Unlike two decades ago, Artistic Research (AR) has now become an integral part of European Higher Music Education Institutions (HMEIs).

The key catalyst for this evolution was the Bologna Declaration of 1999, which compelled HMEIs across Europe to academise their music performance programmes. This shift necessitated a critical reassessment of traditional models of teaching and learning, many of which had been rooted in hierarchical, master-apprentice paradigms.

Over time, AR has established itself as a distinct research discipline within the broader research landscape. Simultaneously, it has moved beyond its former niche status within music institutions and is now increasingly embedded in the curricula of a growing number of performance and artistic study programmes throughout Europe.

This closer integration has been significantly accelerated by changes in the stance of certain research funding bodies. Not long ago, it would have been unthinkable for an AR-focused project to receive support from the EU’s Erasmus programme, given that Erasmus was traditionally viewed as funding only educational—not research—projects. This rationale was frequently cited in the rejection of earlier proposals.

A turning point came in 2020, when RAPP Lab and REACT—two projects dedicated to AR in higher music education—both received funding independently under the Erasmus+ Cooperation Partnership programme. Recognising the complementarity of their aims and approaches, the two consortia soon initiated collaboration. This culminated in a joint multiplier event held in Cologne in May 2023.

The success of this collaboration prompted further reflection, particularly on how AR-related skills and competences can be meaningfully acquired within music studies. There was also a growing interest in identifying synergies between AR’s epistemic concerns and those of educational and pedagogical research.

Responding to this momentum, the REACT consortium proposed a series of follow-up initiatives. 

One such initiative was a two-and-a-half-hour webinar titled Curriculum Development in Artistic Research, held on 24 March 2025. The webinar featured four presentations in which educators and researchers shared recent developments and ongoing challenges in embedding AR within HMEI curricula. Two speakers had been directly involved in either RAPP Lab or REACT, while the inclusion of new voices was a deliberate choice to widen the range of perspectives.

Paul Craenen, composer and sound artist, and one of the pioneers of AR in the Netherlands, argued for engaging both students and main subject teachers in AR. 

Drawing on the recent curriculum reforms at the Royal Conservatoire The Hague, he advocated for viewing AR not as an isolated entity but as a development of ‘proto-research’ elements already inherent in the main subject instruction. He proposed systematically integrating these elements with broader educational and research approaches.

Mikael Bäckman, harmonica teacher at the Piteå School of Music in Sweden and expert in folk and country music, adopted a hands-on perspective. His presentation illustrated how research questions can emerge directly from teaching practice. He demonstrated how combining transcription and imitation with AR methods can enhance student-centred learning and promote greater autonomy.

Torben Snekkestad, saxophonist, improviser, and composer, drew on the long-standing experience of the Norwegian Academy of Music in Oslo with its Masterforum classes. These sessions are specifically designed to deepen students’ reflective capacity and methodological awareness. Peer to peer learning, interaction with established artists, and interdisciplinary exchange are central components of this approach.

Evelyn Buyken and Arabelle Pare, presenting as a duo, offered insights into the evolving AR landscape in Germany. After years of relative dormancy, AR there has experienced a dynamic revival. Using concrete examples from their working environment, they demonstrated how AR can be introduced as early as the first and second study cycles to broaden students’ artistic horizons through research-led practice.

Although a final evaluation of the webinar is pending, some conclusions can already be drawn. The unexpectedly high number of participants suggests that the topic has so far been underexplored. Feedback was overwhelmingly positive, with many expressing a desire for further events to delve deeper into specific aspects of the theme.

Shortly after the webinar, AEC held its annual EPARM, the European Platform for Artistic Research in Music, in Tallinn, Estonia. The event provided an opportunity to present the outcomes of the webinar and discuss plans for follow-up activities. It also allowed for wider consultation on embedding the theme of Artistic Research Education—or How to Learn and Teach AR—as a permanent strand within EPARM’s framework.

Facilitated by EPARM Working Group Chair Stephen Broad, a panel of five experts—each involved in AR from multiple angles—took the stage. Theodore Parker represented the host institution EMTA Tallinn, also a RAPP Lab partner. Wei-Ya Lin from mdw Vienna, and Anna Maria Bordin, both members of the PEPARM working group, also participated. The panel was completed by Stefan Östersjö and Stefan Gies, who had been instrumental in initiating the webinar and coordinating the RAPP Lab–REACT collaboration.

The session, framed as a participatory round table, drew lively engagement from the audience. Three central questions guided the discussion:

  1. What are, could or should be our priorities for meaningful Artistic Research Education (ARE) in the first and second cycles of Higher Music Education?
  2. How can we collaborate to enhance the ARE we offer to third-cycle (doctoral) students?
  3. What are the key priorities for supporting the ongoing development of artistic researchers, doctoral supervisors, and the wider artistic communities within our institutions?

Two recurring themes emerged throughout the discussion. First, there was consensus that reflective practice is essential for any successful artist in the 21st century—thus highlighting the value of AR. Second, the diversity of approaches to AR—ranging from individual mentoring to structured courses—was viewed not as a weakness but as a strength, offering a rich and varied landscape for further development.

The session closed on a hopeful note. The strong, constructive participation of the audience confirmed that the theme merits ongoing attention and broader institutional commitment. There was clear agreement that EPARM meetings provide the ideal platform to develop and sustain this initiative over the long term.