AEC Annual Congress and General Assembly 2024

by the ARTEMIS AEC Goes Green WG

Educational institutions have a vital role in fostering sustainability, particularly in the context of the climate emergency. The European Council Recommendation on learning for the green transition highlights the urgent need for systemic changes in education to promote sustainable development. Higher music education is no exception; institutions are called upon to integrate sustainable practices across all aspects of their operations—ranging from travel and event organisation to curriculum design.

In this session, we will present the outcomes of the AEC Goes Green Working Group within the ARTEMIS project. This initiative offers INnovative and concrete recommendations tailored specifically for the music education sector, marking the first time environmental sustainability has been addressed in such a focused way. These recommendations are grounded in INspirational frameworks derived from European strategies and best practices shared by AEC members, and aim to transform learning environments through the promotion of INterdisciplinary approaches.

By incorporating green skills and knowledge, such as eco-conscious decision-making and sustainable artistic practices, students and educators alike will be empowered to drive change. Furthermore, the session emphasises the importance of INclusion, engaging entire institutional and local communities in sustainability efforts.

We will propose how to Play green, recommending actionable steps, including financial incentives, organisational measures, and communication strategies, all designed to mitigate the environmental impact of higher music education. By offering pathways to reduce CO2 emissions, enhance awareness, and foster mutual learning, we aim to inspire not just institutional change, but a shift in mindset towards a more sustainable future.

By:

• members of the ARTEMIS Capacity Building Working Group
• representatives of institutions taking part in the ARTEMIS Clusters

This session is meant for representatives of institutions who are thinking of, or curious about, introducing changes in their curricula or are already engaged in such curricular changes.

Since 2022, 26 institutions from 21 countries have been involved in the ARTEMIS Clusters of institutions undertaking curricular changes, a platform to work together through a process including reflection, exchange and mutual support, with the aim of strengthening their studies and empowering tomorrow’s musicians.

The ARTEMIS Capacity Building Working Group, which is organising and supporting the Clusters, has also been working on compiling a Big Book of Questions (BBQ) on Curricular Innovation including insights from experts, case studies from the Working Group’s own institutions, stories from the Clusters’ institutions, inspirational questions and links to further resources.

Representatives of the Capacity Building working group and representatives of institutions taking part in the clusters will share what has been achieved: trends identified among institutions taking part in the Clusters, key elements of the curriculum change process, content of the BBQ and how it will help institutions, etc.

Congress participants will have the opportunity to participate in a small group exercise to discuss their ideas, initiatives or current work to innovate curricula in their institution, talk and think together about change processes and their challenges.

with Peter Dejans (Orpheus Institute Gent), Candida Felici (Milan Conservatory), Sean Ferguson (EPARM WG, Schulich School of Music of McGill University), Leonella Grasso Caprioli (Brescia Conservatory, RAMI), moderated by Lina Navickaitė-Martinelli (EPARM WG, Lithuanian Academy of Music and Theatre)

While in some countries artistic research has been fostered for decades within third-cycle studies, some others (like Italy) are yet looking forward to the innovations and opportunities that AR can offer to higher music education institutions. Realising the importance of such a step to the development of both AR and HMEI in general, this session is meant to discuss this change from a variety of perspectives, giving a special attention to challenges and prospects of the newly introduced third cycle in music at Italian higher-education institutions.

The panellists will present an overall mapping of the new PhDs, launched this year for the first time by Italian conservatories and academies, focusing in particular on the third-cycle proposals implemented in the field of music disciplines, examined through a general overview of the number of grants offered, their thematic profiles and the establishment of institutional networks that have characterised this important step forward in the Italian system of higher arts and musical education. The already-existing practices shall be discussed as well, such as the new doctoral project realised by Milan Conservatory together with Florence Conservatory, MUSART, which provides both a practice-oriented curriculum and a theoretical curriculum, and is characterised by an interdisciplinary and multidisciplinary approach.

Not limiting the session to an Italian perspective, the workings of WARM (Workshops on Artistic Research in Music), organised by the Conservatory “L. Cherubini” of Florence, the Conservatory “G. Verdi” of Milan, in collaboration with the Orpheus Instituut Gent, will be introduced, as well as a North American perspective on artistic research within third-cycle university programs in performance and composition shall be presented.

by the ARTEMIS Digitisation Working Group with Philipp Ahner, University of Music Trossingen, Moderator (Germany),  Student representative – to be confirmed, Núria Sempere, ESMUC (Spain), Thom Gilbert, Royal College of Music (England), Oscar Colomina, Reina Sofia & DISK (Spain)

The changes underway or expected in Higher Music Education are, among other things, the result of the digital transformation that societies have been experiencing for several decades. How can we understand and support this digital shift in our institutions? But also how can we develop knowledge, critical thinking and therefore empowerment on these transformations at work?
Drawing on the work carried out by the working group on digitalization during the ARTEMIS project, this round table aims to cross-reference points of view and bring together managers of higher education musical institutions, students, teachers and technicians to explore the issues, challenges and opportunities that are knocking on the doors of our structures.

moderated by David Bahanovich, Curtis Institute of Music in Philadelphia and Manus Carey, Royal Northern College of Music, Manchester.

In today’s rapidly changing world, HMEIs must adeptly manage and embrace change to succeed and thrive. This interactive workshop will provide HMEI leaders with a comprehensive understanding of change management frameworks and methodologies, alongside practical tools for driving change initiatives. Participants will explore strategies for overcoming resistance, leading change from within, and applying proven change models. Through hands-on activities, engaging exercises, case studies, and success stories, this workshop will empower leaders with the skills and knowledge needed to effectively navigate and lead transformational change.

Results of the ARTEMIS LLL WG and the experience of free courses for citizens at Conservatorio di Milano

by Esther Viñuela, Kadri Steinbach, Brendan Breslin, Małgorzata Sternal (LLL WG), Manuela Bisceglie (Conservatorio di Musica “Giuseppe Verdi”, Milano) and others.

The AEC Lifelong Learning (LLL) Working Group will host a session dedicated to promoting lifelong learning within Higher Music Education Institutions (HMEIs) in Europe.

The session will begin with an introduction from LLL WG members, setting the context for the discussions. Following this, a Round Table will showcase case studies gathered from the survey conducted by the LLL WG on LLL offerings in HMEIs, where participants will share best practices and outline the objectives and significance of lifelong learning in today’s educational landscape.

To conclude the session, the LLL WG will present a video that will illustrate the concept of lifelong learning and highlight the diverse profiles of lifelong learners, emphasising the relevance of continuous education in the arts

by Karolien Dons, Karine Hahn (Diversity, Inclusion and Gender Equality (DIGE) Working Group), and
Monica Vejgaard (Diversity, Inclusion and Gender Equality (DIGE) Working Group, EPASA)

Members of the ARTEMIS Diversity, Inclusion & Gender Equality (DIGE)
Working Group will contribute to the main theme of this year’s AEC Annual Congress ‘Innovation,
Inclusion and Interdisciplinarity – from education to employment and society’ by addressing the idea of
resistance in artistic practice. The session continues the Working Group’s exploration into the challenges involved in institutional transformation towards more diverse and inclusive Higher Music
Education institutions (HMEIs).
Institutional change includes everything from how we teach and learn, choose repertoire,
communicate and collaborate, to how we assess performance and research and recruit new students and staff. In shaping these changes, diversity and inclusivity increasingly play a prominent role.

Resistance to change in HMEIs is typically connected to concerns about maintaining high artistic standards or fears that the music profession and the arts as a field, will be undermined or devalued.

Simultaneously, there are worries about the change being too fast – or too slow, as the strategies can
take a long time to produce tangible outcomes for the everyday life of the institution.
In this one-hour session, participants will have the opportunity to share and learn about experiences on how resistance related to diversity and inclusion is manifested in their own institutional practices of teaching and making music. Through dialogue, they will also be encouraged to draw inspiration for practical steps for encountering resistance towards desired, and perhaps necessary, changes in their institutions.

with Gretchen Amussen and David-Emil Wickstroem

Power relations have become a central issue within Higher Music Education and together with 9 Higher Music Education Institutions the AEC has explored different dynamics of power relations in 4 Stakeholder Assemblies. The recommendations that these assemblies generated were adopted with an overwhelming majority by the AEC general assembly in 2023. Capping this EU co-funded ERASMUS project called “Power Relations in Higher Music Education” (PRIhME) this session presents the final intellectual output of the project, the anthology “Music, Power Relations and Beyond Critical Positions in Higher Music Education”*. The book not only explores different aspects of power and how it intersects with factors such as gender, socio-economic background or ableism but also provides reflections from students, teachers and administrators.

At the same session, we will discuss such questions as how have AEC members integrated these recommendations (or not) in their institutions? What challenges have they faced? Did they emphasize certain aspects more than others? What can we learn from their experiences?

*Brüstle, Christa, Lucia Di Cecca, Itziar Larrinaga, Mojca Piškor, Eva Sæther, and David-Emil Wickström, eds. 2024. Music, Power Relations and Beyond: Critical Positions in Higher Music Education. Donostia-San Sebastián: Musikene.

by Elide Scarlata, Maria Cinque, Ioana Zagrean and Maria Pia Ferdinandi (IncluMusic project), Francesca Innocenti (AEC Diversity, Inclusion and Gender Equality Working Group), Emilio Piffaretti and Alfonso Chielli (Conservatorio di Milano)

The IncluMusic project aims to enhance the inclusion of students with Special Educational Needs (SEN) and disadvantaged backgrounds in Higher Music Education institutions (HMEIs). It focuses on training music teachers, administrative staff, and tutors in innovative pedagogies to increase accessibility, participation, and completion rates among these students.

The project includes 6 Work Packages that cover areas such as curriculum development, teacher training, and the creation of inclusive learning environments, all intended to support neurodiverse students in expressing themselves and finding future employment opportunities. In particular, WP3 was dedicated to the creation of two training courses, respectively addressed to HMEIs teachers and administrative staff.

The main goals of these courses in HMEIs are: reinforcing the competencies of teachers and administrative staff in the field of Special Education; creating a new professional role – that of the Academic tutor – aimed at monitoring on social inclusion practices and on the training process of teachers; preparing the Academic tutor, with the role of intermediation between students with disabilities and the academic staff; reinforcing the skills of the academic staff to help them work for inclusion together with the Academic tutor for inclusive music teaching; defining new approaches for training students with SEN; and creating a community of HMEIs adopting social inclusion practice.

Additionally, participants will discover how mindfulness plays a crucial role in fostering inclusion by promoting awareness and empathy, reducing biases, and enhancing emotional intelligence. It helps individuals understand diverse perspectives, creating a more inclusive environment. Integrating mindfulness practices into educational and organisational settings can significantly improve interpersonal relationships and collective well-being.

Part of the session will also be dedicated to the Diversity, Inclusion and Gender Equality Working Group of the ARTEMIS project, and the opportunities it provided for HMEIs to listen, discuss and confront each other about the topics of diversity, equity and inclusion. Through workshops in several cities, the group tried to build a free and safe space where everyone could listen and be listened to.

Among the various topics one was the visible and invisible disabilities. In the past years, the pathway of the group consisted in facing and dealing with resistance towards change, the fear of diversity and in particular the invisible resistance towards the people who have something different from us. The listening, the information, knowledge and competence, but over all the awareness are a fundamental part to a proper and inclusive approach to diversity in various scenarios.

Moreover, participating in open conversations regarding diversity, equity, and inclusion makes it possible for the teachers and administrative employees to put their hidden biases into the open for re-examination. The factors that trigger most biases can be societal misconceptions and fear of the unknown; hence, there is a need to practise equity. Addressing these issues is critical while fostering a positive enough learning environment for all learners regardless of those that have underlying visible or invisible disabilities. Addressing implicit prejudice does not take a day or a week but even a lifetime and several processes. By making such topics part of training sessions and building of the career, HMEIs will be able to create structures that counteract inequality in such institutions.

Such efforts to improve the system include interventions in addressing both the implicit and explicit attitudes through measures including prejudice reduction training, mindfulness therapy, collaboration with the community, and extensive communication about the issues present both in the broader higher education and higher music education. These strategies enhance the educational performance of the learners and at the same time facilitate the creation of educational practices that are fair and
compassionate.

with Silja Fischer, IMC, Keld Hosbond, GLOMUS Network and Anothai Nitibhon, SEADOM

Following up on exchanges held at last year’s AEC Congress, the International Music Council (IMC) invites participants to deepen the discussion, informed by the principles of IMC’s international cooperation which is based on mutual tolerance, respect and dialogue, while giving equal value and respect to all musical cultures of the world.

This session will present examples of how these principles are being translated into action, from the notion of transcultural collaboration upheld within the GLOMUS network, to the experiences of the cross-disciplinary work of the ASEAN Youth Ensemble based in Thailand, to a training programme to create safer spaces for young women and gender-expansive persons in music projects.

Presenters will engage with the audience about how the IMC principles resonate with AEC members, exchange about challenges and rewards of international collaboration, and discuss inclusion in their institutions. Finally, participants are invited to share their hopes with regard to the recently launched AEC Traditional, Folk, and Global Music Working Group.

 with Giulia Antonicelli, Stefania Mormone, Giuseppina Manin (Milan, Italy) and Feng Lei (Shanghai), moderated by Malgorzata Sternal, AEC Council Member / Krakow

The main objective of this session is to reflect on possible models of engagement and influence on society that conservatoires propose nowadays. The significance of the „third mission” (apart from teaching and research) of higher education institutions has increased over last several decades and it is now an important factor in external evaluation of universities and in their strategies development. Similarly, higher music education institutions face growing expectations as to their social responsibility.

How do we understand and implement the third mission in conservatoires? How can we create sustainable relations with various communities? How much of the conservatoires’ contribution to society at large is taken for granted? Do we prepare our students for developing activities with societal impact?

As a starting point for discussion three cases will be presented:

„Orchestra InOpera” (music in prison) – exploring how involvement of music students in creating artistic musical experience contributes to setting a path of recovery of inmates;

„Diamo il La” (music in nursery schools) –  looking at ways to promote access to conscious listening to classical music and more;

„Revitalize Arts Education Through Collaboration Between Higher Education Institutions and Local Governments” – analysing how a conservatoire can play an integral part in urban cultural development, actively promote cultural brand projects jointly created with local governments, explore diversified cultivation paths for artistic talents, and enhance the overall artistic level of localities.

with representatives of EAS, Till Skoruppa (EMU), Mario Zecher and Mattias Lundqvist (YMTE), moderated by Finn Schumacker

This session is dedicated to give an insight into the work of AEC and its close partners in the field of music education of children and young people, with a focus on current teacher training developments, cohesion between the educational levels and the efforts to enhance access and participation in general and to specifically promote musical talent. The partners represented in the panel are EAS (European Association of Music in Schools), EMU (European Music School Union) and YMTE (Young Music Talents Europe).

As part of the ARTEMIS project the SCHEME Working Group (Steering Committee for the Harmonisation of European Music Education, consisting of AEC, EAS and EMU) has been tasked with investigating the impact of current societal changes on music education, such as the digital shift, the COVID crisis, the diversity of cultural needs, migration, climate change, the idea of European cultural citizenship, and how these changes influence skills and responsibilities of future music teachers in the formal music education sector (classroom teachers, music schools).

Also, as part of the ARTEMIS project the AEC / YMTE Joint Working Group is investigating the landscape of pre-college music education addressing young talents and exploring new formats in terms of timing, collaboration with general education, target groups & student recruitment.

The session, which will take the form of a dialogue between the panel and the participants, begins with an update from the two working groups, where initial findings and proposals are put forward for discussion. The working groups look forward to feedback in the form of suggestions and new ideas that can enrich the final work with the deliverables of the ARTEMIS project, which will be published in early 2025.

with Stephen Maddock, Royal Birmingham Conservatoire, Cecilia Balestra, Milano Musica Festival, Gabriele Zanetti Da Vinci Publishing, moderated by Marta Raviglia, Pop and Jazz WG / Ferrara

This panel aims to explore the synergies between education and professional performance, showcasing how collaborative ventures can enhance the landscape for young musicians.

Stephen Maddock will speak about his experience from both sides of the Conservatoire / Professional divide, having recently completed nearly 24 years as Chief Executive of the City of Birmingham Symphony Orchestra. He will share some examples of professional development activities at RBC, and talk about what kind of skills employers are now looking for in young musicians and administrators as they enter the profession.

Cecilia Balestra will discuss the strategies and the results of the long-term collaboration between Milano Musica Festival, established annually in partnership with Teatro alla Scala, and Conservatorio di Milano, engaging students and offering them valuable opportunities to participate in performances as professional output of articulated workshops. This collaboration aims to promote knowledge of 20^th and 21^st century composers and performance techniques, while fostering essential connections within the music sector. The festival’s approach includes sharing artistic choices, structuring appropriate production methods and ensuring effective communication of the festival’s program within the Conservatory.

Meanwhile, Gabriele Zanetti will present Da Vinci Publishing’s commitment to young musicians through the DVYoungsounds.com project, which promotes new voices in classical and jazz music while focusing on economic sustainability and product quality. This initiative highlights the opportunities digital music provides to emerging talents and the challenges of ensuring accessible, high-quality production.

The presentations will be followed by Q&A with the Audience moderated by Marta Raviglia.

Examples from Milan, Cluj Napoca(Romania) and Shenzhen (Hong Kong), with Massimiliano Baggio / Raffaele Vignali, Xiaogang Ye and Nelida Nedelcut / Oana Balan moderated by Charlotte Saelemakers, Royal Conservatoire Antwerp

This panel will explore the transformative power of new conservatoire campuses and their role in shaping vibrant urban communities.

After a short introduction about the current European initiatives related to the topic, the Milan Conservatory will share its inspiring beginning of the journey from idea to project plan for the building of a second campus (first stone this winter), designed to rejuvenate a marginalized neighborhood. With a focus on community integration, sustainability, and innovation, the new campus will offer spaces for study, performance, and creative collaboration, fostering professional growth not only for students but also for startups and other youth initiatives.

We’ll also hear from Shenzhen Conservatoire, a pioneering institution with a new campus close to completion (in 2026) in China’s rapidly growing city, discussing how music can enrich city life, foster international collaboration, and contribute to sustainability goals not only within the city but also towards it’s Greater Bay Area or urban agglomeration.

Cluj-Napoca in Romania will present its newly completed campus, which has revitalized a once overlooked area. Through cutting-edge facilities, new programs, and a growing artistic community, Cluj-Napoca is positioning itself as a cultural hub with an impressive concert hall, collaborations with major cultural organizations, and interdisciplinary projects.

This panel will highlight how music education not only builds artist’s careers but also transforms cities and communities, offering hope, revitalization, and new opportunities going from ideas and dreams to a new campus, a new place to belong.

with Massimiliano Lisa, Director of Leonardo 3 Museum and Maura Romano, Country Manager Flagship Store & Institution at Steinway & Sons Italy, Italy moderated by Domenica Giannone, Conservatorio di Milano

The session investigates a link between past and future: Leonardo da Vinci’s instruments exhibited in Leonardo3 Museum (Milan) and Steinway’s newly designed Spirio pianos. The common idea shared by the two presentations focuses on the power of ideas and the importance of design. Both, Leonardo da Vinci and Steinway worked on the development of new instruments taking advantage of their ancestors and introducing new technologies in order to bring new musical objects to life. The artistry and the sophisticated skills of craftsmen are the glue putting all these elements together and creating the magic of fresh and renewed inspiration for artists and musicians worldwide. Maura Romano (Steinway&Sons Milano) and Massimiliano Lisa (Leonardo3 Museum) will showcase their instruments for a truly interesting travel into space and time from Leonardo’s instruments’ reconstruction to Steinway’s new released Spirio technology.

Focus on Leonardo’s Instruments

Leonardo presented himself to the Duke of Milan playing a lyre in an extraordinary way. He indeed had a particular interest in music that led him to study and build new musical instruments. In some cases he glimpsed and anticipated solutions developed only later in time. However, all his instruments were imperfect and none were adopted by musicians and made history. Like no other (before or after him), however, he managed to get from his technical projects extraordinarily effective drawings that look like true works of art. His contribution was that of being a great experimenter who created truly original musical instruments or machines. The Leonardo3 study center has put together the largest collection in the world of functioning instruments designed by Leonardo: Grande Organo Continuo, Harpsichord-Viola,  Accordetto Continuo, Cannone Musicale, Trumpet Gigante, Tamburo Elastico, Piva Continua and Flauti Glissati. Those instruments have also been played in a special event at the Milan Conservatory in 2024. Perhaps the first time that these instruments have ever played together. Certainly for the first time since Leonardo’s time! During the session, all of Leonardo’s instruments exhibited at the Leonardo3 Museum will be presented, shown and heard with the help of videos.

Focus on Steinway Spirio Technology

Steinway Spirio, a master of art and technology, represents a bridge between tradition and innovation. Steinway & Sons has been making pianos since 1853 and in 2015  introduced Spirio, an high resolution player system, the next step in Steinway‘s history of innovation. In 2021 the revolution continued with Spirio l r,  a recording and editing system capable of live performance capture and playback. The interface offers to performers, composers and sound engineers powerful tools to record, edit, playback, save and share their performances and compositions without compromising the quality of sound and touch of the Steinway piano. Last year the revolutionary technology Spiriocast was introduced, the first high resolution piano broadcast featuring events, live concerts and masterclasses with Steinway Artists and the sharing of performances in real time between remote Steinway Spirio pianos. This instrument represents an invaluable tool for Music Education Institutions. At the session, there will be a Steinway Spirio piano for demonstrations and videos to illustrate the main features of the technology.

by Ragnar Berthling (Co-founder Keychange), Tatiana Papastoisi (ECSA), Francesca Cerretani (EJN)
and Alfonso Guerra (AEC), together with mentors and mentees from the ECSA-AEC 2023 Mentorship
Programme and the AEC-EJN 2024 Mentorship Programme

Mentors and mentees from the Mentorship Programme, developed jointly by AEC, ECSA (European Composer and Songwriter Alliance) and EJN (Europe Jazz Network) will share their experiences, highlighting personal growth, professional development and challenges faced
in their mentorship journey. They will reflect on how the programme has influenced their artistic practices, broadened their networks, and opened up new opportunities.

The Mentorship Programme is an EU-funded initiative that aims to serve as an introduction to the music industry for young female and non-binary composers, songwriters and jazz musicians who are beginning to approach their careers, with the help of well-established professionals as role models and with the ultimate goal of enhancing gender equality and non-binary visibility within the sector. During the session, Keychange will play a critical role as a leading advocate for gender equality and
diversity in the music industry.

By demonstrating how initiatives like Keychange align with the mentorship programme, it will provide a strategic framework for developing sustainable pathways for female and non-binary artists, further highlighting the importance of fostering equitable opportunities within the music ecosystem.

Finally, the session will serve as an opportunity to present the brand new mentorship programme to be developed jointly by AEC, ECSA, EJN, JMI (Jeunesses Musicales International) through its Ethno programme, REMAM, Play It Loud! and Keychange, within the framework of the newly Creative Europe grant for European networks for 2025-2028.

with Gianni Fidanza and Sara Taglietti, Milan,  Peter Dejans, Gehnt, Olivia Wahnon de Oliveira, Bruxelles, and Carlo Mazzini, EPASA board member, moderated by Ivana Perkovic, AEC Council Member / Belgrade

What if libraries were not simply places where music is rediscovered, but where music is continuously brought to life? Could libraries become creative spaces where musicians engage with their heritage in new and innovative ways? In many conservatories, the library is seen as a background player—indispensable but passive. This session will challenge that perception and explore how libraries can play a more active role in the educational and artistic development of musicians.

Moderated by Ivana Perković (Belgrade), the session brings together experts from Milan, Ghent, and Brussels who are rethinking the role of libraries in higher music education institutions. Gianni Fidanza and Sara Taglietti from the Conservatorio di Milano will present how their library, in collaboration with the Ufficio Ricerca Fondi Musicali (URFM), integrates students in both research and library science, fostering a collaborative environment where students take an active role in exploring the collection. With a rich history since 1978, URFM recently became an integral part of the Milan Conservatory Library, and Sara will elaborate further on its important work during her presentation.

Carlo Mazzini, representing the student perspective from EPASA, will discuss how working in libraries can enhance students’ academic and professional experiences. Peter Dejans will introduce the Ton Koopman collection at the Orpheus Institute in Ghent, an extraordinary resource for 17th- and 18th-century music research, offering fresh perspectives on performance practice. Olivia Wahnon de Oliveira from the Conservatoire Royal de Bruxelles will share how their heritage library collaborates with students to digitize and perform unpublished works, turning students into ambassadors for these lesser-known pieces.

The discussion will revolve around key questions: How can libraries evolve to become spaces where musicians actively engage with their studies and performance? What unique value can they offer beyond traditional functions? How can they become more visible and central to the artistic and academic life of higher music education institutions?

We encourage AEC members to actively contribute by reflecting on the following questions:

• How do your institutions currently integrate libraries into the curriculum?
• Are your libraries involved in performance and research initiatives? If not, what are the obstacles?
• Could student involvement in library activities enhance their education and elevate the library’s role?
• What practical steps could be taken to make library resources more integral to the creative and academic projects of your students and faculty?
• How can digital tools help expand the accessibility and visibility of your library’s collections?

This session aims to spark an open dialogue, inviting AEC members to share their experiences and explore how libraries can play a stronger, more interactive role in the future of music education.

with Salvatore Gioveni, Royal Conservatoire Bruxelles and Anna Maria Bordin, Italian Society for Music Analysis and Theory, moderated by Riccardo Ceni, Conservatorio di Milano

The session is aimed at outlining innovative ways for teaching and conceiving theoretical subjects, especially analytical ones, in musical HEIs. What is or should be the relationship between practical performative disciplines and theoretical-analytic ones? Can the innovation brought for instance by Performance Studies and Topic Theory provide a compass for teachers, students and researchers on the one hand, and on the other offer institutions an opportunity to meet and exchange innovative practices? The multi-voiced discussion intends to make the current status and possible new developments.

The first perspective is offered by Salvatore Gioveni (Conservatoire Royal de Bruxelles). He has created the “HarMA HUB” project to concentrate on a central online HUB useful tool for students, teachers and researchers. The partners will implement a set of targeted activities and tools:

• A Music Analysis Repository, an EU Bibliography, a Multilingual Basic Terms;
• The implementation of two intensive training programmes “HarMA Weeks” for staff and students;
• The development of a peer-reviewed journal in Music Theory, to support research on these topics;
• The implementation of two dissemination events targeting all HMEIs in Europe,
• A Final Conference “HarMA Seminar” in Valencia, April 14-16 April, 2025, organized since 2017 as an international meeting for HMEI’s music theory faculties.

The main outcome is the strengthening of the community around Music Theory in HMEI’s at the European level, the project’s results being teachers- and students-oriented.

The second perspective comes from Anna Maria Bordin, member of the European Platform for Artistic Research in Music (EPARM) and president of the Italian Society of Music Analysis and Theory. She will offer an overview of c.a. 50 proposals, characterised by the central role of the pianism, received in occasion of two EPARM Conferences. The overview highlights the presence of analytical tools, their methodological relevance, the significance in defining the conclusions and, if possible, their innovative profile. The results show an aware (or unaware) use of analytical tools, often in a multi-analytic and transdisciplinary perspective.

moderated by Ankna Arockiam and Steven Faber, AEC Gender Equality and Non-Discrimination Mainstreaming Task Force

Have you experienced or witnessed discrimination at the AEC Annual Congress and would like to share about it? Or did you experience or witness discrimination or lack of social safety at your own institution?  Join us at ARTEMIS Safe&Brave space, where the participants are encouraged to discuss their experience with a focus on diversity, inclusion, gender equality and non- discrimination matters in a safe, welcoming and supportive environment

Join us at the Safe&Brave Space on

14 November 17:30 -18:45 Where we will discuss discrimination and lack of social safety at your institution

16 November 12:00– 13:00 Where we will discuss discrimination and lack of social safety at the AEC Congress 2024

The Safe&Brave Space discussions are confidential.

The session will be facilitated by Steven Faber, ArtEZ University the Arts (Zwolle, The Netherlands) and Ankna Arochiam, Royal Conservatoire of Scotland (Scotland, United Kingdom), members of the Gender Equality and Non-discrimination Mainstreaming Task Force (TF3).

The term safe space generally means an accessible place or environment in which a person or group of people can feel confident that they will not be exposed to discrimination, criticism, harassment or any other risk of emotional (or physical) harm, and is ultimately intended to be free of bias, conflict, criticism or potentially threatening actions. From 2023 onwards, in-presence participants at AEC

events are welcome to join the ARTEMIS safe space, shaped as a discussion group and share their experience.

In addition, a room will be available as a Quiet room for anyone needing a brief respite from the busy agenda of the AEC Congress and GA. Whether you need to focus, find some calm, or concentrate, you’re welcome to the tranquil space of the Quiet Room throughout the entire duration of the event. Follow the signs to find it!

moderated by Anothai Nitibhon and TBC, SEADOM

This workshop invites European music conservatories to explore the potential of fostering synergies through global collaboration, with a particular focus on partnerships with Asian institutions. By engaging in international exchanges, conservatories may discover opportunities to blend diverse musical traditions and pedagogical approaches, potentially enhancing cultural understanding and driving innovation. Such collaborations could manifest in joint performances, research projects, and faculty initiatives, possibly creating a more dynamic educational environment that’s responsive to evolving industry needs.

Participants will have the opportunity to examine real-world case studies of global collaborations and their potential synergies, while considering strategies for addressing cross-cultural challenges. Through interactive discussions, attendees may gain insights into establishing meaningful global connections and building respectful partnerships. This workshop aims to provide tools and ideas for fostering innovative synergies through global collaboration, potentially promoting greater inclusion and interdisciplinarity in conservatories worldwide.

moderated by Finn Schumacker and Stefan Gies, AEC Advocacy Task Force

In a world where competition for attention continues to intensify and grow more complex, it is essential to regularly reassess and refine one’s communication strategies. Key questions include: What are the core messages? Who is the target audience? Who are allies and adversaries? And how can we best integrate and optimise the various tools available?

For many years, AEC has built considerable expertise in lobbying, achieving success on numerous agendas, particularly within the framework of the European Union. With the 2023 Advocacy Strategy, AEC is committed to developing a toolkit that members can utilize to meet diverse needs at national, regional, and local levels. This initial version of the toolkit will be introduced during the Advocacy Pre Congress Workshop.

This session invites members to engage in discussions based on their own experiences, addressing the broad spectrum of advocacy needs—from internal efforts to influence new institutional policies to external advocacy for institutions facing political challenges to academic freedom.

These discussions aim to provide participants with a comprehensive understanding of advocacy, offering concrete examples of advocacy activities, and introducing AEC’s advocacy toolkit and its practical applications. At the same time, AEC will gather valuable insights from members about their advocacy work at both national and institutional levels, which will inform the ongoing development of the toolkit.

moderated by Monica Vejgaard and Iveri Kekenadze Gustafsson, EPASA

In this interactive discussion session, hosted by the European Performing Arts Students Association (EPASA), participants will engage in an open and exploratory dialogue on the evolving role of student representation in higher music education institutions and decision-making processes at conservatoires.

We invite students, teachers, and management level to come together to address critical questions such as: What is the role of conservatoires? What is the role of students in shaping conservatoires today and in the future? How can student voices be meaningfully incorporated?

Rather than aiming for final answers, this session seeks to collaboratively discover the right questions. Through discussions and shared reflections, we will explore diverse perspectives on the importance of student involvement. As one guiding idea of the session, we propose that students are not merely decorative cherries on the cake but essential ingredients in the very process of “baking” the educational experience.

We hope this session will create space and time for a dynamic and ever-evolving conversation about reimagining traditional roles and better-integrating student voices into the heart of higher music education institutions.