Wessels asks the question what kind of educational space we should open in response to complex questions and challenges that permeate our contemporary, shared world (e.g., related to climate change and multiculturalism).
In times of stability, it is relatively easy – or so it seems – to educate students for a ‘known’ future. My argument in this chapter is that we live in a time of multiple transitions (Rotmans, 2015), multiple crises (Capra & Luisi, 2014; Wahl, 2016; Sayer, 1994; Harvey, 2000; Jessop, 2012) and an unknown future. We are heading for an unknown future which, because of climate change, in its two extremes may either end in complete destruction or may be shaped by a shift towards a new sustainable balance: either a breakdown or a breakthrough (Wahl, 2016). Turbulent times tend to be fertile podia for a wide array of narratives that seek to make sense of the crisis, and which present imaginaries about the future. According to Jessop (2002), capitalism develops in a sequence of spatio-temporal fixes that each end in a crisis and then lead to competing narratives. This chapter claims that it is important for the educational community – and for society at large – to develop sufficient critical language awareness in order to be able to both critically analyse and evaluate existing narratives. In addition, it is important to be able to articulate our own narratives so as to be empowered to participate in this process of imagining and co-creating the future (Kress, 2000; Harvey, 2000).
Students in Higher Music Education (HME) are not facilitated to develop both their artistic and academic musical competences. Conservatoires (professional education, or ‘HBO’) traditionally foster the development of musical craftsmanship, while university musicology departments (academic education, or ‘WO’) promote broader perspectives on music’s place in society. All the while, music professionals are increasingly required to combine musical and scholarly knowledge. Indeed, musicianship is more than performance, and musicology more than reflection—a robust musical practice requires people who are versed in both domains. It’s time our education mirrors this blended profession. This proposal entails collaborative projects between a conservatory and a university in two cities where musical performance and musicology equally thrive: Amsterdam (Conservatory and University of Amsterdam) and Utrecht (HKU Utrechts Conservatorium and Utrecht University). Each project will pilot a joint program of study, combining existing modules with newly developed ones. The feasibility of joint degrees will be explored: a combined bachelor’s degree in Amsterdam; and a combined master’s degree in Utrecht. The full innovation process will be translated to a transferable infrastructural model. For 125 students it will fuse praxis-based musical knowledge and skills, practice-led research and academic training. Beyond this, the partners will also use the Comenius funds as a springboard for collaboration between the two cities to enrich their respective BA and MA programs. In the end, the programme will diversify the educational possibilities for students of music in the Netherlands, and thereby increase their professional opportunities in today’s job market.
