overview of their musical work, and stimulate awareness, critical thinking and dialogue on musical development and artistic profile. The students’ portfolio work is followed up by an artistic mentor. The project looks at a prototype of artistic mentor as a supplement to the main instrument teacher, with a parallel course program in coaching and mentoring for teachers. Think Tank for Nyhus, NMH, Network and discussion meetings on what R&D- 2018- Artistic Pollen, UiT, UiB, based education can mean in terms of the growing Research- Pedersen, NTNU, field of artistic research. How can artistic research based Innervik, KMH (S), contribute to strengthen bachelor and master levels Education Davidsen, GU (S), of music education? Gundersen, RMC Sveen, Åse, (DK) Frisk, Nilsson, Snekkestad, Blix FRIKA Forum Stabell, NMH Exploration of the new, free bachelor program of 2019- as Arena for Grydeland “Music with Individual Concentration”. Artistic Development ePortfolio as a Birkeland, NMH The purpose of the project has been to develop 2017- Tool for Grydeland, knowledge about how digital learning portfolios 2020 Learning Sætre (ePortfolios) on the LMS platform CANVAS can serve as constructive learning tools for students and teachers in higher music education. The project is finished, and Jon Helge Sætre is working on the final report.

Student Talks Salvesen, NMH The student partners in CEMPE arranges 2019- in the Tamunynaite disscussions with the music students during a 2020 Hammerfest project week far north. Week I conduct Winnes NMH Students in composition conduct their own works, 2019- myself and experience their own music from the 2020 perspective of the conductor. A collaboration between the conducting and composition fields at the Norwegian Academy of Music.

In sum, these projects complement focus area one in very important ways. They help us remember that transition to the music industry is not only about entrepreneurship and related areas, but also about artistic development and reflection – or artistic agency. The appointment of the deputy director, who has a PhD in artistic research, is a major factor behind the growth of projects in this area. CEMPE consider the complementary synergy between focus area one and two projects as a major centre accomplishment. In total, these projects can visualise how higher music education can educate and develop musicians that enter the music industry with confidence and relevant skills and with artistic ideas, integrity and agency.

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

Title People Inst. Project summary Dur.

LATIMPE Sætre, Gies, NMH, AEC and CEMPE established the Platform for 2017- Bordin, AEC, Learning and Teaching in Music Performance 2021 Brinck, Hahn, RWCMD Education (LATIMPE) as a long-term project under Storheim, van (UK), the AEC umbrella. In the period 2017 to 2021, the Els, Stabell. RMC platform idea has merged with the EU-funded AEC (DK), Strengthening Music in Society project (SMS), where CPG (I), one vital part is developing student-centred learning CNSMD and teaching practices and models in music higher (F) education in Europe. The Aspaas, NMH, What happens when the chamber music teacher is a 2018- Collaborative Sætre, UQ collaborative, performing member of the students’ 2020 Chamber Zhukov (AUS) chamber group? Musician Educational Sætre, NMH What are the central characteristics of the 2016- Cultures Carlsen, Holm educational culture of instrument tuition at the 2020 Norwegian Academy of Music in terms of power relations, ownership of learning, communication and models of teaching and learning? In what ways is this educational culture different from international practices? The project is finished, and Jon Helge Sætre is writing a research article. Playing Ugelvik, NMH What happens with the playing and working process 2018- together Innervik, when established musicians and student play 2020 Torrence, chamber music together and exchange experiences? Yoshida,

Syrrist, Anisimova, Boix

Symphonies Pedersen, NMH An investigation into artistic and educational 2014- Reframed Folgerø opportunities in medium-sized chamber ensembles. The project looks at the artistic and educational potential that emerges when recreating and performing orchestral works in a chamber music format. The Teachers’ Brekka, NMH A group of main instrument teachers gather to form 2019- Lab Mathiesen, forum initiative(s) towards performing teachers. 2020 Lewis, Løvlid, Stabell

These projects examine collaborative models of teaching (and learning) in different ways. Educational Cultures is an interview study and has identified several differences in international instrumental tuition practices, related to master positions (and power relations), responsibility, communication, organisation and subject matter in instrumental tuition. In short, there are traces of highly teacher-oriented and highly student-oriented practices in the interviews with 12 international students from around the world. The mapping of these differences are valuable as a foundation for debate and development in the field. The other five projects look closer at what happens when students and teachers, and teachers and teachers, collaborate. In sum, these projects complement the focus on group teaching from the first centre period, by looking at other models of collaborative learning and teaching. Also, the AEC/CEMPE anthology from 2019 (an outcome of the LATIMPE project), looks specifically at the topics of student involvement and teacher collaboration.

Focus area four: 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

Title People Inst. Project summary Dur.

Current Trends Van Tour, NMH This project aims to forge links between current 2018- in Music Theory Bergby, Scandinavian and international trends and 2021 Pedagogy Jakhelln, pedagogical developments in the field of music Habbestad, theory by inviting internationally acclaimed music Pedersen, theorists to visit the NMH. Thoresen, Tykesson, Watne, Gorbe ‘Friklassisk’, Lysne, Nyhus, NMH, This initiative investigates collective improvisation 2019- improvisation Stabell DNBE in orchestra/ensemble settings within the classical 2020 for orchestral (N) idiom. The aim is to arrange one or more seminars musicians for students, teachers and professionals. Across Forum Johansen NMH Monthly gatherings for teachers and students with 2019- playing, dialogue, discussion and jam - where performance-related questions are discussed and

played out. Students and teachers from all genres talk and make music together, across genre boundaries. Each gathering has a theme and a guest student or teacher. Teachers’ Johansen, NMH, The main objective with this study is to explore and 2018- conceptual tools MacGlone RCS develop reflexive practices in teaching free 2021 in teaching free (UK) improvisation across genres in higher music improvisation in education. The goal is creative learning outcomes HME through the development of conceptual tools. Music histories – Pedersen NMH In which ways can (music) history contribute to 2019- Reflections on educate performing musicians? In which ways can and through verbal reflection contribute to artistic choices? Can music music history contribute to becoming better artists? The goal of this project is to explore possibilities in the relation between complementary and performing subjects, and to explore how knowledges and reflections can be transferred from one to the other – and back

These projects address coherence and integration in higher music education from music theory, improvisation, across-genre and music history viewpoints. The Current Trends project has led to much activity in the department of music theory at NMH, and resulted in a collaborative application for NMH research funding from a group of music theory staff. In the modern music industry, the limits between genres and practices are less solid, and today’s musicians often need experience from a broader field of practice, such as knowing of attitudes, aesthetics and ways of playing from other genres and traditions. The «Friklassisk» seminar and the «Across» seminar series are projects that support this development in higher music education, and create meetings and new experiences on this matter, for both teachers and students.

Focus area five: Everyday musicians Objective: CEMPE will enhance the quality and awareness of the students’ instrumental practice

Title People Inst. Project summary Dur.

Instrumental Hatfield, NMH, In this project, Johannes Lunde Hatfield in 2018- Practice and Holbrook UiO collaboration with Ph.D. fellow Ulf A.S. Holbrook (UiO) 2019 Performance has developed and established a digital learning Preparation in laboratory at the NMH, through which successful an Interactive approaches to instrumental practice and performance Sphere preparation have been thoroughly investigated and improved. Healthy Nielsen NMH, In this project, CEMPE will develop an European wide 2018- Conservatoires RCM collaboration between conservatoires and music (UK) academies on musicians’ health and well-being in cooperation with The Royal Conservatoire of Music (London, UK). The network will especially put issues related to performance students’ health and well-being in focus, and discuss and share practices and new

knowledge in order to develop new educational practices in European conservatoires. Developmental Nielsen, NMH In the autumn of 2017 a series of ‘Developmental 2017- Workshops on Johansen practicing workshops’ were launched. The workshops Instrumental are largely student-led, and students collaborate on Practice developing different practice methods, through trying and reflecting together. In the workshops students work together on developing modes of working with practicing, through trying and reflecting together. Musicians' and Conference NMH, The MHPNC 2021 will be a national, Nordic and 2019- Performing committee CREO, international forum for physicians, therapists, 2021 Artists' health NTO educators, artistic directors/employers, athletic and trainers, performing artists/ performing arts students performance and other health care and performing arts Conference: professionals who seek to improve the performance, Integrating health and well-being of musicians and performing body and mind artists.

Instrumental practice has been an important topic in CEMPE from the start. It is now called Everyday Musicians in order to include health and wellbeing issues as well. Still, it is clear that the topic is not as well covered today as it was in the first period. The first project in the table has now ended (Hatfield), and NMH needs to find ways of continuing the promising work of Hatfield and colleagues. The interactive virtual reality lab gives students, teachers and researchers a unique opportunity to work on and investigate performance preparation through new VR technology. Furthermore, it is unclear what role CEMPE and NMH will play in the further establishment of the Healthy Conservatoire Network. NMH has however committed itself to arranging the Musicians Health and Performance Conference in 2021, which will gather medical expertise on musicians’ and performing artists’ health.

Digital learning and technology across the focus areas Digital learning and technology is a main or important theme in these projects:  Core Portfolio and Artistic Mentor  ePortfolio as a Tool for Learning  Instrumental Practice and Performance Preparation in an Interactive Sphere  LATIMPE

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 music higher 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.

2019 activities and outcomes:  Presentation of student-centred practices on LATIMPE.eu  Presentation of events on LATIMPE.eu  SMS project meeting in Riga  Working Group meeting in Lyon  Publication of the anthology Becoming Musicians, NMH Publications volume 19(7).  AEC Annual Congress and Assembly 14-16 November 2019 in Turin: o Digitising Learning and Performing Through Low Latency Techology: the SWING Project and the work of the SMS Learning & Teaching and Digitisation working groups. Presentations by Claudio Allocchio, GARR Network, Italy, Anna Maria Bordin, Conservatorio di Musica „“N. Paganini“ Genova, Italy, member of the SMS Working Group 5 on Learning and Teaching, and André Stärk, Hochschule für Musik Detmold, Germany, member of the SMS Working Group 6 on Digitisation o Diversifying Success - Brainstorming session by Susanne van Els (WG5) and Camilla Overgaard (WG3 and WG7) o Discourses on Academisation: How classical music performance teachers are thinking and talking about their professional duty with Eva Georgii-Hemming, Elin Angelo, Christian Rolle, members of the DAPHME research project DAPHME, moderated by Jon Helge Sætre, NMH Oslo, chair of the SMS Learning & Teaching WG  Pop and jazz platform 15-16 February, Trondheim, Norway o Presentation of the AEC-SMS Project "Strengthening Music in Society" by Stefan Gies, AEC CEO o WG 5: Platform for learning and teaching in music performance education (LATIMPE). Presentation by Jon Helge Sætre  ICON Lab weekend Cardiff, 1-3 Nov - Susanne van Els did a presentation of Diversity in Learning and Teaching and participated in Lab sessions on diversity  IRC-conference: Susanne van Els did a presentation and pre-conference workshop on Internationalisation of Curricula (European Opera Academy Strategic Partnership), monitoring on behalf of WG5  GRiNM network conference Zürich, 14-16 Nov. Keynote speech by Susanne van Els and Camilla Overgaard on Diversity in Learning and Teaching  Collaboration with the ERASUMS Strategic Partnership SWING project. LATIMPE carries out a research-based evaluation of the pedagogical aspects of LOLA-driven long- distance teaching and performance in music that is tested in the SWING project.

Innovation grant projects 2019-2020 Seven projects from sister institutions received innovation grants from CEMPE in 2019 (read more).

Project title People Inst. Project summary Sum

Sounding Daniel Peter UiB Initiate a research project combining the 49 000 NOK philosophy Biro, Ingrid fields of music, dance, visual arts, Geuens, Hagit philosophy and science

Yakira, Kjell Pahr-Iversen

Project-based Per Dahl UiS A study of the effect of a specific study 50 000 NOK music history scheme where music history and analysis and analysis are taught before lunch in certain project weeks and combined with linked performance projects after lunch. The aim is to stimulate to greater sense of proximity between theory and practice for music students. Music of the Simon UiB This project is interested in how to 49 400 NOK Body Gilbertson, Signe understand the body in its inseparability Bakke, Davide within aesthetic music expression. It will Bertolini, Åse explore how teachers and students can use Odland, Grete video-supported and physiology-informed Ege and insights in music performance educational students. practices. Ensemble Njål Ølnes NTNU The project will explore and implement 50 000 NOK project, NTNU different methods for teaching jazz ensemble, with basis in expanding and developing the ear. How you listen and where you direct your listening attention, decides what you hear. Concentration is given to hearing more and making explicit what one hears, to develop both instrumental skill and co-playing improvisation skills.

Musical theatre Johanne Karen NCMT Exploring and developing a common 50 000 NOK teaching Hagen & Anne platform for teaching musical theatre Cecilie Kvammen singing and dancing. Seminar on Unni Løvlid NMH A seminar discussing transcription of folk 48 000 NOK folk music music and its place in folk music transcription performance education. Folk music teachers in higher music education in Norway see this field as a potential for development and collaboration, strengthening the performance studies and the link between performance and research. Didactics for Endre Lindstøl NMH A practice project to prepare music 49 500 NOK mixed pedagogue students to organize and lead ensembles ensembles that are put together in untraditional ways, reflecting the relevant day-to-day reality that music pedagogues meet, needing competence to adapt, arrange and organize ensembles in new and innovative ways. Total 345 900 NOK

Student-led projects 2019-2020 Five student-led projects received funding from CEMPE in 2019 (read more).

People, Title Inst. Project information Funding Anna Berg: Ensemble NMH A collaborative project between composition, 30 000 NOK 3030 conducting and performance students. A student- driven meeting space, with aim to create a larger interest for and understanding of the field of contemporary music. Mike McCormick: NMH Laying the groundwork for the future of music 50 000 NOK Making Waves technology in Tbilisi Elin Kleppa UiA, UiS A student-initiated orchestra made to be an active 26 500 NOK Michalsen: Ensemble playing ground for chamber music and Sonore experimentation. An aim is to liberate from expectations and limitations and optimize the musical development of students. The ensemble have workshops on for instance breathing, and development of resonance. Anna Rødevand and NMH Initiating and arranging the Music Student Conference 100 000 NOK Siri Storheim: Ideas 2020, with the main theme questioning the idea of of Success success in Higher Music Education. Ulrika Magdalena NMH Two master students explore music therapy together 12 000 NOK Line & Tom Opheim with Norwegian war veterans, using music to start Granerud: Music processes on previous experiences. therapy for war veterans Total 218 500 NOK

Dissemination (seminars, conferences) The table below lists all seminars, conferences, talks and debates in 2019. Later, we present lists of presentations, publications and online dissemination.

Title Format Date Description Main instrument CEMPE Talks 4 Feb Main instrument teachers were in the panel, teachers, teacher! students and administrative staff were in the audience Possibilities, challenges and collaboration.

Inside - outside CEMPE Talks 6 May A panel consisting of the NMH principal, teachers, current students and alumni discussed mechanisms of inclusion and exclusion in higher music education (1) My artistic STUDENT 25 Feb STUDENT talks are a new forum started in 2019 for development Talks 7 March discussion between students at NMH, a place for (2) My dream 25 March criticizing and discussing topics concerning how to school become (or how to be?) a performing artist/composer (3) Society and at school and in society. The forum is for students and musicians the keynote speaker only.

Research forum for Seminar 20-21 This forum was arranged for the first time in 2019, folk music and March intended to bring young researchers concerned with dance folk music and dance in Norway together with the aim of building a network and initiating new collaborations. Student partner Guro U. Salvesen participated and presented CEMPE at the seminar. Healthy Seminar 25-26 19 teachers and researchers from 10 higher music Conservatoires’ March education institutions in Europe gathered to discuss Network various aspects of musicicans’health and well-being at the Norwegian Academy of Music. The Network also met later in Turin at the AEC Congress in November. What is success? Workshop at Aug Student partners Guoste and Guro held a workshop on the this topic together with Siri Storheim and Anna introduction Rødevand for all new students, leading discussion week for all groups. new students at NMH Think tank for Network 3 Sept A new network consisting of teachers at Music Higher

artistic research meeting education institutions (HEIs)s in Tromsø, Bergen, Trondheim, Copenhagen, Stockholm and NMH had its first meeting at NMH in September. The aim of the think tank is to exchange experiences, teaching resources and ideas, and discuss the potential of development in artistic research based performance education on bachelor and master levels. Folk Song Forum Seminar 11-13 Oct An annual forum for folk singers held at NMH. Around 30 participants from all around Norway participated. CEMPE contributes with honorariums and travel costs for lecturers.

Current Trends in Conference 26-27 The conference had two international keynote Music Theory Sept speakers and gathered around 40 teachers and Pedagogy - Nordic researchers from Norway, Sweden and Denmark. conference for music theory teachers and aural training teachers Connections: National 14-15 Nov CEMPE’s national seminar 2019 was hosted by the Seminar on musical CEMPE University of Stavanger. The main topic of the integration in art seminar conference was interaction and connection between and education (with UiS) musical disciplines. The seminar had 50 participants and included presentations by teachers as well as by students leading projects funded by CEMPE.

ACHIEVEMENTS AND IMPACT Achievements according to centre objectives The project and event overview above clearly demonstrates that CEMPE is working in a variety of ways towards reaching the objectives of the centre. The first four focus areas are in our view the most successful. Focus area one and two are providing important input on how to rethink the transition between study and music industry, both entrepreneurially and artistically. Two Ph.D. candidates and one postdoc are working on important contributions on these issues. Focus area three is also providing important input on rethinking the traditional master- apprentice model in music performance education, and focus area four are showing promising development towards more integration and coherence between theoretical and performance- oriented subject areas. In area five, one major project has come to an end (Hatfield), and the Healthy Conservatoire Network project is put on hold due to financial challenges at the NMH. CEMPE therefore needs to find ways of strengthening the activities in this area. Digital learning and technology is not covered as well as we anticipated in the Action Plan 2019-2023. Only four projects deal with such issues as a main topic. Still, we believe that the Core Portfolio Project is a major contribution to higher music education. Student involvement is important to CEMPE, in particular in the second period. Two students are hired members of the centre management, resulting in a substantial increase of student involvement through events and project participation. There are also student representatives in the steering group. In addition, CEMPE now yearly invites students to apply for funding for student-led projects. Five student projects received funding in 2019. In total, student engagement and student involvement is in our view one of the most successful outcomes of CEMPE at the moment. In sum, CEMPE are working on a range of projects within five defined focus areas. Together, these projects develop knowledge and experience that is important for the further development of higher music performance education. It is, however, important that CEMPE defines strategies that aim at synthesising and sharing the main knowledge and experiences of each focus area, and across areas.

Impact The CEMPE vision states that the centre aims to be a catalyst for knowledge development in higher music education. This means that CEMPE sees success not mainly as changing educational practices in a narrow sense. CEMPE defines success in a different way. CEMPE is successful when we present ideas and opportunities for the field to consider, and when we develop research and development-based knowledge within our focus areas. We are successful when we share and discuss important questions and possible solutions, when we give students and teachers in higher music education experience with participation in R&D projects and activities on educational topics, and when we stimulate local, national and international collaboration, development and reflection on learning and teaching issues.

On this background, a quantitative account of results related to knowledge development and dissemination (projects, participants, partner institutions, publications (in print and online) and presentations) is one measure of impact. The table below suggests that 2019 was a very active year, in this respect. The figures concerning social media (Facebook), however, tells us that CEMPE needs to put more effort into targeted online communication.

Key outcome figures 2019 Number CEMPE projects 26 Innovation grant projects (national institutions) 7 Student-led projects 5 Project participants in leading roles 70 + Partner institutions and organisations (Norway) 11 Partner institutions (international) 11

Events (seminars, conferences, talks) 12 Monographs/anthologies (published) 1 Peer-reviewed articles (published) 19 Conference presentations 15 cempe.no traffic (total views) 13277 Facebook (followers, compared to 2018) 366 ↑ 28% Facebook posts (average reach) 35 Facebook events (total reach) 20 000 Facebook events (average participants) 47

On the local level, CEMPE’s main impact, we suggest, is the involvement of a large number of participants in R&D projects, which contribute to create a culture for development, reflection and re-evaluation of teaching and learning practices. A constant challenge is to be relevant for and to find ways of including instrumental teachers in centre activities and projects. CEMPE works constantly to find the right approaches. Instrumental teachers may have small positions, and have demanding performance careers and requirements. Some part time teachers have no R&D time in their positions. In sum, this leaves many instrumental teachers with little time and capacity to be part of R&D projects focussing on educational matters. The fact that many instrumental teachers nevertheless have been or are involved in CEMPE despite of these challenges, is something of which CEMPE should be proud. It also signals that instrumental teachers are both willing and eager to rethink and reflect on educational questions and practices. CEMPE has also an impact on the local, institutional level. NMH has committed itself, in an agreement with the Ministry, to make efforts to implement results from CEMPE.

To get some input on the national impact of CEMPE, we asked the universities of Bergen and Agder about their opinions of the impact of CEMPE. According to the leadership at the Grieg Academy (University of Bergen) ‘CEMPE has contributed to the establishment of arenas for sharing of topics related to teaching’ (Report UiB, January 2020). Some of the projects that received innovation grants would not have been started without the financial support from CEMPE, according to the same report. There is an increased awareness towards learning and teaching at UiB, and the SFU scheme is one factor behind this, according to UiB. Other factors are the Excellent Teaching Practitioner scheme, stronger emphasis on educational competence in the higher education sector, and not the least increased demands from students concerning varied and student-active forms of learning and teaching (Report UiB, January 2020). In Agder, UiA and CEMPE have collaborated on two specific projects: 1) Development of a study course on concert production and entrepreneurship, and 2) A performance project focusing on Arabic music. According to UiA, both projects have led to increased awareness of educational issues at UiA, and have had an impact on revisions of local curricula (Report UiA, January 2020). In sum, there is reason to believe that the National Seminars and the Innovation Grant Scheme are important contributions that stimulate the national field of higher music education. Project collaboration also seems to lead to important development. On the international level, CEMPE plays a major role in the AEC SMS project, reaching the entire field of European higher music education. In the LATIMPE project, teacher collaboration and student involvement in education, two important SFU and CEMPE values, are at the core. CEMPE has also developed research and development projects in collaboration with international partners, such as Royal Northern College of Music (Manchester), Royal Conservatoire of Scotland (Glasgow), and Queensland University (Brisbane). However, CEMPE should strive to increase the number of collaborative, international R&D projects. At least, more NMH projects should have national or international collaborative partners.

PLANS 2020 In 2020, the CEMPE management will develop an Action Plan for 2020-2021, which will be based on the 2019-2023 Action Plan and the present annual report. Furthermore, we will start planning a strategy for summarizing the overall experience of CEMPE and for communicating the most valuable outcomes and lessons learnt as a SFU. Up til now, CEMPE has focused on disseminating experiences and knowledge from projects. The steering group and centre management acknowledge that there are valuable experiences on a more overarching level, and across projects, that needs to be summarised, investigated and shared. In 2020, we will therefore reduce the number of projects such as the ones presented in this annual report, and establish a set of teams consisting of teachers, researchers and students that will look into the five focus areas. These teams will produce a range of output, such as teaching resources, short practice descriptions, videos and interviews, and more.

Planned events 2020  Researchers’ colloquium, Glasgow, in collaboration with RCS, Glasgow and AEC. Main topic: Long-distance learning and teaching in music performance. January 2020.  ‘Friklassisk’ – seminar on improvisation for orchestral musicians. February 2020  LATIMPE Second Learning and Teaching Conference. Vienna 13-14 May 2020, in collaboration with AEC.  Five to six CEMPE Talks (see cempe.no)  Music student conference – 1 April 2020. Arranged by students at the NMH.  På tvers (Across) - Explorational practising - The CEMPE project “Across” consists of five meetings during spring 2020. They are open for students and teachers, with dialogue-jam and music making. Each event has a specific topic with one or more facilitators.  National seminar on artistic research-based education, Tromsø, in collaboration with UiT.

CEMPE will continue to fund student-led projects and external innovation projects. However, we may not be able to fund as many external innovation projects as previous years, due to budget cuts at NMH.

FINANCE The total 2019 CEMPE budget is 10 308 600 NOK, and the total expenditure is 8 642 253, which gives an under-consumption of 1 666 347 NOK. We have included overhead costs (40% of staff costs) in both budget and expenditure. The under-consumption is a result of several factors. First, 771 000 NOK is a result of reduced staff costs due to paternity leave (Ph.D. position) and because replacing an advisor took some time. In addition, CEMPE chose not to summon the international advisory committee in 2019, thereby saving the 100 000 NOK set aside to this meeting. The AEC/LATIMPE network is in practice functioning as ‘critical friends’ in the same way as the international advisory committee should do. The rest of the 1.66 million concerns a number of operating costs that have been postponed or project activities that have not been realised. For more details, see the documents submitted online through Espresso. We have experienced some trouble transforming the budget and expenditure into the categories that Diku asks for, so therefore some of the expenditure items are empty.

PRESENTATIONS AND PUBLICATIONS Presentations Berg, A. L. (2019). Ensemble 3030: Student-led project with a focus on knowledge production. Paper at Forbindelser [Connections], National CEMPE Seminar, University of Stavanger, Stavanger, Norway, 14-15 Nov 2019. Dahl, P. (2019). Blokkundervisning i musikkhistorie og verkanalyse. Paper at Forbindelser [Connections], National CEMPE Seminar, University of Stavanger, Stavanger, Norway, 14-15 Nov 2019. Gies, S. & Sætre, J. H. (2019). The AEC Strengthening Music in Society Project. AEC Pop and Jazz Platform Meeting, Trondheim, Oslo. February 2019. Gilbertson, S. and Yakira, H. (2019). A dialogical creative practice illustration: CO-constitution and inseparability. Invited paper at Forbindelser [Connections], National CEMPE Seminar, University of Stavanger, Stavanger, Norway, 14 Nov 2019. Hagen, J. & Kvammen, A.C (2019). How Approaches from Higher Education in The Field of Song and Dance can Contribute to Teaching the Arts in Primary Schools. Presentation at the conference «Art in Education – Building Partnerships with Artists, Schools, Young People and Communities» Oslo Metropolitan University, Norway, August 29th 2019. Hagen, J. & Kvammen, A.C (2019). To teach musical theatre. Is it possible to find a common didactical platform for teaching singing and dancing? Internal presentation at the Norwegian College of Musical Theatre, Norway, August 12th 2019. Johansen, G.G & MacGlone, U. (2019). Expanding the space for improvisation in Higher Music Education. Invited presentation at the symposium Creative learning processes in music: Pedagogies, or provocations? Volda University College, Norway Sept 19. -20th 2019. Johansen, G.G (2019). Research on instrumental practising in and across genres as a lense for looking at epistemic cultures in higher music education. Invited presentation at the symposium Research on higher music education, University of Piteå, Sweden, April 11th 2019. Kvammen, A.C & Hagen, J. (2019). Merging the Arts of Song and Dance. Musical Symposium, Bikuben, The Norwegian Theatre, Oslo, Norway, June 13th 2019 Løvlid, U. & Pedersen, G. (2019). Presentation of Interplaying Folk Songs. Paper at Forbindelser [Connections], National CEMPE Seminar, University of Stavanger, Stavanger, Norway, 14-15 Nov 2019. MacGlone, U. and Johansen, Guro Gravem (2019): Teacher´s conceptual tools in teaching free improvisation in Higher Music Education. Paper presentation at the Research In Music Education (RIME) Conference, Bath, UK, April 23.-26th 2019 Michalsen, E. K. (2019). Ensemble Sonore. Paper at Forbindelser [Connections], National CEMPE Seminar, University of Stavanger, Stavanger, Norway, 14-15 Nov 2019. Orning, T. (2019). Experiences from the other side: The assessment committee’s work. Presentation for Norwegian Artistic Research Programme, Jeløy Radio, Moss, Norway, February 6th 2019

Thoresen, L. (2019). Reflective listening. Paper at Forbindelser [Connections], National CEMPE Seminar, University of Stavanger, Stavanger, Norway, 14-15 Nov 2019. Ølnes, N. (2019). Auditiv sonologi: Ei gåve til utøvaren [Auditive sonology: A gift to the performer?]. Paper at Forbindelser [Connections], National CEMPE Seminar, University of Stavanger, Stavanger, Norway, 14-15 Nov 2019.

Peer-reviewed monographs and anthologies Gies, S. & Sætre, J. H. (eds) (2019). Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music.

Peer-reviewed articles Bordin, A. M. (2019). The Galata Electroacoustic Orchestra Project. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Brinck, L. & Anderskov, J. (2019). Becoming a researching artist: Situated perspectives on music conservatory learning and teaching. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Brøske, B.Å. & Lysne, G. (2019). Crossing the line: Collective improvisation and artistic ownership in The Norwegian Wind Ensemble. In G. G. Johansen, K. M. Holdhus, C. Larsson & U. MacGlone (eds.), Expanding the space for improvisation pedagogy in music: A transdisciplinary approach, 229-244. London: Routledge. Brøske, B. Å., Storsve, V. R., Sætre, J. H., Vinge, J. & Willumsen, A. (2019). Musicians for the intercultural society: Student involvement in international projects. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Carlsen, M. (2019). Maestro or Mentor? On cultural differences in performance education. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Folgerø, S. & Pedersen, G. (2019). Symphonies Reframed – investigation the artistic and educational potential of mid-sized chamber groups, Research Catalogue, Unfolding the Process, Darla Crispin (ed.). https://www.researchcatalogue.net/view/481294/481295 Gies, S. (2019). On the history of Music Higher Education in Europe. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Hahn. K. (2019). Inquiry into an unknown musical practice: An example of learning through project and investigation. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music.

Johansen, G. G., & Nielsen, S. G. (2019). The practising workshop - A development project. Frontiers in Psychology, DOI: 10.3389/fpsyg.2019.02695 Kruse-Weber, S. & Sari, T. (2019). Learning to reflect: Enhancing instrumental music education students’ practice through reflective journals. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Lorenzo de Reizábal, M. & Benito Gómez, M. (2019). Hetero-observation in the orchestral conducting classroom from the students’ perspective: Analysis of pre- and post- observational self-reports. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Løvlid, U. & Pedersen, G. (2019). Interplaying Folk Songs – giving first year bachelor students the floor. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Moberg, N. & Georgii-Hemming, E. (2019). Musicianship: Discursive constructions of autonomy and independence within music performance programmes. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Nerland, M. (2019). Beyond policy: Conceptualising student-centred learning environments in higher (music) education. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Nijs, L. (2019). Moving together while playing music: Promoting involvement through student- centred collaborative practices. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Orning, T. (2019). Professional identities in progress – developing personal artistic trajectories, In D. Crispin (Ed.), Unfolding the Process, NMH/NordART publication. Pasmans, I. & van de Werff, T. (2019). Music in the Making: An open and collaborative experiment at Conservatorium Maastricht. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. Sætre, J. H., Gies, S., Bordin, A. M., Brinck, L., Hahn, K., Storheim, S., van Els, S. & Stabell, E. M. (2019). The music performance student as researching artist? Perspectives on student- centredness in higher music education. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education, 15-27. NMH Publications 2019(7). Oslo: Norwegian Academy of Music. van Els, S. (2019). How (not) to teach. In S. Gies & J. H. Sætre (eds), Becoming musicans: Student involvement and teacher collaboration in higher music education. NMH Publications 2019(7). Oslo: Norwegian Academy of Music.

Articles in review 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, 19(#). Nielsen, S.G and Johansen, G.G. (forthcoming): The role of peers in supporting learning in music. In The Routledge Companion to Music Education, edited by Andrea Creech. London: Routledge. Zhukov, K. and Sætre, J. H. (2020). “Play with me”: Student perspectives on collaborative chamber music instruction. Research Studies in Music Education.

Web and magazine articles CEMPE Annual 2018-2019. Oslo: Norwegian Academy of Music. (English) (Norwegian) Online material: cempe.no.

Other networking activities Ensemble 3030. (2019) Concert – new music for sinfonietta. Majorstuen church, Oslo, Norway, Nov 1th 2019 Folgerø S. & Pedersen, G. (2019). Concert – Jubilant! with teachers and students from NMH, Oslo, Norway. Jan 23 th 2019 https://nmh.no/arrangementer/jubilant Folgerø, S. (2019). Presentation at Klaverdagene 2019 NMH, Oslo, Norway, 9 Feb 11th, 2019. https://nmh.no/arrangementer/klaverdagene-2019 Folgerø S. & Pedersen, G. (2019). Presentation of Symphonies Reframed for NMHs staff, NMH, Oslo, Norway April 24th 2019 Folgerø, S. (2019). Establishing new 5 credit elective Symphonies Reframed (SYMRE20) for bachelor- and master students at NMH. Elective description made by Sigstein Folgerø and Gjertrud Pedersen and first completed fall 2019. https://nmh.no/studenter/studiene/studiehandboker/startkull- 2019/emner/valgemner/kombinerte-utover-og-teoriemner/symre20-symphonies-reframed Folgerø, S. (2019). Concert at Kulturnatt 2019, Levinsalen NMH, Oslo, Norway Sept 13th 2019. https://nmh.no/arrangementer/aldri-stille--kulturnatt-pa-musikkhogskolen Løvlid, U. & Pedersen, G. (2019). Project Berio Folk Songs with students at NMH, Oslo, Norway. April 2019. Orning, T. (2019). Guest teacher at artistic bootcamp. Hogeschool der Kunsten, Den Haag, Netherlands, Sept 3- 9th 2019. Orning, T. (2019). Språket i musikken. Lecture performance with prof. Henrik Hellstenius, Norsk sakprosafestival, Kunstnernes Hus, Oslo, Norway Oct 12th 2019 Sætre, J. H. (2019). CEMPE: Et senter for fremragende utdanning i kunstfeltet [CEMPE: A centre for excellence in the field of art]. UHR Kunst, design og arkitektur. Oslo, Norway. Feb 2019. Sætre, J. H., Stabell, E. M. & Tamulynaite, G. (2019). Spredning og internasjonalt samarbeid i CEMPE [Dissemination and international collaboration in CEMPE]. SFU seminar. Bergen, Norway. March 2019.

Other Sounding Philosophy (Biró, UiB) https://www.youtube.com/watch?v=2yu5Tg4LagE&t=6s