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Eva Georgii-Hemming (corresponding author, Örebro University); Elin Angelo (Norwegian University of Science and Technology); Stefan Gies (Dresden University of Music); Karin Johansson (Lund University); Christian Rolle (University of Cologne); Øivind Varkøy (Norwegian Academy of Music); Nadia Moberg (Örebro University); Diana Versaci (University of Cologne).

eva.georgii-hemming@oru.se

Senior research paper without commentator

Through analysis of semi-structured in-depth interviews, this paper examines agreeing and contrasting

perspectives of performing musicians’ expertise and mandate in society within higher music education across Sweden, Norway and Germany. The paper is drawing on data from the comprehensive project DAPHME (2016–2020), with the overall purpose to investigate how processes of academization and the changing conditions for the classical music profession affect HME (Georgii-Hemming, Angelo, Gies, Johansson, Rolle, and Varkøy 2017).

For this study, 30 institutional leaders and teachers were recruited from ten schools of music in Sweden, Norway and Germany that offer bachelor and master programmes in classical music performance. All participants had substantial knowledge, long-term experience of and engagement with educational, curricular and institutional work.

The basis for our analyses was the results of national sub-studies, supplemented with extensive amounts of quotes in original language as well as in English. For this in-depth investigation we sought to identify patterns and contradictions by the aid of the analytical categories common sense, exclusions, and intertextuality (Fairclough 2003; Wodak and Meyer 2016).

Teachers and leaders in our study share the view that having profound musical craft skills and ‘knowing the tradition’ is essential for future musicians. In order to survive, musicians also need to have the ‘capacity to do a lot of things’. The time of ‘only’ playing an instrument ‘is over’, and in the data there is emphasis on today’s classical musicians’ ability to communicate their reasoning verbally and in writing. There are however reservations made, expressing a position of resistance and a will to carry forward artistic, performing practice. A finding from the Swedish sub-study, for example, was that the concept of ‘reflection’ is negotiated. Although reflection first and foremost are viewed as language use and verbal processes, it is also articulated as embodied or even ‘purely’ musical.

In order to have a successful career it is strongly desirable to become ‘a unique musician’. This is basically a common and shared understanding in our study. However, there are contradictory patterns with regard to the connotations of ‘a unique musician’, which indicate issues concerning adaptation and social mandate in the context of musical tradition and marketization.

The needed competences are articulated as a basis for being a professional musician in an ‘entrepreneurial world’ where you must ‘sell yourself’. An adaption to a changing market and the education of ‘lifelong learners’ is both desirable and undesirable. Moreover, our comparative analyses display noteworthy differences and negotiations connected to ‘the autonomy of art’. In Germany the notion of musicians as artists, who by definition act free from market pressures, is very much alive and our findings show how a concept of authentic musicians is employed as counter term and at the same time changes its meaning. The authentic musician is supposed to resist but absorbs characteristics of the entrepreneur.

The Swedish sub-study emphasizes the need for personal reflection and development but is almost exclusively linked to entrepreneurship and individual artistry. The same applies to the Norwegian sub-study, but additionally supported with the concepts of social mandate and bildung.

Visions and views on the fundamental reasons for educating professional musicians today are more or less excluded. That is, the role of musicians, their mandate in society and ability to contribute to social and ethical aspects of art remains to be developed.

Moreover, it is noteworthy how research is discussed or whether it is not addressed at all. In the Swedish and, to some extent, the Norwegian interviews artistic research is justified by its potential to develop a common professional field of knowledge. The contributions to a research-based education is however not equally visible. In Germany, most

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interviewees had no idea what artistic research might be. There seems to be no need to think about musicians´ artistic practice in terms of research, perhaps because German higher music education institutions are independent from universities. Rather than research, ´bildung´ is considered as a basis from which professional musicianship develops.

References

Fairclough, Norman (2003). Analysing discourse: textual analysis for social research. New York: Routledge.

Georgii-Hemming, Eva; Angelo, Elin; Gies, Stefan; Johansson, Karin; Rolle, Christian, and Varkøy, Øivind (2016). Artist or researcher? Tradition or

innovation? Challenges for performing musician and arts education in Europe. Nordic Research in Music Education Yearbook, Vol. 17 (5), 279–292.

References

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