From 1-3 November I attended the conference The Protean Musician: the musician in future society in Oslo, a joint initiative of the four research centres of the Norwegian Academy of Music (NMH):

• The Arne Nordheim Centre for Artistic Research in Music (NordART)
• The Centre for Research in Music and Health (CREMAH)
• The Centre for Educational Research in Music (CERM)
• The Centre of Excellence in Music Performance Education (CEMPE)

Were the ICON seminar in October aimed at the questions how we as artists and educators are relating in and to society, did the ”protean conference” focus on the institutions, education and students, the upcoming music professionals in the society of the future. This provided me with a new perspective for my own work on the subject of artists in the society of the 21st Century. Tradition and hierarchy were some of the most intensely discussed aspects of contemporary teaching. For this post, I chose just to write about four of the many presentations: the opening by Darla Crispin, the two keynote lectures of Geir Johanssen and Dawn Bennett, and a brief closure about my own presentation. Besides these examples, there were numerous other inspiring contributions from a large variety of backgrounds, including heartwarming projects such as Cheryl Dileo’s work with musicians and music therapists, working together to enhance quality of life in homeless persons in Philadelphia.

Opening by Darla Crispin

In the opening session, Darla Crispin, Head of the Arne Nordheim Centre for Artistic Research in Music, gave a warm welcome to the community of practitioners, students, educators, music therapists, artistic researchers, musicologists and leaders, starting off three days of intensive exchange and discussion. It became immediately clear that participants from a great diversity of disciplines were brought together in this conference through the common theme of the musician in future society, and that this subject is of enormous importance in all of these disciplines.

Crispin introduced the conference theme via the route of Greek mythology and the sea-god Proteus. He could foretell the future, but would change his shape to avoid having to. This attribute of being a shape-changer led to key features of the protean, such as being versatile, flexible and adaptable to change. What Darla offered as being particularly useful for us as musicians and educators in this moment of history, is that the protean also means thinking ahead of the changes, and that we are not here to stand aside: ”We are willing to risk, to participate.” She closed her introductory speech by referring back to its beginning and the interdisciplinary community of the conference: We are aiming “to be better through a shared understanding – the world needs it.”

Geir Johanssen on the conservatoire and the society

In the first keynote, professor of music education Geir Johanssen mapped the terrain of the conference theme by elaborating on the conservatoire and the society. In his keynote speech, Johannsen made four main arguments. He suggested that

1. conservatoires contribute in shaping society,
2. solely focusing on “delivery” what is “ordered” limits our self-understanding,
3. conservatoires should separate between their social intentions and functions,
4. conservatoires should separate between their social assignment, contributions and responsibility.

Especially the notion of “‘delivering’ what is ‘ordered'” was striking, as it is in a constant tension with what the richness of our self-understanding might be. Johanssen suggests that “a conservatoire is not about results in the next quarter; it is not even about who a student has become by graduation. It is about learning that molds a lifetime, learning that transmits the heritage of millennia, learning that shapes the future.”

Instead of focussing on the question what the ”market” asks, conservatoires should rather have “a moral obligation to critically inspect and constructively contribute to changing society, even if it may be at odds with prevailing, political priorities.” A striking thought here was the turning around of concepts about who is the ”customer” of us as institutes: Rather than providing the students with ”what they need” during their studies, we might also consider asking if we as institutes (want to) offer society students who are agents of change. Johanssen mentioned, very powerfully, the values of depth of slow processes, and the values of the non-measurable; thus questioning parts of our implicitly-agreed-upon ideal of efficiency.

Rather than providing the students with ”what they need” during their studies, we might also consider asking if we as institutes offer society students who are agents of change.

Another term that Johanssen discussed was employability as one of the key objectives within education nowadays. He enriched this fairly straightforward concept with the idea that employability suggests to be employed not only by an employer, but also by a society. This carried the discussion about employability to an entirely different level and made it useful especially in the context of the musician in society.

Johanssen closed his keynote with a few remarks on “hidden curricula” in conservatoires. With this, he referred to, a.o., the question if the master-apprenticeship model is actually the only valid model for teaching and learning an instrument, a crucial question within our education. And: “To what degree are our notions of the labour market different to how it actually is ‘out there’?

A few more questions stayed with me while thinking and reflecting on this inspiring keynote speech: How do we bring up our students through hidden curricula, concerning world view, vision on (contributing to) society and hierarchies? By teaching according to the master-apprenticeship model, a teacher embodies and enacts a particular world view, just as another teacher does by joining a student group in an improvisation lesson as an equally contributing musical voice. How does our very own teaching not only facilitate learning about music, but also reflect a world view and a view on our society?

Dawn Bennett about the Protean Musician

The Australian professor of Higher Education Dawn Bennett took a closer look at the concept of the protean musician itself, and the consequences of this for us as educators and institutions. She called for institutions to engage in collaboration much more, as they often share not exactly the same, but nevertheless similar issues.

Bennett argued for an education of “whole musicians” rather than educating violinists, conductors and composers. This led to a term that remained to be discussed during the conference: The portfolio musician. Portfolio is a term coming from the business world, but has been used within arts contexts since recently. The term describes practitioners who have already established a career – mostly according to traditional role models and pathways, think about classical soloists or concert masters — and built capital around them, and then choose to do something different: To build a portfolio of the work and professional identity, which is balanced around their own wishes and needs. It is a voluntary move, a reaction, something which one decides to go for. According to Bennett this is something musicians actually rarely do. Most of musicians’ activities are reactions, rather than being proactive. Bennett characterizes the type of musicians that students usually bring with them as: “The mythical musician” – a type that is usually far away from being protean.

That brought the discussion to an important point concerning education: Rather than being promoted as innovative and belonging to the 21st Century developments of the professional life as musicians, it is important to communicate to students that being protean in itself is not a new thing at all! As early as in the 14th Century, musicians were working in very diverse contexts, such as playing on the street, at court, at weddings and parties – just as later during the 18th Century, and not particularly different from musicians today. Being protean is about going out into the world — just as Brahms, Händel and Mozart did. Not to forget ”the protean virtuosi” such as Liszt, for example: they ran ”amazing businesses”! These musicians knew how to build new markets, first and foremost by traveling.

It is an essential task for us as educators to communicate to our students that the protean is what musicians – and artists in general – have always been doing, and that this all seems new, but in the practice of musicians and artists, this is not new to us at all. This lead Bennett to ask the question:

How do we portray ”succes” in music?

The term Dawn Bennett offered, and which returned on a number of occasions during the conference (including Geir Johanssen’s contribution mentioned above), was Employability, or rather EmployABILITY: ”The ability to find, create and sustain meaningful work across the career lifespan.”

And this sparked an inspiring thought about making and sustaining meaningful work. In conservatoires, still many young classical students enter with the aim of becoming soloists or concert masters in orchestras, only to be disillusioned during the time of and after their studies. However, when the amount of classical soloists is one in a million, it is not the point that as a student one can hardly be that one who makes it as a soloist. The question is, what are the other 999.999 doing? This is what our students (and their main subject teachers) need to learn, understand and embody: Most of them are doing great work!

Concluding, Bennett made a few suggestions and final thoughts about how to work with these ideas in our practice of educating professional musicians. Despite that haven’t covered all of these in my text, they are are all powerful and useful to develop further in the future:

• Help students learn how to think and reflect
• Teach the practice of the musician
• Educate the whole person / the whole musician
• Create strong networks
• Ban the words job, employment and employer
• Redefine employability development as lifelong
• Engage alumni
• Place ’Create your Future’ at the centre of the curriculum
• Make it compulsory

One size fits all?

In my own lecture I presented a concept on which I am working for some time now: Artistic research as integrative practice. The main argument for the lecture in Oslo is that, despite research being a fairly commonplace part of conservatoire education nowadays, still it is often undertaken as separate from the students’ core activities of practicing, performing and composing. Nevertheless, I am convinced that a heightened amount of integration of research in the artistic study would likely equip students much better for their professional future, with its manifold variations of practice that asks for a constant process of critical reflection and experiment. Artistic research as integrative practice is a concept that offers a close connection between research and musicianship.

The essential shift made by viewing artistic research as integrated practice is that the otherwise often scattered activities of hybrid contemporary musicians – performing, composing, teaching, writing, making websites, etc. – become conceptualized as elements of one integrated professional identity as artistic researcher. Research itself might be seen as a ”hub” of all these diverse activities, which is functioning through an investigative attitude and habit. As such, this not particularly new, but it reflects and frames advanced practice of researchers already working in such ways, and positions research as a combining framework rather than something external.

Concerning education, I linked what I understand as elements of an ”investigative attitude and habit” to the 21st Century Skills. Without proclaiming that this list is exhaustive or even already underpinned by sufficient research, it is strikingly obvious how the different items on the list differ from traditional elements of conservatoire education and the traditional master-apprenticeship model, specifically in classical departments. I will continue to develop and specify this in the coming months.