Musicians as “Makers in Society”: A Conceptual Foundation for Contemporary Professional Higher Music Education

Abstract

This paper considers the purpose, values and principles underpinning higher music education (HME) as one of the performing arts in a context of turbulent global change. Recognising complex challenges and opportunities in this field, HME is addressed from dual perspectives: educating the next generations of professional musicians, and higher music institutions’ (HMEIs) engagement in society. The paper has a particular focus on the sector within HME that is dedicated to intensive practical craft training for performers, composers, programmers, producers, managers, and teachers. We argue that there is an urgent need for fresh orientating frameworks through which to navigate HME’s development. We examine concepts such as artistic citizenship, social responsibility and civic mission increasingly perceived to be relevant to the sector, and we explore their connexions to concepts of artistic excellence, imagination and creativity, and musical heritage. We identify apparent dichotomies of value within contemporary HME, including between intrinsic and instrumental purpose in the arts, cultural heritage, and new work, artistic imagination and entrepreneurship, and we argue that creative tensions between what have hitherto easily been perceived as opposing concepts or competing priorities need to be embraced. To support our argument we draw on the particular ethnomusicological concept of “musicking,” and we look toward a partnering of artistic and social values in order to enable HME to respond dynamically to societal need, and to continue to engage with the depth and integrity of established musical traditions and their craft. Based on this discussion we propose a conceptual foundation: the “musician as a maker in society,” in which developing vision as a musician in society, underpinned on the one hand by immersion in musical artistry and on the other hand sustained practical experience of connecting and engaging with communities, offers invaluable preparation for and transition into professional life. We propose that this idea, connecting societal and artistic vision and practise, is equally essential for HMEIs as it is for musicians, and sits at the heart of the roles they evolve within their local communities and wider society.

Between innovation and tradition: The balancing act of the ‘protean’ music student

“…For instance, all institutional members must adhere to the same overarching disciplinary practices of their organisation (e.g. opening hours, reports, resources), as well as consider broader societal changes such as issues of employability (Allsup, 2015;Bartleet et al, 2019;Bennett, 2012Bennett, , 2008Georgii-Hemming et al, 2020;Reid et al, 2019;Rowley et al, 2015;Toscher & Bjørnø, 2019) and social inequities (Gaunt et al, 2021;Burnard, 2019;Minors et al, 2017). Yet, as found in other studies on higher music education (e.g.…”

“…Institutional change occurs whenever the 'enduring patterns of institutional change in the organisations. Other stakeholders or funds may also affect institutional change, as evidenced in the support given to AEC by the Creative Europe programme (see Gaunt et al, 2021). In short, new practices are in demand and may be financially rewarding for HME organisations if they align with funding requirements or increase the revenue of the organisation otherwise (e.g.…”

“…Gaunt et al, 2012;Johansson, 2012;Jørgensen, 2000;Nerland, 2007;Tuovinen, 2018;Yau, 2019) and the mandates and social responsibilities of higher music education have been renegotiated (e.g. Allsup, 2015;Angelo et al, 2019;Carruthers, 2019;Gaunt et al, 2021;Minors et al, 2017). If we understand higher music education to be 'the result of institutional practices in which some musicians have authority over others' (Frith, 2011, p. 67), then institutional change will inevitably transform its social order.…”

“…Allsup, 2015;Angelo et al, 2019;Moore, 2016;Toscher & Bjørnø, 2019), Dutch music students have been found to embrace a 'holistic approach' to career development, indicating that 'entrepreneurship and creative values are not necessarily conflicting' (Schediwy et al, 2018, p. 624). This suggestion is also reflected in the potential for today's students to be(come) 'change agents' in (O'Neill, 2019) and 'makers' of society through social innovation (Gaunt et al, 2021). Indeed, higher music education may already be transforming due to the joint scholarly insistence that radical change is necessary, yet there seems to be a lack of critical discussion concerning how to innovate higher music education.…”

Understanding the musical identity and career thinking of postgraduate classical music performance students

“…Ironically, many student musicians focus exclusively on the development of performance skills, and even those students who understand the importance of acquiring broader professional capabilities can be unaware of how to address these needs (e.g., López-Íñiguez & Bennett, 2021;Rowley et al, 2021). Embedding professional capabilities within the curriculum could enable more graduate musicians to both engage in meaningful work as rounded professionals and embrace the social and moral turn that is required for a musician to become a maker in/ for/of society (in line with Gaunt et al, 2021). At the root of student engagement in such a curriculum is the development of a broad musical identity and an openness to exploring the opportunities for graduate careers.…”