HarMA+

Unterrichtspraktiken und pädagogische Innovationen an Musikhochschulen im europäischen Raum – Musiktheoretische Fächer.

Programm Erasmus – KA 203

Strategische Partnerschaften im Bereich der Hochschulbildung
Zusammenarbeit für Innovation und den Austausch bewährter Verfahren.
Projektzeitraum: September 2020 – August 2023
Projekt-ID: 20PS0002

HarMA+ ist eine strategische Partnerschaft, die durch das Erasmus+ Programm der Europäischen Kommission finanziert wird und sich mit der Frage des Transfers von Praktiken und Methoden zwischen höheren Musikbildungseinrichtungen, insbesondere für Musiktheoriekurse, beschäftigt. Das Projekt wurde ursprünglich von Salvatore Gioveni gegründet und wird vom Conservatoire royal de Bruxelles und den Projektpartnern koordiniert. Das Leipziger Projektteam bearbeitet hierbei vorrangig ein multilinguales Terminologie-Wörterbuch, welches auf der Webseite des Projekts online veröffentlicht wird.
In diesem Bereich gibt es in den einzelnen Ländern einen großen Reichtum an pädagogischen Praktiken, insbesondere im Bereich der Notation und der harmonischen musikalischen Analyse. Die Kunsthochschulen in Europa stehen jedoch vor dem Problem, dass es bislang kein europäisches Netzwerk gibt, das pädagogische Daten zur Musiktheorie zentralisiert. Um dieses Problem zu lösen, wird das Projekt unter anderem vier intellektuelle Produkte (IO) entwickeln und veröffentlichen, die im Folgenden beschrieben werden:

IO 1 – Entwicklung einer Online-Austauschplattform zu Harmonielehre und Musikanalyse
IO 2 – Entwicklung einer dynamischen EU-Bibliographie
IO 3 – Entwicklung eines Katalogs neuer Methodologien und Praktiken
IO 4 – Entwicklung eines mehrsprachigen Terminologie-Wörterbuchs in der Musiktheorie

HarMA+ erkennt die Notwendigkeit an, kollaborative Werkzeuge zu entwickeln, Wissen zu teilen und pädagogische Innovationen im sehr spezifischen Bereich der Musiktheorie in höheren Musikbildungseinrichtungen in ganz Europa zu transferieren, indem es auf eine pädagogische Annäherung hinarbeitet.

Das Projekt, das sich an die Gemeinschaft der Musiktheorieabteilungen (Institutionen, Lehrende, Studierende und Fachleute) in den Hochschulen für Musik und darstellende Kunst richtet, verfolgt folgende Ziele:

  • Sammeln, Analysieren, Teilen, Vergleichen und Übertragen der pädagogischen Praktiken der Musiktheoriekurse unter den Musikhochschulen in Europa;
  • Begegnungs- und Austauschräume für Lehrende dieser Disziplinen zu schaffen, um die Konfrontation der Praktiken und die Entwicklung gemeinsamer Werkzeuge zu fördern;
  • Schaffung einer Referenzplattform für den Musiktheorieunterricht;
  • Den Platz von Musiktheoriekursen in den Lehrplänen der verschiedenen betroffenen Hochschuleinrichtungen zu erhalten und zu entwickeln;
  • Musiktheoriekurse und ihre Curricula pflegen, entwickeln, modernisieren, aktualisieren und fördern;
  • Aufbau eines Netzwerks von Lehrkräften für Musiktheoriekurse;
  • Förderung und Stärkung der Verbindungen zwischen Hochschuleinrichtungen, Forschung und professionellen Musiker*innen im Bereich der Musiktheorie in Europa;
  • Förderung und Stärkung der Internationalisierung von höheren Musikbildungseinrichtungen.

Das Projekt soll vor allem auf nationaler und europäisch-internationaler Ebene eine breite Wirkung entfalten. Es soll Hochschuleinrichtungen die Möglichkeit bieten, sowohl Studierenden als auch Lehrkräften die Instrumente und Daten an die Hand zu geben, die sie für ihre pädagogische Entwicklung benötigen. Sie werden Ressourcen finden, die für ihre Kurse unerlässlich sind, neue Methoden und Kursinhalte, um die transversalen und interdisziplinären Kompetenzen des Lehrpersonals und der Studierenden zu stärken.

Die Ergebnisse des Projekts werden Ende 2023 in digitaler Form kostenlos zur Verfügung stehen und in die digitale Plattform – IO 1 – integriert, um ihre Sichtbarkeit und eine breite Nutzung durch Institutionen, die Kurse in Musiktheorie organisieren, zu gewährleisten.

Wir sind besonders stolz auf unsere fünf Projektpartner und das IT-Team, ohne die wir dieses europäische Projekt KA203 nicht verwirklichen könnten!

HarMA+ Information Flyer

Conservatoire royal de Bruxelles

The Conservatoire royal de Bruxelles originally opened in 1813 as a singing school under the Napoleonic Empire in Bruxelles, and was subsequently a Royal School of Music, founded in 1826 by William I of the Netherlands, and the school has officially existed in its present form since 1832. As an institution offering university-level education in music and theatre, the Conservatoire acquired its royal status, amongst other reasons, thanks to the international status of successive directors such as François-Joseph Fétis, François-Auguste Gevaert, Edgar Tinel or Joseph Jongen.

Initially founded to train students for the opera – very in vogue at the time – the singing school established in Brussels in 1813 offered classes in singing and music theory. Thanks to its considerable success, the school rapidly developed and added classes for other instruments, and in 1826, at the instigation of the government of the Netherlands, it became the Royal Music School. The 1830 revolution interrupted the work of the royal school, and the representatives of the City of Brussels were forced to temporarily close the school in 1831, but it reopened in 1832 under the name "Conservatoire royal de Musique de Bruxelles". The committee designated to administer the school named the Mons-born musicologist and teacher François-Joseph Fétis (1833-1871) as the first head of the new institution. He had been a pupil and then teacher and librarian at the Conservatoire de Paris, and his ambition was to raise the young Belgian Conservatoire to the same standing as that of Paris, in particular by putting together an eminent teaching faculty, and by developing an orchestra which would be made up of teachers and students at the Conservatoire and would be dedicated to rediscovering and performing early music. His successor, François-Auguste Gevaert (1871-1908), had a background as a musicologist and was a great organiser, and further increased the prestige of the Conservatoire: new courses and scholarships were introduced, the current building was constructed, and a musical instruments museum was founded. Under his leadership, the concerts of the Conservatoire were opened up to international and contemporary composers, and acquired an unequalled prestige. The third director, Edgar Tinel (1908-1912), gave a new impetus to the teaching of theory, and created the opera course, while Léon Du Bois (1912-1925), despite being head during the difficult years during and following the first world war, managed to maintain the high level of education and also established a course in music history. Joseph Jongen (1925-1939) was the head who moulded the course at the Conservatoire into the form that we recognised today. He was succeeded by his brother Léon Jongen (1939-1949) and then Marcel Poot (1949-1966). In 1966 the institution was divided into two language sections, each with it own director; Camille Schmit (1966-1973) for the francophone section, and Kamiel D'Hooge (1967-1994) for the Dutch-language section, leading to the duplication of the administrative departments alongside the theory and practical courses. Shortly afterwards, the two schools parted ways completely, each acquiring a separate, autonomous status within their own federal state. In 1988, a jazz department was established. In 2001, the Conservatoire Royal de Bruxelles adjusted its work in line with European standards to offer 'licence' degrees in two fields of music and acting. In 2003, the current director Frédéric de Roos took office. One year later, in line with the Bologna reforms, the Conservatoire Royal de Bruxelles started awarding Master degrees. This artistic education at the highest level is supported by being given in combination with a more general university-level education. Since 2009, the Conservatoire Royal de Bruxelles has been associated with La Cambre, the national school of visual arts, and l'INSAS, national institution of performing arts, and the three schools together form ARTes, the platform of the three arts colleges of the Federation Wallonia-Brussels, each of international standing and located in Brussels, which together offer access to courses of study in all artistic domains.

As an institution offering university-level education in music and theatre, the Conservatoire acquired its royal status, amongst other reasons, thanks to the international status of successive directors such as François-Joseph Fétis, François-Auguste Gevaert, Edgar Tinel or Joseph Jongen.

Liszt Ferenc Zeneművészeti Egyetem

The Liszt Ferenc Academy of Music in Budapest is the only music academy in the world founded by Franz Liszt.The renowned piano virtuoso, composer, conductor, teacher, author and philanthropist established the institution in 1875. As one of the world’s finest music academies, it offers a full spectrum of music education. The Academy incorporates the Liszt Memorial Museum and Research Centre, the Kodály Music Pedagogy Institute and the Kodály Museum and Archives. The Liszt Academy is also recognised as a world-class concert centre with its unique acoustics and exquisite interior.

Our impressive list of alumni bridges genres, continents and ages. Sir Georg Solti, Antal Doráti, György Sebők, János Starker, György Pauk, Zoltán Kocsis, Dezső Ránki, Péter Eötvös, Miklós Perényi and Éva Marton, amongst others, have had an immense impact on the development of classical music. Programmes are offered in English, leading to BA, MA, DLA and PhD degrees.  The Academy has 12 departments and 24 sub-departments  with approximately 170 professors, 800 students  along with a diverse international student community from over 40 countries ranked as the 30th best performing arts university in the world.  The university boasts with more than 100 Hungarian and international prizes won by students and professors each year. The Kodály Zoltán Musical Pedagogy Institute of the Liszt Academy of Music has been a distinguished international centre for advanced studies in Kodály based music education and music teacher training ever since its opening in Kecskemét in 1975.

The Institute provides graduate and post-graduate training programmes for both Hungarian and international students in the field of Hungarian music pedagogy and methodology based on the music pedagogical concept developed by the renowned Hungarian composer, educator and researcher Zoltán Kodály. Furthermore, The Concert Centre of the Liszt Academy was launched in 2013, on the occasion of the handover of the restored main building. It is dedicated to the organization of the Academy’s rich concert life through the staging of new productions and concerts enhancing the academic life of the university, as well as coordinating guest productions.

Since its reopening, the Liszt Academy has become a significant global concert venue for music old and new, Hungarian and international, hosting the finest soloists, orchestras and composers of our time.

The Liszt Ferenc Academy of Music in Budapest is the only music academy in the world founded by Franz Liszt.

Akademia Muzyczna im. Stanisława Moniuszki w Gdańsku

Stanisław Moniuszko Academy of Music in Gdańsk (aMuz) is one of nine higher music education institutions in Poland. It is situated in Gdańsk, an old Baltic port with wonderful architectural and natural monuments, and beautiful sandy beaches. The Tricity agglomeration, Gdańsk-Sopot-Gdynia, with over one million inhabitants, is a dynamic cultural hub that offers many artistic events: concerts, performances, and festivals, from early music, through jazz, to ultra-modern avant-garde. Ever since the establishment of the Academy in 1947 its students and alumni have played a significant role in Polish music life, and laurels won in celebrated competitions opened the door to international career for many. Artists educated in Gdańsk can be admired on stages worldwide: they perform in opera houses and musical theatres, they play in well-known symphonic orchestras, they perform as soloists and chamber musicians. Ewa Pobłocka, Katarzyna Popowa-Zydroń, Stefania Toczyska, Konstanty Andrzej Kulka, and Leszek Możdżer are among them. Recordings of ensembles and soloists representing the Academy of Music are regularly honoured with prestigious music awards. In 2014 a recording of Wojciech Kilar’s works (“Angelus”, “Exodus”, “Victoria”) was awarded the “Fryderyk” statuette by the Polish Phonographic Academy. Recordings of Andrzej Panufnik’s solo concerts, and “The Haunted Manor” opera by Stanisław Moniuszko were among others to receive rewarding nominations for the same prize. The before mentioned recordings were also nominated for the International Classical Music Awards (2016 and 2020). The Academy of Music in Gdańsk has built a wide network of international contacts and at the same it takes care to establish cooperation with more academic centres in Europe and the world. Currently aMuz is partnered with almost 100 schools from Erasmus+ Member Countries, including some of the most important centres of higher music education in Europe, such as: Universität für Musik und darstellende Kunst Wien (Austria), Universität für Musik und darstellende Kunst Graz (Austria), Staatlichen Hochschule für Musik und Darstellende Kunst Stuttgart (Germany), Royal Danish Academy of Music (Denmark), Guildhall School of Music and Drama (United Kingdom), Conservatoire royal de Bruxelle (Belgium). The Academy also cooperates with schools from outside the European Union, including The Rimsky-Korsakov St. Petersburg State Conservatory (Russia), University of Arts in Belgrade (Serbia), Tbilisi State Conservatoire (Georgia), and Jerusalem Academy of Music and Dance (Israel).

Ever since the establishment of the Academy in 1947 its students and alumni have played a significant role in Polish music life, and laurels won in celebrated competitions opened the door to international career for many !

Eesti Muusika- ja Teatriakadeemia

The Estonian Academy of Music and Theatre is a public university offering higher education in all major fields of the musical and dramatic arts at the undergraduate, graduate and postgraduate levels. Although with its approximately 550 students, of whom 28% are foreign, EAMT is the smallest among six Estonian public universities and university-level higher education institutions, internationally it can be compared to medium-sized music and theatre academies.

Founded in 1919, today the Estonian Academy of Music and Theatre is a world-class institution boasting an impressive roster of alumni including composers Erkki-Sven Tüür, Helena Tulve and the world's most performed living composer Arvo Pärt, pianists Ivari Ilja, Peep Lassmann and Kalle Randalu, as well as conductors Olari Elts, Tõnu Kaljuste, Anu Tali and Arvo Volmer. The vast majority of the actors performing in Estonian theatres are also alumni of our Drama School. Research into a multitude of subjects takes place under the musicology, education, pedagogy, and dramatic art departments.

Estonian Academy of Music and Theatre is a member of many international organisations and an active participant in educational programmes financed by the European Union and the Nordic Council of Ministers. The number of partner universities, including several leading European music and theatre universities, exceeds 140. Short-term master classes by visiting professors have become an integral part of the study programme.

EAMT participates as an organiser or partner in international intensive courses with a number of universities and continues to participate in specialist collaborative networks such as Association Européenne des Conservatoires, Academies de Musique et Musikhochschulen (AEC), Association of Nordic Music Academies (ANMA), European League of the Institutes of Arts (ELIA), European Arts Management Education Network (ENCATC), Arts Management Society (AIMAC), and International Association of Schools of Jazz (IASJ).

The Estonian Academy of Music and Theatre is a world-class institution boasting an impressive roster of alumni including composers Erkki-Sven Tüür, Helena Tulve and the world's most performed living composer Arvo Pärt, pianists Ivari Ilja, Peep Lassmann and Kalle Randalu, as well as conductors Olari Elts, Tõnu Kaljuste, Anu Tali and Arvo Volmer

AEC - Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen

Association Européenne des Conservatoires, Académies de Musique et Musikhochschulen (AEC) is a European cultural and educational network that represents institutions concerned with high-level training for the music profession. AEC was founded in 1953 and has nearly 300 member institutions in 57 countries. Since January 2013, AEC is recognised as an International Non-profit Association under Belgian law and operates out of offices in Brussels.

AEC is the leading voice for Higher Music Education in Europe, a powerful advocate for its member institutions from all across Europe and beyond. AEC sees professionally focused arts education as a quest for excellence in three areas: artistic practice; learning and teaching; research and innovation. It seeks to foster these elements and to encourage the diversity and dynamism with which they are pursued in different institutions, countries and regions. AEC understands and supports music and arts education, together with cultural participation, as central contributors to quality in human life, and inclusive societies founded on democratic values.

AEC works for the advancement of Higher Education in the performing arts, primarily focusing on music. It does this based on four pillars: * Pillar 1: Enhancing quality in Higher Music Education * Pillar 2: Promoting participation, inclusiveness and diversity * Pillar 3: Strengthening partnership and interaction with stakeholders * Pillar 4: Fostering the value of music and music education in society

AEC operates inclusively, sustainably, efficiently and effectively, enabling communication and sharing of good practices. It provides support, information and expert advice to its members (mainly through projects, communication and events organisation); by engaging in advocacy and partnership-building at European and international levels; and by implementing measures to raise understanding and enhance standards of Higher Music Education institutions across the European Higher Education Area and beyond.

Be a part of our european project !

This European project (KA 203 Strategic Partnership) created by Salvatore Gioveni promotes cross-border collaboration in the field of Music Theory through sharing knowledge and transferring pedagogical innovation. It thus responds to a lack of centralised source and framework to deepen reflection by means of cross-disciplinary study at European and international level.

There is a significant wealth of educational practices from one country to another in this sector, especially in terms of harmonic musical notation and analysis. However, HMEI's are facing the nonexistence of a European network for pedagogical staff in Music Theory so far. To improve the situation, the project will among other things develop several intellectual outputs such as Online Platform (IO 1), an EU Bibliography (IO 2), a Repository Courses (IO 3), a Multilingual Glossary (IO 4) and an Exchange Online Learning Platform.

Besides the Conservatoire royal de Bruxelles as leader and manager of the project, the following partner institutions are involved: Music Academy S. Moniuszki Gdańsk (Gdańsk, Poland), F. Liszt Academy of Music Budapest (Budapest, Hungary), Estonian Academy for Music and Theatre (Tallinn, Estonia), HfMTh "Felix Mendelssohn Bartholdy" (Leipzig, Germany).

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