HarMA+

Paysage européen des pratiques d’enseignement et d’innovation pédagogique dans les Établissements d’Enseignement Supérieurs des Arts en Europe –
Théorie musicale, écritures et analyse musicale

Programme Erasmus – KA 203

Partenariats stratégiques pour l’enseignement supérieur
Coopération pour l’innovation et l’échange de bonnes pratiques

ID Projet : 20PS0002

Ce projet, créé et coordoné par Salvatore Gioveni (Conservatoire royal de Bruxelles), favorise la collaboration transfrontalière et partenariale dans le domaine de la théorie musicale par le partage des connaissances et le transfert d’idées pédagogiques novatrices. Il répond ainsi à un manque de sources centralisées, de centre de données collaboratif et de cadre légal pour approfondir la réflexion à l’étude transversale des pratiques au niveau européen et international.

Il existe une grande richesse de pratiques pédagogiques d’un pays à l’autre dans ce domaine, notamment en matière de notation et d’analyse musicale harmonique. Cependant, les Écoles supérieures des Arts en Europe se heurtent à l’inexistence jusqu’à présent d’un réseau européen centralisant des données pédagogique en théorie musicale. Pour palier à ce problème, le projet développera et publiera, entre autres, quatre productions intellectuelles (IO) énoncées ci-dessous:

IO 1 – Une plateforme numérique européenne
IO 2 – Une bibliographie européenne
IO 3 – Un référentiel de descriptions de cours
IO 4 – Un glossaire multilingue de termes de base

Ce projet répond au besoin de développer des outils collaboratifs, de partager des connaissances et de transférer l’innovation pédagogique dans le domaine très spécifique de la théorie musicale dans les établissements d’enseignement supérieur musical de toute l’Europe en travaillant à un rapprochement pédagogique et collaboratif. Ces cours font souvent l’objet de réflexions pédagogiques mais il manque une source et un cadre centralisés pour soutenir cette réflexion par le biais d’études transversales au niveau européen et international. Une certaine adaptabilité pédagogique doit amener les enseignants à rouvrir leur perspective pédagogique et à enseigner à leurs étudiants en utilisant d’autres méthodologies ou du moins à les partager. Le projet entend aborder la question du transfert de pratiques et de méthodologies entre les établissements d’enseignement supérieur de la musique (EES), en particulier pour les cours de théorie musicale. En effet, il existe une richesse importante de pratiques pédagogiques d’un pays à l’autre dans ce secteur, notamment en termes de notation, de méthodes et d’analyse harmonique.

Néanmoins, afin de partager leurs méthodologies et leurs propres pratiques à travers une plateforme comparative, les EES-musique se heurtent à l’inexistence d’un réseau européen d’encadrement pédagogique dans les matières théoriques telles que l’harmonie, l’analyse musicale, la formation musicale, le eartraining, spécifiques aux réalités et pratiques des EES-musique. Il existe bien entendu des réseaux nationaux de théorie musicale, voire européen (EUROMAC, SBAM, …) ciblant probablement plus les musicologues et les chercheurs. Le projet HarMA+ se veut être une plateforme et un lieu unique de transfert de connaissance du contenu des cours de théorie musicale en ciblant plus particulièrement les non musicologues et les théoriciens de la musique qui ne sont pas forcément chercheurs.. Il était donc indispensable de créer un réseau européen laissant la place à ces pédagogues d’une grande qualité et qui excellent dans leur art, quel que soit la taille de leur établissement et leurs qualifications.

Ces EES ont cependant un besoin accru de développer leur internationalisation et donc de développer un réseau entre enseignants et étudiants afin de rechercher d’autres sources et pratiques, et actualiser le contenu de leurs propres cours ou encore, de développer de nouvelles matières de théorie musicale dans leur établissement.

Le projet, qui s’adresse à la communauté des départements de théorie musicale (institutions, enseignants, étudiants et professionnels) dans les EES, poursuivra les objectifs suivants:

  • Collecter, analyser, partager, comparer et transférer les pratiques pédagogiques des cours de théorie musicale parmi les EES en Europe;
  • Créer un espace de rencontre et d’échange pour les enseignants de ces disciplines afin de favoriser la confrontation des pratiques et le développement d’outils communs;
  • Créer une plateforme de référence pour les cours de théorie musicale;
  • Maintenir et développer la place des cours de formation musicale dans les cursus des différents établissements d’enseignement supérieur concernés;
  • Maintenir, développer, moderniser, actualiser et promouvoir les cours de théorie musicale et leurs cursus;
  • Développer un réseau de professeurs de cours théoriques dans les filières musicales;
  • Favoriser et renforcer les liens entre les établissements d’enseignement supérieur, la recherche et les musiciens professionnels dans le domaine de la théorie musicale en Europe;
  • Favoriser et renforcer l’internationalisation des établissements d’enseignement supérieur de la musique.

Notre partenariat vise à développer, dans le cadre de ce projet, plusieurs réalisations et activités intellectuelles afin d’atteindre des résultats conformes aux objectifs du projet. Nous prévoyons de travailler en particulier sur l’innovation dans le domaine de la théorie musicale pour:

  • Développer une plateforme d’échange en ligne sur l’harmonie et l’analyse musicale – IO 1;
  • Développer une bibliographie européenne dynamique – IO 2;
  • Développer un catalogue de nouvelles méthodologies et pratiques – IO 3;
  • Développer un dictionnaire terminologique multilingue en théorie musicale – IO 4;
  • Organiser une formation pour le personnel et un programme intensif pour les enseignants et les étudiants;
  • Organiser une conférence de diffusion et une conférence finale rassemblant au moins 200 participants provenant des HMEI d’Europe et d’ailleurs;
  • Favoriser le transfert de nouvelles méthodologies et pratiques dans les cours de théorie musicale;
  • Renforcer l’internationalisation de chaque institution participante;
  • Développer un réseau entre les enseignants pour rechercher d’autres sources et pratiques;
  • Mettre à jour le contenu de leurs propres cours ou développer de nouvelles matières de théorie musicale dans leur institution.

Le projet a l’intention d’avoir un large impact principalement au niveau national et européen – international. il permettre de donner aux EES, tant pour les étudiants que les enseignants, les outils et données nécessaires à leur épanouissement pédagogique. Ils trouveront ainsi des ressources indispensables à leurs cours, de nouvelles méthodologies et des contenus de cours pour renforcer les compétences transversales et interdisciplinaires du personnel enseignant et étudiant.

Les résultats du projet seront disponibles gratuitement fin 2023 dans un format numérique, et intégrés dans la plateforme numérique – IO 1 –  afin d’assurer leur visibilité et une large exploitation de ceux-ci par les institutions organisant des cours de théorie musicale.

Nous sommes particulièrement fiers de nos 5 partenaires du projet et de l’équipe informatique sans qui nous ne pourrions pas concrétiser ce projet européen KA203 !

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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