TEXT WRITTEN BY THE AEC FOR THE PUBLIC CONSULTATION ON THE EUROPEAN UNION EDUCATION, TRAINING AND YOUTH PROGRAMMES AFTER 2006.

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1 TEXT WRITTEN BY THE AEC FOR THE PUBLIC CONSULTATION ON THE EUROPEAN UNION EDUCATION, TRAINING AND YOUTH PROGRAMMES AFTER Which of the types of action supported by our current programmes will still be appropriate for the period beyond 2006? Which - if any- new ones should be added? Which - if any- should be dropped? The AEC is an association of almost 200 institutions for professional music training in all European countries. Its aims are to promote the collaboration between member institutions and to represent the interests of the professional music training sector. These aims are achieved by various activities, such as an Annual Congress, an annual meeting of SOCRATES coordinators in the field of music, various regular publications and EU funded projects with specific themes. One of the AEC s recent activities has been a survey on the use of European programmes by the AEC member institutions. Through this survey, which had an unusually high response rate, several trends have become visible (a more detailed analysis is currently being made): Although several excellent music projects have been realised in the framework of SOCRATES, including a growing number of institutions participating in the exchange of students and teachers, these activities are usually initiated by a small group of active institutions. Virtually all conservatoires have international contacts, but often these contacts are not structured and do not make use of the possibilities in the European programmes. Some examples: in Spain only 3 out of 24 eligible conservatoires were active in the ERASMUS programme in 2001/2002, in France 2 out of 36 eligible conservatoires, in Italy 10 out of 57, in the Netherlands 5 out of 11, in Germany 14 out of 24, in Hungary 2 out of 6, while in Greece, Luxembourg and the French part of Belgium none of the conservatoires can participate in ERASMUS because of problems of eligibility. In many institutions with an ERASMUS Institutional Contract, there seems to be a serious difference between the number of student and teacher mobility grants applied for and those actually realised. There is a low number of ERASMUS Intensive Programmes and Curriculum Development Projects in the field of music. The same applies to COMENIUS and SOCRATES Observation & Analysis, while no music projects in GRUNDTVIG or MINERVA have been identified. Obviously, many institutions still have not found their way to the European programmes. This may be due to the following reasons: Lack of information or awareness of the benefits that participation in these programmes can bring. The individual character of music education, in which one-to-one teaching is still the most effective method of training, implying an unusually strong connection between teacher and student. This makes exchanges in professional music training a more complicated matter in terms of practical arrangements. The specific artistic and educational intensity of the studentteacher relationship is one of many educational practices that distinguish music from all other disciplines; it is therefore crucial for the music institutions to address such issues in terms of music itself. Problems of eligibility for participation in SOCRATES of institutions for professional music training in several European countries seem to complicate this situation even further. Some small institutions find it difficult to find administrative staff to deal with the practical organisation of the European programmes. Based on these facts the following proposals regarding future actions can be made, relative to the professional music training sector: 1. Mobility seems to be the strongest component of the European activities in the field of professional music training. However, a certain inflexibility of the rules for mobility activities seems to create problems for institutions in music, especially in relation to the minimum length of mobility periods. - In relation to student mobility, study periods for student mobility with the minimum duration of three months of study periods can pose problems for both teachers and students, due to the highly individual character of training. It would therefore be helpful, if the European programmes would also have the possibility to send students (or small groups of students) to another European country for shorter mobility periods, for example 5 days - 2 weeks. In a way, this activity could be seen as a short Intensive Programme, but not necessarily with more than two partner institutions and for a shorter period of time. Such an action would undoubtedly increase the number of students with a European learning experience. - Regarding the mobility of teachers, the flexibility in relation to the minimum duration has been increased by adding a minimum of eight teaching hours to the original minimum duration of one week. It is vital that this flexibility is maintained: teachers in professional music training institutions work usually only part time and will therefore, due to many other professional obligations as performing musicians, often not be able to visit a host institution for more than two to three AEC

2 days. Still, within this short period, it is normal practice for music teachers to teach a high number of hours per day, which means the minimum of eight hours will easily be realised. It is also our opinion that institutions should be encouraged to see teacher mobility not only as "sending a teacher abroad", but also as a unique opportunity for continuing professional development for teaching staff, especially for young teachers and/or teaching assistants, who will experience the period abroad as an effective way to update existing and gain new skills. - Many institutions indicate that the main obstacle to both student and teacher mobility are the extremely low mobility grants. It is important to understand that in some countries institutions do not have the financial capacity to add own funding to the EU mobility grants. The AEC would especially draw the attention to the position of small institutions (these can be both independent institutions or faculties/departments of larger educational conglomerates) with limited resources in terms of finances and personnel. It would be therefore advisable to take the specific situation of small institutions into account in the selection procedures and allocation of mobility grants. Not only students are hesitant to start a study period abroad with the current low level of financial support, but for teachers it can be problematic as well: again, this is connected to the individual character of professional music training, in which teachers usually have parttime contracts and are paid by the hour. As no teaching fees can be funded through the mobility grants, often teachers have to realise the visit abroad in their free time, which is not something many musicians can afford to do. Whenever teachers do ask for fees, only the larger and richer institutions are in the position to solve this problem. Some flexibility on how the mobility grants can be spent would therefore be advisable to address this issue. 2. As the Bologna process is gaining speed, it is becoming clear that measures have to be taken beyond simple mobility activities. As the mobility outside EU programmes in the field of professional music training is traditionally high (mainly mobility of students following a full degree course abroad), more attention should be given to joint curriculum development, the use of ECTS, the development of a joint quality assurance approach and measures for the recognition of diplomas and study periods. For a sector where the use of ECTS is still limited, joint curriculum development is practically non-existent and problems with the recognition of diplomas in study periods occur frequently, the EU should make funding available to specific sectors to deal with these problems. One way to address this could be to strengthen the Thematic Network component of SOCRATES or to give financial support to sectorial European associations willing to develop solutions for these issues. 3. One EU action that has been seen as the major disappointment for the sector, are the so-called "Joint Actions". These "Joint Actions have been aiming at connecting SOCRATES, LEONARDO and YOUTH, but have failed to include a cultural component. Unfortunately no follow-up has been developed of the highly successful CONNECT Initiative, which was meant for projects connecting education and culture. The connection between education and culture (symbolised by the DG for Education and Culture) is a natural one, as it has been demonstrated that the arts provide a unique form of learning that enhances life skills and builds confidence in diverse communities and situations. We are therefore strongly in favour of implementing a strong cultural component in all European educational programmes. This also corresponds with article of the EU treaty, which states The Community shall take culture into account in its actions under other provisions of this Treaty ( ). 2. How can our programmes more efficiently complement action at national, regional and local levels (e.g. mobility grants)? The complementarity to national, regional and local action levels can be ensured by a strong focus on multilateral co-operation projects (possibly by increasing the minimum number of participating countries) and sufficient support to sectorial "vertical" Thematic Network actions on European level, giving subject areas the possibility to develop initiatives across all levels of education and training (see question C.1). 3. How can our programmes better encourage innovation and its transfer into mainstream activity? The programmes can encourage innovation and a stronger connection to mainstream activity by: 1. Promoting multilateral partnerships with partners from various backgrounds (educational institutions, professional organisations, research institutes, social partners, etc.) 2. Supporting projects with well-developed dissemination strategies. Although dissemination activities should always be an integral part of any EU funded project, the Commission could consider supporting "top-level" projects as "showcases of European collaboration" for additional dissemination actions. 3. Giving more attention in the new programmes to initiatives regarding the content and quality of teaching, not just mobility. AEC

3 4. What sorts of programme action will best support the adaptation of our education, training and youth systems to meet the common policy challenges facing European countries in the coming years? In order to be able to face the future common policy challenges, it is important that institutions are able to discuss and respond to these challenges within their own sector, but also in the larger context of higher education. Platforms need to be supported on European level therefore, which would give institutions the possibility to discuss these challenges in "vertical" and "horizontal" ways. This could be done by strengthening the Thematic Network component or by supporting active sectorial European associations. 5. What types of action in education, training and youth are most relevant for co-operation with "third countries"? Music is such a highly international subject area, that any division of actions into "EU-specific" and "collaboration with third countries" seems to be unnatural to the dynamic international reality of the sector. We are therefore strongly in favour to increase possibilities for the inclusion of third countries in EU programmes. However, the following remarks could be made: A distinction could be made between "third countries in Europe" and "third countries outside Europe". As some "European third countries" (the Balkans and former Soviet Union states) have educational and musical cultures, which are closely connected to the overall European cultural heritage, these regions should therefore never be excluded from participation in EU programmes and should receive greater attention. A distinction could also be made between "simple" mobility programmes, which play a role in the creation of mutual understanding cultural diversity, and programmes that are targeting development of educational programmes and policies, which would enable the EU to operate better in a highly competitive globalized sector of education. The latter kind of programmes would be restricted to European (including "European third countries") participation, thus symbolising the unity of the European continent in the rapidly developing trend of globalisation. A greater attention to projects with cultural components would be advisable. Culture in general and music in particular are perfect vehicles for cross-cultural understanding and multi-cultural development. Exclusion of cultural subject areas, as has been the case in TEMPUS and some of the other cooperation programmes with third countries, should be avoided at all times. 6. SOCRATES and LEONARDO essentially reflect the needs of Europe's own citizens; but TEMPUS (and other Community activities) use education to build relation between the EU and third countries, even as a tool for development aid. Do we currently have to balance right between these two types of action? Should the EU promote more links between its own education and training institutions and the rest of the world, or should it concentrate on intra-european links? See answer to question Should we retain separate programmes broadly targeting (1) EU, EEA and Candidate countries, and (2) the rest of the world? Or should third countries be included in the main education, training and youth programmes? If so, how? See answer to question 5. AEC

4 8. Up to now we have had separate programmes for education, training and youth work. Is it better to keep these separate programmes, which can reflect the specificity of the areas they deal with; or would it be better to have fewer programmes covering the whole lifelong learning process, within which education, training and youth would each find its place? Usually both professional and non-professional musicians are active in music education for all their lives. In order to be able to learn a musical instrument, it is often necessary to start at very early age because of the various musical, physical, psychological and intellectual dimensions of music education. It is highly unusual for a professional musician to start studying music seriously after the age of 18. Being a musician (both professional and non- professional) therefore seems to be the perfect example of a truly lifelong learning situation, starting to learn at a very early age and continuing up to or well after retirement. Despite this fact, professional music training is organised differently in the various European countries: sometimes professional music training is organised in national systems for education (university level music academies), sometimes in national systems for training (non-university higher education institutions). Based on this situation, from the perspective of the professional music training sector it is not necessary to create divisions between education and training or between the various levels of education, as is the case in the current EU programmes. Especially the possibility to implement activities on European level across the various levels in education would be seen as a major improvement in the flexible use of the European programmes. 9. What could be the most effective mode of organisation for future programmes? By type of organisation? By type of activity? By groups of potential beneficiaries? To reach maximum flexibility in relation to collaboration and participation, it would be easier to organise future programmes according to activity. Other modes of organisation (type of organisation, groups of potential beneficiaries) might lead to problems with accessibility of organisations from various levels of education and from the professional world. The types of activities could be organised as follows: 1. Physical mobility schemes, with the possibility to exchange students, teachers and managerial staff across all levels of education, training and the profession. 2. Multilateral projects: - Intensive Programmes, but without limitations regarding the participation of institutions with various backgrounds and levels. - Joint curriculum development, but without limitations regarding the participation of institutions with various backgrounds. - Innovative research/pilot projects to improve the European dimension ( Bologna issues!) and the quality of education and training. - Thematic Networks, offering specific subject areas a platform for discussion and development. 3. Thematic programmes: short term programmes for multinational projects with specific themes, connected to important policy issues developed by the European Union. Examples could be elearning, lifelong learning, the connection between education and culture, joint European masters, etc. 10. Some of the existing programme actions, such as individual mobility grants, are managed decentrally via the National Agencies in the participating countries. Other actions, such as large multinational projects, are managed centrally by the European Commission with the help of its Technical Assistance Office. What are the advantages and disadvantages of these two approaches? Can they be improved? According to feedback the AEC has received from its member institutions, it seems that the opinions of most institutions about the decentralised management of the mobility grants by the National Agencies are mixed. Some institutions report that National Agencies can be easily approachable for information and assistance, having developed an efficient tool for the management of the grants, while others report that the NAs have not lowered or, in some cases, even have increased the bureaucratic workload, including delays in payments. The following remarks can be made: The National Agencies should give greater attention to the setting of deadlines. Deadlines for reporting to the National Agencies should not coincide with the deadlines set by the European Commission in Brussels to avoid unequally divided workloads. European multilateral projects should remain the responsibility of the European Commission in Brussels. Obviously many managerial aspects of these multinational projects could be improved, especially in relation to the financial management (see question 13). AEC

5 In relation to the application procedures for some of the multinational projects, closer attention should be given to the procedures with pre-proposals. An example of good practise could be taken from the procedure with pre-proposals in the LEONARDO programme, although it must be said that the LEONARDO pre-proposal itself already constitutes a sizeable amount of work. However, in this procedure the pre-proposal is judged on national level, whereas the full proposals are judged in Brussels with a high level of probability for approval. The same procedure application could be applied to projects in other components of future EU programmes. It appears that the opinion of the National Agencies regarding preproposals in the MINERVA and GRUNDTVIG were hardly taken into account in the Brussels phase of the procedure in the past, which is an unfortunate situation. Differences in the amounts of the mobility grants used by the various National Agencies for the same destination should be avoided. An exception could be made for the poorer countries of the EU and the pre-accession countries, but there is no reason for a student from the UK to have a substantially higher mobility grant then a French one for the same destination in Austria. Some co-ordination in this matter seems to be necessary. 11. Are any potential participants in the program excluded because of the way it is designed or run? Are all the main stakeholders in education, training and youth suitably involved in the programmes (on European, National, regional and local levels)? What are the barriers that keep out those who currently do not take part or are under represented, such as SMEs and the social partners, and how can they be lifted? The exclusion of certain potential participants in the future programmes can be avoided by: Developing a flexible framework as described in question 8. For the establishment of a programme without borders between education and training or between the various levels in education, a maximum accessibility for organisations with various backgrounds will be insured. Avoiding the exclusion of certain subject areas in certain programmes. The exclusion of culture as an eligible subject area in TEMPUS, some of the other programmes with third countries and the Joint Actions serve as an example of bad practise related to these issue. 12. How to build sufficient flexibility into the programme design and the definition of its component actions to permit it to respond to the common policy challenges facing European countries in the common years? See answer the question What have been the best and the worst features of the existing programmes? What elements would you like to see reinforced, what introduced, and what dropped? How can the program be made more user friendly? If you have not taken part in our programmes so far, why not? In relation to the management of the programmes, the following issues will have to be addressed: The assessment of project proposals should take less time and should be more transparent with regards to reasons of approval or rejection. A greater flexibility in financial procedures: no endless delays of payment of grants, no strict rules regarding original signatures on bank identification forms, no absurd rules for financial control. The introduction of the TCP forms in the application procedure for the ERASMUS Intensive Programmes means a serious obstacle for the development of applications. ERASMUS Intensive Programmes are among the most dynamic components of SOCRATES in the professional music training sector. A decrease of applicants (and therefore projects) due to the considerably higher workload of the application procedure is to be expected. Greater attention to the position of small subject areas and institutions with special needs and characteristics. AEC Office 25/2/2003 AEC

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