Studying an orchestral instrument – new performance formats, new repertoires
Young, talented musicians who are nowadays choosing to study an orchestral instrument as their main subject at a Higher Music Education Institution (HMEI) in Europe (and beyond) will, first and foremost, face the challenge of passing a highly demanding and competitive entrance examination. To do so, they must demonstrate that they are able to master the classical and Romantic repertoire for their respective instrument.
Once enrolled at a HMEI, this repertoire will also be a key focus of their studies, both in one-to-one lessons on the instrument and in their orchestral and chamber music studies. However, the number of permanent positions in professional orchestras that perform this repertoire has been declining for years. At the same time, new opportunities are emerging for skilled instrumentalists to perform in public and thus achieve an income.
On the one hand, this is giving rise to new performance formats, new forms of communication and initiatives to reach out to new audiences – without necessarily abandoning the conventional repertoire, but with an open-mindedness towards the new. On the other hand, there is a continued popularity of symphonic sound, particularly in the fields of film, media and gaming, but also through so-called cross-over projects encompassing almost every imaginable tradition and genre.
In light of this, we are interested in whether and how AEC member institutions prepare young emerging performing artists for these changes. Does your institution provide courses addressing the matter? Are financial or structural resources lacking to do so, or is it not considered to be the task of an HMEI to do so? Does your institution encourage and support students in attending external courses that are dealing with the matter? Etc.
As AEC is currently involved in two projects for which this topic is highly relevant, we take the opportunity to find answers to these questions. On the one hand, to map the situation and to have data at hand so that we can provide our members with a reliable overview. On the other hand, to spark a debate within the AEC community on this exciting and, for the future of HMEIs, crucial topic.
We would greatly appreciate it if you could take the time to complete the questionnaire by 15 July 2026 at the latest.
- It should take no more than 10 minutes to complete.
- You can find out more about the two projects mentioned above in the introductory text to the questionnaire.
- Please note that the questionnaire should only be completed once per institution.
· Please do not hesitate to contact us if you have any questions
Survey on the eligibility for recognition of supplementary orchestral practice courses
Target group: Heads of Orchestra Music Studies at European Higher Music Education Institutions (HMEIs)
In the context of orchestral projects that are not offered by the HMEIs themselves but by external providers, the question regularly arises whether such student activities can be recognised as achievements within the framework of the students’ regular studies.
This question has among others arisen in connection with the EU-funded projects FAME’S / EUCOPSY and Musethica / 1000+ Concerts, in which the AEC is involved as a partner. Both projects offer – each in their own way – European music students on orchestra music study programmes the opportunity to explore and experience new forms of performing classical music, to engage with new forms of communication and a wide range of new repertoires.
A common feature of these projects is that they bring together young, talented musicians from across Europe in workshops and courses under the guidance of outstanding musicians and artist-educators, encouraging them to try out new ideas and thus broaden their horizons as future professional musicians. Whilst ‘1000+ Concerts’ (Musethica) focuses on chamber music, ‘EUCOPSY’ (FAME’S) aims primarily to familiarise young musicians with a new symphonic repertoire (including music for film, media and gaming, crossover, digital components etc.)
This is why the AEC has decided to gather more information on the role and significance of orchestral practice courses as part of orchestra music study programmes, the needs of AEC member institutions and the challenges they face regarding the issue.
We would be very grateful if you could take up to 10 minutes to answer a few questions, the results of which will be shared with the AEC community.
