Guidelines of competence development in the study field of music
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guidelines of competence
development in the study
field of musicDevelopment of the concept of the European credit transfer and
accumulation system (ECTS) at the national level:
harmonization of the credit and implementation of the learning
outcomes based study programme design
(VP1-2.2-ŠMM-08-V-01-001)
Rima Rimšaitė
Vida Umbrasienė
guidelines of competence
development in the
study field of music
Vilnius
2012Rima Rimšaitė Vida Umbrasienė guidelines of competence development in the study field of music © Vilniaus universitetas, 2012 ISBN 978-9955-526-99-5
TABLE OF CONTENTS
TABLE OF CONTENTS
Introduction ..............................................................................................................................................4
1. ARTS AND THE HIGHER EDUCATION SYSTEM.......................................................................7
1.1. Higher music education institutions in the Bologna Process .......................................................7
1.2. Specific features of music education ...........................................................................................8
1.3. Typical qualification degrees in the field of music........................................................................9
1.4. Typical degree programmes in music..........................................................................................10
1.5. Degree programme profiles.........................................................................................................12
1.6. Descriptors of cycles of study in the field of music ...................................................................14
2. COMPETENCES AND LEARNING OUTCOMES ......................................................................17
2.1. Higher music education competences and learning outcomes....................................................17
2.2. Generic competences ..................................................................................................................18
2.3. Subject-specific competences ....................................................................................................19
2.4. ECTS credits and competence development...............................................................................20
3. HIGHER MUSIC EDUCATION STUDENT’S WORKLOAD AND ITS CALCULATION......22
3.1. Competences and credits.............................................................................................................22
3.2. Recommendations for a modular and subject-specific degree programme structure..................23
4. METHODOLOGY FOR THE DEVELOPMENT OF A COMPETENCE-BASED DEGREE
PROGRAMME .....................................................................................................................................25
4.1. Features of an effective degree programme................................................................................25
4.2. Degree programme design principles..........................................................................................26
4.3. Programme proportions and priorities.........................................................................................29
5. TEACHING, LEARNING AND ASSESSMENT.............................................................................31
6. DEGREE PROGRAMME UPDATING AND IMPROVEMENT.................................................34
Final provisions.......................................................................................................................................35
References................................................................................................................................................37
Annexes....................................................................................................................................................38
Annex 1. List of generic competences ......................................................................................................38
Annex 2. Distribution of generic competences according to their importance to the professional
activities of a musician..............................................................................................................................39
Annex 3. Distribution of subject-specific competences according to their importance to the
professional activities of a musician .......................................................................................................41
Annex 4. Assessment of the importance of generic competences and skills to the professional
activities of a musician..............................................................................................................................43
Annex 5. Comparison of assessments of the importance of subject-specific competences and skills of
employees who have completed Bachelor and Master degree programmes to professional activities....44guidelines of competence development in the study field of music
Introduction
In the past decade, higher education institutions have gradually been involved in the
political, social and economic life of Lithuania. Higher education, which has become a mass
phenomenon, is expected to not only produce youth education results and research relevant to
higher education institutions but also provide quality in higher education based on closer ties
with the public, labour market and student needs.
The concept of quality in higher education, the basis of Lithuania’s higher education
reform, is primarily associated with requirements for quality management and the development
of a culture of quality and is implemented by changing the concept of an academic credit. The
European Credit Transfer and Accumulation System (ECTS) has been used in Lithuania since
1999–2000 for the implementation of the Erasmus student exchange programme. The ECTS was
originally called the credit transfer system and was applied for the purpose of the recognition
of part-time studies abroad. The main idea of ECTS credits is student workload accounting to
achieve intended learning outcomes. Credits had been given only after successfully completing
the tasks and assessing the relevant outcomes.
However, in practice, credits had usually been formal and little related to learning content and
learning outcomes. Therefore, for the purpose of the implementation of the Law of the Republic of
Lithuania on Higher Education and Research1, one of the main goals is to implement a competence
and learning outcome-based credit system and switch to student-centred higher education.
Vilnius University has undertaken to achieve this goal by implementing the project
“Development of the National Concept of the European Credit Transfer and Accumulation
System (ECTS): Credit Harmonisation and Creation and Implementation of the Methodology
for Learning Outcomes-Based Degree Programmes through Cooperation and Consensus”
(hereinafter “the ECTS project”). The main idea of the ECTS project is related to the need to
improve the study process, create preconditions for internationalisation at Lithuanian higher
education institutions by developing and implementing the national concept of the European
Credit Transfer and Accumulation System (ECTS) and applying the ECTS methodology
developed under the project Tuning Educational Structures in Europe2. The ECTS project is
aimed at developing a dualistic concept of an academic credit, which would lay the foundations
for internal quality assurance. Based on this concept, a credit should reveal the relationship and
harmony between the scope of learning and learning outcomes. One of the main tasks of the
ECTS project is to create a relevant methodology and recommendations that would help the
authors of degree programmes to prepare, update and improve student and learning outcomes-
oriented degree programmes.
“Guidelines of competence development in the study field of music” (hereinafter “the
guidelines”) is designed for music art studies. The guidelines analyses the issues of competence
development at a conservatoire. The concept of competences, their formulation and role in degree
programmes is based on not only the general ideas and results of the Tuning project but also on
documents of the European Association of Conservatoires (AEC), taking into account the laws of
Lithuania and higher music education traditions. The European Association of Conservatoires3
is a union embracing over 270 higher music education institutions (of 55 European countries),
which cooperate in tackling key higher music education issues and contribute to the development
of a common European Higher Education Area.
1
Law of the Republic of Lithuania on Higher Education and Research, Official Gazette Valstybės Žinios, 2009, No. 54-2140.
2
http://tuning.unideusto.org/tuningeu/images/stories/template/General_Brochure_final_version.pdf
3
European Association of Conservatoires (AEC), www.aecinfo.org
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∆guidelines of competence development in the study field of music
The guidelines consists of 6 chapters and 5 annexes containing material that may be useful
to both young and experienced teachers and help to improve their didactic competence. The first
chapter, “Arts in the higher education system”, describes the general characteristics of arts in
the higher education system: the place of a conservatoire in the Bologna Process and specific
features of the music field of study. It provides a brief overview of typical qualification degrees
in the field of music, typical degree programmes, and requirements for a degree programme
profile and Polifonia/Dublin descriptors, which summarise the main differences between the
music degrees awarded.
The second chapter, “Competences and learning outcomes”, provides the definitions of
these terms. It discusses the results of sociological studies of the professional field of music,
analyses generic and subject-specific competences, provides their maps, based on which the
intended learning outcomes of music studies should be formulated and degree programmes
should be developed. The new concept of a student and learning outcome-oriented credit is
discussed at the end of the chapter.
The third chapter, “Student workload in higher music education and its calculation”,
addresses the issues of the relationship between the competences developed and credits, and
provides recommendations on the modular and subject-specific degree programme structure.
The fourth chapter, “Competence-based degree programme development methodology”
specifies the characteristics of an effective degree programme and its development principles as
well as consistently explains the main competence-based degree programme development steps.
The fifth chapter, “Teaching, learning and assessment”, describes the assessment of competences
acquired and analyses examples of criteria for the assessment of achieved learning outcomes.
The sixth chapter, “Degree programme updating and improvement”, provides long-term
degree programme development guidelines.
Annexes to the publication provide five tables showing the results of a sociological
survey of employers and graduates of music programmes: generic competences (Annex 1), the
distribution of generic and subject-specific competences according to their importance to the
professional activities of graduates of music programmes (Annexes 2 and 3), assessment of the
importance of generic and subject-specific abilities and skills to the professional activities of
musicians (Annexes 4 and 5).
The main terms of the Tuning project used in this methodology4:
The European Credit Transfer and Accumulation System (ECTS) is a student-centred
credit transfer and accumulation system, the key attributes of which are very clear definitions of
intended learning outcomes and learning processes and student workloads necessary to achieve them.
ECTS credit is a unit of measurement of the student workload required to master an
established level of intended learning outcomes. Higher education institutions applying the
ECTS have agreed that standard one-year full-time studies should correspond to 60 ECTS credits.
Since national legal acts provide for 1,500–1,800 learning hours per academic year, the actual
(national) value of 1 ECTS credit is equal to a 25–30 hour student workload. The Law of the
Republic of Lithuania on Higher Education and Research defines that student workload during
one year of study in Lithuania is 1,600 hours of study. It is proposed not to mechanically apply
arithmetic calculation for the purpose of evaluation of the value of one course unit or module
or another in Lithuanian credits in accordance with the requirements laid down in the Law on
Higher Education and Research, and to follow the recommendation that one credit should be
used to measure a 25–30 hour student workload instead. Thus, a specific number of hours for the
scope of a specific course unit or module should be given in view of the optimal time needed to
4
Bulajeva T., Jakubė A., Lepaitė D., Teresevičienė M., Zuzevičiūtė V. Updating degree programmes: competence development and learning
outcome assessment methodology. Vilnius, 2011. http://www4066.vu.lt/Projekto_rezultatai
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∆guidelines of competence development in the study field of music
achieve intended learning outcomes.
Competence (or competency) is a dynamic combination of knowledge, skills, values
and attitudes, which facilitates adequate performance of activities. The key components of
competences acquired and developed during studies include:
• Knowledge of a certain subject and its understanding;
• Abilities to apply existing knowledge in certain situations;
• Values and attitudes.
Competence is an integral part of a qualification. A qualification typically consists of
several competences.
Intended learning outcomes5 are combinations of knowledge, skills, values and attitudes, which
should be acquired by a student after successfully completing a certain part of the process of study, i.e. a
course unit, module and/or a whole degree programme. Intended learning outcomes define the level of
competence aspired for by a student and are part of the description of a degree programme.
Achieved learning outcomes means an individual level of competence achieved by a
student, which is determined by assessing intended learning outcomes (of a programme, module
or course unit).
Student workload means time measured in hours that must be given to a statistical student to
enable the student to successfully carry out all the tasks of a course unit, module or a whole degree
programme in the forms provided for in the degree programme (lectures, seminars, projects, practical
work, individual work, examinations, etc.) in order to achieve the intended learning outcomes.
Degree programme profile is a description of the main characteristics, features and specific
objectives of a degree programme, which defines the distinctiveness of a degree programme
from other degree programmes.
Degree programme structure means the arrangement of degree programme components in
view of the intended learning outcomes. The degree programme structure can be subject based or
modular. An annual number of credits (60 ECTS credits) and a target number of credits per semester
(30 ECTS credits) are established in both cases of the degree programme structure. A subject based
degree programme consists of a sequence of individual course units of different lengths, in which
intended learning outcomes and the final assessment of their achievement are determined for each
course unit. A different number of credits can be given to each course unit in subject based degree
programmes. A modular degree programme consists of a sequence of standard-sized modules, in
which intended learning outcomes and the final assessment of their achievement are determined
for each module. Both subject based and modular degree programmes can be implemented during
terms or by simply establishing an annual number of credits.
Module is a standard-sized part of a degree programme, which has a defined purpose,
intended learning outcomes and assessment criteria. A module is “a unit of a degree programme,
the size of which in credits is always the same or the size of which is multiplied twice or three
times, i.e. the values of larger programme units – modules – are multiples”6. The volume of
each module can be either a well-defined value, e.g. 5 credits, or a multiple of that value, e.g. 10
credits, 15 credits, 20 credits, etc.
The authors express their gratitude to Dr. Jeremy Cox, an ECTS project consultant and arts
group expert (AEC, Netherlands), who gave invaluable comments and recommendations to the
authors of these guidelines.
5
The term intended (expected) study results may be used in other sources.
6
A Tuning Guide to Formulating Degree Programme Profiles Including Programme Competencies and Programme Learning Outcomes. Bilbao,
Groningen and the Hague: Publicaciones de la Universidad de Deusto, 2010. ISBN 978-84-9830-375-9. http://www2.archimedes.ee/enic/File/
Tuning_Guide_Publicada_CoRe.pdf
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∆guidelines of competence development in the study field of music
1. ARTS AND THE HIGHER EDUCATION SYSTEM
All over the world, art studies are recognised as a specific area of higher education. Music,
dance, theatre, film, fine arts and other fields of art are associated not only with professional crafts
but also with creative discoveries and a search for one’s own niche in the world of art, which
is difficult to plan, foresee or predict its results. This is a much individualised activity aimed at
continuous renewal and a search for undiscovered forms of art. Artists create by not only developing
but also denying the traditional forms of art, thus often openly challenging or denying the tradition
itself. Thus, art studies are everyday creative and intellectual challenges.
Dynamic and changing contemporary art education is part of the higher education system.
However, due to the specific features of the nature of art and creation as well as field characteristics,
art education should be rather flexible than strictly reglamented by the national higher education
law. Therefore, when preparing requirements for the art fields of study, it is desirable not only
to define the standards but also leave enough freedom to artists to adapt to the rapidly changing
life, which is influenced by new science and technology development opportunities and the rapid
development of creative industries. This would facilitate expansion of creative cooperation and
promotion of the emergence of new forms of art while developing a common higher education area.
1.1. Higher music education institutions in the Bologna Process
Higher music education in Europe is usually provided by conservatoires, academies, higher
music education schools and music universities. As with all art studies, one of the most important
goals of higher music education is development of the practical skills and creativity of students.
In the course of the implementation of higher education reforms in the music field of study, it
is very important to pay attention to the specific features and certain specific problems of music
education. The music field of study is characterised by a specific structure of studies, specific
teaching methods, assessment forms, employment indicators, traditional jobs, and requirements
for the performance of higher education institutions. The main differences include:
1. Music education means development of artistic individuality. Therefore, the main form
of work of teachers at many institutions providing higher education in music and other
fields of art is individual work with one student or small groups of 2–5 students. This
is not a characteristic feature of other fields of study and requires a greater investment
in professional training;
2. Music is a diverse area: creation, performance, interpretation, theory, criticism, etc.
The need to develop practical (artistic) skills and accumulate professional experience
is essential. Therefore, the training of music professionals often combines formal and
non-formal education, which is closely related to professional music practice;
3. The training of artists is not limited to the development of professional skills and
intellectual abilities. Artists grow as individuals, developing their inner potential as
musicians associated with innate musical talents. Therefore, the duration of university
music education cannot be determined in view of the typical duration of the first cycle
(3 years) indicated in the Bologna Declaration. The desirable duration of first-cycle
music education at a higher education institution should be four years;
4. Higher education institutions perform academic activities, support and promote
scientific research of art and its phenomena, but also intensively develop artistic, creative
and other innovative activities. Therefore, when assessing higher music education
institutions, in addition to scientific activity criteria, it is desirable to formulate artistic
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∆guidelines of competence development in the study field of music
and creative activity assessment criteria, which show linkages between the mission of
a higher education institution and the quality of higher education;
5. Graduates of music art often have no typical jobs underlying the employability indicators
which are important in the Bologna Declaration. They often are freelance artists or
create their own unique workplaces. Therefore, the officially used labour market
demand indicators for professionals related to employment in specific workplaces do
not always reflect the real situation;
6. Persons who have already possessed professional skills in music at quite a high level
are admitted to higher music education schools. Candidates to higher music education
schools must take entrance examinations during which a panel of music professionals
check their specific music abilities and select the best candidates. The main criteria for
admission are always special abilities and the level of artistic abilities established by a
higher education institution rather than general education indicators. Therefore, mass
higher education features are not typical of higher music education;
7. Education of a professional musician based on dominant individual work of a teacher
and a student from the lowest to the highest education links is a global tradition. In
order to maintain the level of professionalism and ensure a smooth transition from
primary to top cycles, it is necessary to create comparable qualification requirements
and the principles of student assessment during entrance examinations. This would
expand international cooperation and teacher and student mobility opportunities.
1.2. Specific features of music education
Seeking qualification by studying the chosen specialisation in the field of music means
commitment to lifelong learning exploring an inexhaustible area, which is broad and rich, complex
and challenging. Music is the art of sounds including the creation, performance and perception of
music. Professional musicians must be able to link theoretical knowledge with practical skills, have a
critical understanding of artistic phenomena, combine physical and intellectual abilities with developed
emotional and other non-verbal communication skills. “For music is intrinsically interdisciplinary and
multidisciplinary, international and multicultural; it fosters creativity and craftsmanship and practical
skills; it provides a liberal education - historical, sociological, aesthetic and analytical - in an art that
answers a deep and enduring human need, both in Western civilisation and almost every civilisation
known to history; its links with mathematics, science and technology are profound and inescapable”7.
Music is both a creative and performance art encompassing various aspects of expression
such as artistic, technical, interpretative, reproductive, improvisatory, social, aesthetic and
philosophical. The multiculturalism and interdisciplinary nature of music education is confirmed
by the study of the art of music in historical, chronological, geographical, sociological,
psychological, aesthetic and philosophical aspects.
The music field of study is very specific and complex, orientated towards the development
of practical and artistic skills of students. The development of artistic skills and maturation of an
artist (musician) takes longer than the training of the vast majority of professionals in other areas.
Therefore, the workload of a music student is much larger than that of most students of other
fields. Music art degree programmes can be conditionally divided into the groups of performance
art, conducting, composition, musicology, music education and music technology. Performance
7
Subject Benchmark Statement Music-UK-QAA. http://www.ihep.org/assets/files/gcfp-files/QF_Music.pdf
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∆guidelines of competence development in the study field of music
art and composition are typical degree programmes in the music field of study, which have
several common specific features of the field of music already mentioned above:
1. Are usually orientated towards the training of practicing music professionals;
2. The main form of teaching in the most typical music degree programmes for a performer
or composer is individual studies (one teacher and one student in a classroom);
3. The main form of learning is individual independent practical studies (playing a
selected instrument, singing, conducting or creative work);
4. The specificity (complexity) of music and the scope of the field require students to
devote most of their time to the development of a chosen instrument (voice) playing
technique and artistic skills, and the development of these skills should continue
throughout the period of active performance of music, i.e. studying, work (concerts),
usually including the holiday period;
5. There is interdisciplinary and multicultural music education.
1.3. Typical qualification degrees in the field of music
Music education belongs to the art study area, the field of music. As already mentioned
above, these studies have a long tradition in Europe, are easily recognisable and universally
recognised.
In Lithuania, music professionals are trained at colleges, universities and the only
specialised school, the Lithuanian Academy of Music and Theatre. Degree programmes in the
field of music include three cycles: the first cycle is professional Bachelor of Music and Bachelor
of Music degree studies, the second cycle is Master of Music degree studies and the third cycle
is Doctor of Art degree studies. Successful graduates of the studies are awarded professional
Bachelor of Music, Bachelor of Music, Master of Music and Doctor of Art degrees.
The higher education qualification degrees of professional Bachelor, Bachelor and Master
are defined in the Lithuanian Law on Higher Education, national and European documents:
1. National descriptors for fields of study;
2. Descriptors for Lithuanian higher education cycles under preparation (2011);
3. Higher education cycles (3 cycles) are regulated by the Framework for Qualifications
of the European Higher Education Area8;
4. Qualification levels (8 levels) are regulated by the Lithuanian Qualifications Framework
(LQF9),
5. Dublin Descriptors describing the achieved learning outcomes of three study cycles,
which the Framework for Qualifications of the European Higher Education Area is
based on;
6. the Polifonia/Dublin Descriptors of qualifications for three cycles of music field drawn
up by the working group of the European Association of Conservatories (AEC).
Non-university higher education institutions (colleges) offer professional Bachelor degree
studies in the field of music and award a professional Bachelor of Music qualification degree (3
years, 180 ECTS credits). The following degree programmes awarding a professional Bachelor
qualification degree in the field of music were registered in the AIKOS information system of
the Ministry of Education and Science of the Republic of Lithuania in 2010: popular music,
entertainment music and folk music.
8
Framework for Qualifications of the European Higher Education Area, http://www.bologna-bergen2005.no/Docs/00-Main_doc/050218_QF_
EHEA.pdf [viewed on 26 October 2011].
9
Resolution No 535 of 4 May 2010 of the Government of the Republic of Lithuania approving the Lithuanian Qualifications Framework, Official
Gazette Valstybės Žinios, 2010, No. 56-2761.
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∆guidelines of competence development in the study field of music
In Lithuania, typical university degree programmes in the field of music include
performance art, composition, music theory and criticism (musicology in the field of art criticism
in the humanities area of study), folk music (ethnomusicology in the field of art criticism in the
humanities area of study). According to the new List of Areas and Fields of Study at Higher
Education Institutions and the List of Qualification Degrees approved by the Government of
the Republic of Lithuania in 200910, sound directing and music technology are music field
programmes, the graduates of which are awarded a degree in music technology and industry
(Bachelor or Master). These are generally first cycle (4 years, 240 ECTS credits) and second
cycle (2 years, 120 ECTS credits) degree programmes. Those who successfully complete these
university degree programmes and acquire competences required to acquire a qualification are
awarded Bachelor of Music or Master of Music qualifications.
Music studies in the highest – third – cycle are only organised at university higher
education institutions. Since 2010, music studies in the third – Doctor of Art – cycle in Lithuania
have been organised and the Doctor of Art degree has been successfully awarded to graduates
by the only higher education institution, the Lithuanian Academy of Music and Theatre. All
cycles of study completed at accredited Lithuanian and European higher education institutions
are recognised where students aspire for a higher degree. The continuity of studies in a selected
field and specialisation in higher cycles is theoretically ensured in this way. However, the artistic
abilities and subject-specific competences of those aspiring for a higher degree are usually tested
during entrance examinations.
In addition to qualification-awarding degree programmes, higher education institutions
can offer various non-degree programmes: continuous learning, preparatory studies, bridging
studies, etc. For example, graduates who have acquired a professional Bachelor of Music degree in
colleges, completed bridging studies, accumulated missing credits and successfully passed entrance
examinations have an opportunity to continue Master degree studies of a chosen specialisation.
1.4. Typical degree programmes in music
All degree programmes in music can be grouped according to general areas of research:
the study of the origin of musical texts (listening to music or recording of music); the study of
the music repertoire and its cultural contexts; knowledge of the history of music and traditions of
public performance of music; knowledge of musical processes – creation, performance, analysis
and criticism; ability to express musical ideas in hearing, notation and verbal articulation; close
interaction between music theory and practice and its perception; development of musical skills;
development of creativity. The nature of music education is typically the study of a specialised
field of music aimed at training music performers, composers and theorists meeting high artistic
standards.
One of the distinctive features of the field of music is the focus of performance studies
on one of the main styles of music: classical and modern music, early music, jazz, pop, rock
or folk music. Future artists of the highest qualification who play classical and early music as
well as folk music usually study under the degree programmes of performance art at university
level according to the selected branch (main instrument or singing) and acquire the qualification
of a bachelor or master. Jazz musicians in Lithuania can choose between the branches of a
professional bachelor, university bachelor and master degree programmes. Pop musicians in
Lithuania usually study at colleges and acquire the qualification of a professional bachelor, while
in other European countries the study of pop music (mostly the study of pop and jazz music
10
Government Resolution No. 1749 of 23 December 2009 approving the List of Areas and Fields of Study at Higher Education Institutions and
the List of Qualification Degrees, Official Gazette Valstybės Žinios, 2009, No. 158-7135.
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∆guidelines of competence development in the study field of music
together) are also organised at universities.
In Lithuania, the Art of Perforance (LMTA, KU, VMU11) degree programme is the typical
programme for classical (including modern music), jazz and folk music which may cover as
many branches as there are musical instruments/voices of singers and professional performers
of a particular instrument/singing required. The specialisations of the degree programme in
classical and contemporary music performance art have typical features according to the nature
of performance of music (sound production) and could be grouped into specialisation groups:
singing, keyboard, string instruments, wind instruments and percussion instruments, folk
instruments and conducting (choir, symphonic music and military brass band). Such grouping of
specialisations is useful when preparing surveys at typical workplaces of graduates.
In addition to universal musician’s skills (artistic, music performance and other skills),
a graduate of jazz music studies should be able to improvise (maximally developed ability to
spontaneously convey chosen jazz music material and the form of performance). In addition to
the selected jazz specialisation in the main instrument (voice), students often acquire competences
required for the profession of a music director (big band conductor). Teaching and learning forms
in jazz studies differ from other performance art specialisations. Therefore, jazz music studies
could be organised as a separate degree programme.
Choir, symphonic music and opera conductors study under the performance art degree
programme where conducting is one of the branches of the degree programme in the field of
performance art. The following requirements, which are higher than those applied to students
choosing instrument or singing branches, are set for those applying for symphonic music and
opera conducting studies: those applying for first (Bachelor) cycle studies in conducting must
already have a Bachelor of Music qualification in a chosen specialisation (preferably in choral
conducting or any orchestral instrument), and the main intended learning outcomes are different.
Therefore, conducting (specialisations: choral conducting, symphonic music conducting, military
brass band conducting) could be also a separate degree programme.
Composition is a typical degree programme focused on the creation of music texts and
musical ideas. It is difficult to determine a future typical workplace of a composition graduate
(composer). A successful composer usually works as a freelance artist and his sources of income
are author’s fees for creative work and income from reproduction/recording/distribution of created
music or his portfolio based career which is usually multiple like a music performer’s, i.e. teacher
of music (additionally acquired qualification of a teacher), music technology specialist, sound
editor, event organiser, project author and various author’s works related to music arrangement,
instrumentation, creation and reproduction as well as other works related to music or art industries.
The concept of the degree programme in composition is usually formed by academic staff, taking
into account the issue of employment of composition students. However, when formulating the
main intended learning outcomes of the programme and competences acquired during the studies,
it is advisable to check them by surveying graduates and other social stakeholders: associations
and unions uniting composers and performers, professional musicians and their organisations,
as well as music industry representatives. Classical composition studies can be expanded by
alternative specialisations or new degree programmes, such as music technology, film, television
and multimedia composition, sound design, etc.
Each higher education institution decides how many quality degree programmes in the field
of music and programme specialisations in line with the national culture and education strategy
and market needs it can offer students. European (in particular United Kingdom) experience
shows that due to simple economic calculations, higher education institutions offer as few degree
11
LMTA – Lithuanian Academy of Music and Theatre; KU – Klaipėda University; VMU– Vytautas Magnus University
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∆guidelines of competence development in the study field of music
programmes in the field of music as possible: the objectives of degree programmes and the main
intended learning outcomes are summarised as much as possible and a wide variety of courses
is offered.
Typical degree programmes in the field of music do not provide the professional
qualifications regulated by the state. Since 2010, the studies of music didactic and pedagogy
have been provided in the area of social sciences, field of pedagogy. Graduates also receive
the professional qualification of a teacher regulated by the state in addition to the academic
qualification (bachelor of music pedagogy, master of music pedagogy).
The purpose of university music degree programmes is to train artists with a broader
profile and provide them with appropriate theoretical knowledge (first cycle) and art research-
based knowledge (second cycle) to enable them to apply their knowledge and skills in practice
in a changing professional music market meeting public needs or to create jobs for themselves.
During university Bachelor degree music studies, performers are trained in a complex
manner: artistic and music performance skills are developed by providing detailed theoretical
and music history knowledge. This makes them different from professional Bachelor degree
studies, which are more orientated towards the improvement of subject-specific skills through
professional practice. Nevertheless, more and more professional Bachelor degree programmes
are enriched with theoretical and historical knowledge, which is more typical of university
studies, and professional practice has become an integral part of university studies.
1.5. Degree programme profiles
The parties to the Bologna Process have agreed to create a common European Higher
Education Area and implement transparent student-centred three-cyle (Bachelor, Master and
Doctor) degree programmes. The ECTS has been created as a tool for measuring a typical student
workload, facilitating student mobility and recognising learning outcomes. Student-centred
programmes require a paradigm change as well as changes in the thinking of the academic
community and administrative staff involved in the development and implementation of degree
programmes. This has encouraged the emergence of Tuning Educational Structures in Europe, or
simply Tuning, complementing the Bologna Process and developing the objectives of the process.
A Tuning network and a Tuning process, which has an effect on the development of higher
education in many countries, have been developed in the course of Tuning project activities. The
main objective of this process is to transform the logical connections between the traditional
cycles of study (Bachelor, Master and Doctor) highlighting the result, i.e. competences acquired,
rather than knowledge sought to be provided to students of a specific cycle of study12. Given a
change in the prevailing relationship between a teacher and a student, student activities, namely
learning, studying, acquisition of competences and qualifications, become the centre of attention.
According to Tuning concept proponents, a student-centred degree programme facilitates
better alignment of degree programmes with the changing labour market needs, international
application of qualifications acquired, assessment and recognition of non-formal and informal
learning outcomes.
International Tuning process experts in association with ENIC and NARIC13 recognition
and accreditation experts of several European countries have prepared a typical model of a
degree programme descriptor, a descriptor preparation manual and a glossary. The descriptor has
been tested by European universities, higher education experts and recognition institutions. It
12
A Tuning Guide to Formulating Degree Programme Profiles.
13
ENIC is a European network of academic mobility and qualification recognition information centres; NARIC means national academic
recognition information centres. Source: www.skvc.lt
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∆guidelines of competence development in the study field of music
has been decided that the proposed descriptor model should contain the most important summary
information on a degree programme, which is understood by the authors of the programme,
students, employers and accreditation and recognition institutions.
According to the Tuning methodology, degree programme profiles are descriptions of the
main programme competences and learning outcomes as well as the main features of degree
programmes related to the objectives of the programme and showing how the programme relates
to the course units of a field of study and to the professional world14.
The recommended degree programme profile must provide concise information on the
intended learning outcomes, methods and measures of a degree programme that would facilitate
the achievement of the intended learning outcomes and demonstration of acquired competences.
A degree programme profile must be linked with the descriptors of both the field of study and
the qualification level awarded. The profile specifies the key generic competences and subject-
specific knowledge, skills and competences necessary to acquire a qualification as well as
formulates the main intended learning outcomes of the degree programme15.
A degree programme profile is usually prepared by a programme committee, which
generally consists of teachers, higher education administrators and students, and is approved
in accordance with the internal degree programme regulation of a higher education institution.
Each, particularly new, programme should be based on public needs. Therefore, it is necessary to
analyse and define the linkages between the programme and the vision of a programme created
by the academic community as well as the needs of students, employers and society.
A degree programme profile must reflect the interests of different groups, such as students,
society, the professional sector and the academic sector. The main highlights of profiles of the
same study field (branch) created by different higher education institutions – intended learning
outcomes and/or distinctive features of a programme – may differ. For example, some higher
education institutions may orientate themselves exclusively towards the training of music
performers (artists) and demand that entrants have a relevant level (standard) of training, while
others may train a more versatile professional or a specialist in several fields of music, such as
a music engineer, music manager and music teacher. Therefore, requirements for entrants and
the nature of degree programmes will differ. These differences and typical programme features
must be specified in degree programme profiles. The authors of degree programmes in the field
of music should seek to ensure a variety of degree programmes, cycles and profiles in this field
as well as a continuous programme updating process in order to ensure international quality
standards and adaptability to the changing needs of society and the professional music (art)
world. Lithuanian national ECTS project strategic and horizontal group experts in association
with international experts have adapted a degree programme profile model developed by Tuning
process specialists and recommend it for use by all Lithuanian higher education institutions. The
degree programme profile consists of the following main entries:
1. programme data: name of the degree programme, area of study and specialisation, state
code of the programme, name of higher education institution that has prepared and is
implementing the programme, language(s) in which the programme taught, type of
study (university, non-university), cycle of study, level qualification (according to the
LQF16), duration of study in years, scope of study in credits, total student workload in
hours, number of contact hours, number of individual work hours, area of study, field
(branch) of study, a related field or branch (if any), qualification degree and professional
14
Universities‘ contribution to the Bologna Process. An Introduction, 2nd Edition, 2008, 151.
Learning outcomes define the scope, level or standard of competences, including knowledge acquired (See A Tuning Guide to Formulating
15
Degree Programme Profiles).
16
Lithuanian Qualifications Framework.
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∆guidelines of competence development in the study field of music
qualification (if any) awarded, degree programme coordinator, contact details of the
degree programme coordinator, the name of the institution accrediting the programme
and the year of accreditation (the date until which the programme is accredited);
2. purpose of the programme: objectives defined in a few clear and logical sentences;
3. characteristics / programme profile: he main discipline(s) subject area(s); nature of
the degree programme – general or specialist focus, orientation (research, practice
based, applied, ets.); distinctive features of the programme (e.g. programmes in the
field of music are characterised by continuous competence development); admission
requirements and opportunities for the recognition of previous learning;
4. further study opportunities;
5. career opportunities;
6. learning and teacing approaches, and assessment methods;
7. key competences of the degree progamme: generic and subject-specific;
8. complete list of programme learning outcomes: generic and subject-specific.
The degree profile of the programme should not be longer than a few pages. The basis of
the profile is objective of the programme, competences and intended learning outcomes. There
should be a maximum of 15–20 intended learning outcomes (generic and subject-specific).
Important information describing the programme profile is nature of the programme (theoretical
or applied), distinctive features of the programme (international, interdisciplinary studies, a
joint programme, other important information on the distinctiveness of the degree programme),
level of qualification (compliance with the Dublin Descriptors and Polifonia/Dublin Descriptors
(PDD), the Framework for Qualifications of the European Higher Education Area17 and the
Lithuanian Qualifications Framework), and career opportunities.
1.6. Descriptors of cycles of study in the field of music
(Polifonia/Dublin Descriptors)
The specific nature of studies in the field of music requires that the acquired competences
and artistic skills are tested during transition from one study cycle to another (compulsory
entrance examinations to test artistic skills and subject-specific competences). Therefore,
academic and artistic standards of each cycle and their level are clearly defined and harmonised
at European level. The descriptors of the European framework of qualifications for the higher
education area are used to describe the qualifications of all three cycles in the field of music.
These so-called Dublin Descriptors describe individual cycles of three-cycle higher education
identifying knowledge and understanding, the application of knowledge and understanding,
ability to make judgements, communication skills and ability to learn. The Polifonia Tuning
working group of the European Association of Higher Education Institutions has drawn up a
number of documents, including the descriptors of music qualifications, the so-called Polifonia/
Dublin Descriptors (PDD)18. The descriptors of music qualifications comply with the Dublin
descriptors and are supplemented by such attributes characteristic to the field of music as training
the artistic abilities and more attention to practical achievements. PDD descriptors are intended
for the authors of higher education degree programmes in the field of music.
17
Framework for Qualifications of the European Higher Education Area
18
Reference Points for the Design and Delivery of Degree Programmes in Music. Bilbao: Publicaciones de la Universidad de Deusto, 2009.
http://aecsite.cramgo.nl/DownloadView.aspx?ses=22925
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∆guidelines of competence development in the study field of music
Table 1. Dublin and Polifonia/Dublin Descriptors
Dublin Descriptors Polifonia/Dublin Descriptors
Qualification degrees that signify completion of the Qualification degrees that signify completion of the
first cycle of higher education are awarded to students first cycle of higher education are awarded to students
who: who:
1) have demonstrated knowledge and understanding 1) have demonstrated skills, knowledge and artistic
in a field of study that builds upon their general understanding in the area of music built during studies
secondary education, and is typically at a level that, above general education and are typically at a level that
whilst supported by advanced textbooks, includes is supported by professional knowledge and practice
some aspects that will be informed by knowledge of and includes some advanced aspects of understanding
the forefront of their field of study; of music and creative interaction;
2) can apply their skills, knowledge and artistic
2) can apply their knowledge and understanding in a
understanding in the area of music in a manner that
manner that indicates a professional approach to their
indicates a professional approach to their work
work or vocation, and have competences typically
or vocation, and have competences demonstrated
demonstrated through devising and sustaining
practically/creatively as well as through devising and
arguments and solving problems within their field of
sustaining arguments and solving problems within
study;
their area of study;
3) have the ability to gather and interpret important
3) have the ability to gather and interpret relevant
information (usually in the area of music), make
data (usually within their field of study) to inform
judgements related to practical/creative activity that
judgements that include reflection on relevant social,
includes reflection on artistic and, where relevant,
scientific or ethical issues;
social, scientific and ethical issues;
can communicate information, ideas, problems 4) can express and communicate artistic understanding,
and solutions to both specialist and non-specialist ideas, information, problems and solutions to both
audiences; specialist and non-specialist audiences;
5) have developed those learning skills that are 5) have the learning and practical/creative skills to
necessary for them to continue to undertake further allow them to continue to study in an autonomous
study with a high degree of autonomy. manner.
Qualification degrees that signify completion of the Qualification degrees that signify completion of the
second cycle of higher education are awarded to second cycle of higher education are awarded to
students who: students who:
1) have demonstrated skills, knowledge and artistic
have demonstrated knowledge and understanding
understanding in the field of music that are founded
that is founded upon and extends and/or enhances
upon and extend and/or enhance those typically
that typically associated with Bachelor’s level, and
associated with first cycle level, and that provide a
that provides a basis or opportunity for originality
basis or opportunity for originality in developing
in developing and/or applying ideas, often within a
and/or applying ideas, in the practical and/or creative
research context;
sphere, often with a research dimension;
2) can apply their knowledge and understanding, 2) can apply their skills, knowledge, artistic
and problem solving abilities in new or unfamiliar understanding and problem-solving abilities in
environments within broader (or multidisciplinary) new or unfamiliar environments within broader
contexts related to their field of study; (multidisciplinary) contexts related to the area of study;
3) have the ability to integrate knowledge and 3) have the ability to in the practical and/or creative
handle complexity, and formulate judgements with sphere to integrate knowledge and handle complexity
incomplete or limited information, but that include with incomplete or limited information, and to link
reflecting on social and ethical responsibilities linked these judgements to reflection on artistic and, where
to the application of their knowledge and judgements; relevant, social and ethical responsibilities;
4) can communicate their conclusions, and the 4) can clearly and unambiguously communicate
knowledge and rationale underpinning these, to their conclusions and/or artistic choices as well as
specialist and non-specialist audiences clearly and communicate logical and knowledge-based conclusions
unambiguously; to both specialist and non-specialist audiences;
5) have the learning skills to allow them to continue to 5) have the learning and practical/creative skills
study in a manner that may be largely self-directed or to allow them to continue to study in a largely self-
autonomous. directed or autonomous manner.
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∆guidelines of competence development in the study field of music
Qualification degrees that signify completion of Qualification degrees that signify completion of
the third cycle of higher education are awarded to the third cycle of higher education are awarded to
students who: students who:
1) have demonstrated a profound and systematic
1) have demonstrated a systematic understanding of a
understanding of the area of musical study, together
field of study and mastery of the skills and methods of
with mastery of artistic and other skills associated with
research associated with that field;
that area and of relevant methods of research;
2) have demonstrated the ability to conceive, design, 2) have demonstrated the ability to conceive, design,
implement and adapt a substantial process of research implement and adapt a substantial process of research
with scholarly integrity; with artistic and scholarly integrity;
3) have made an original contribution through research
3) have made a contribution through original research
and inquiry that extends the frontier of knowledge and
that extends the frontier of knowledge by developing
artistic understanding by developing a substantial body
a substantial body of work, some of which merits
of work, some of which merits national or international
national or international refereed publication;
refereed publication;
4) are capable of critical analysis, evaluation and synt-
4) are capable of critical analysis, evaluation and
hesis of new and complex ideas, artistic concepts and
synthesis of new and complex ideas;
processes;
5) can communicate with their peers, the larger schol- 5) can communicate with their peers, the larger artistic
arly community and with society in general about their and scholarly community and with society in general
areas of expertise; about their areas of expertise;
6) can be expected to be able to promote, within
6) can be expected to play a creative, proactive role
academic and professional contexts, technological,
in the advancement of artistic understanding within a
social or cultural advancement in a knowledge based
knowledge based society.
society.
The entire area of music studies is constantly changing and searching for new forms so each
higher education institution can discover its own profile of music studies and unconventional form
of studies, e.g. studies in the field of music interacting with other higher education disciplines
such as aesthetics, psychology, sociology, therapy, journalism, critique, technologies, etc.; new
fields of music (e.g. electro-acoustic music); studies related to the field of music (e.g. music
technology, sound direction (sound design), music management, etc.).
Higher education institutions should create possibilities for future music professionals to
acquire additional knowledge and skills which the graduates will be able to use looking for new
employment opportunities or creating them themselves. It is recommended to offer optional
disciplines to music performers which would broaden the competences of music performers.
Advisable knowledge can be acquired by studying the basics of management, improvisation,
music technology and instrumentation (arrangement of works). Those seeking a teacher
qualification are recommended to choose related educational studies.
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