• 1

AEC Learning Outcomes 2017

• 3

This project was funded with support from the European Commission. This handbook reflects only the views of the authors and the Commission cannot be held responsible for any use which might be made of the information contained herein.

Contents 1. Introduction 4 1.1 What are learning outcomes? 4 1.2 What are the AEC Learning Outcomes and why were 4 they created? 1.3 Whatarethebenefitsofusinglearningoutcomes? 5 1.4 How are the AEC Learning Outcomes structured? 7 1.5 HowdotheAECLearningOutcomesrelateto 8 thePolifonia/DublinDescriptors? 2. AEC Learning Outcomes 2017 11 2.1 AEC Learning Outcomes: 1st cycle 11 2.2 AEC Learning Outcomes: 2nd cycle 13 2.3 AEC Learning Outcomes: 3rd cycle 16 3. Why are institutions encouraged to make use of the 19 AEC Learning Outcomes?

4. How can institutions use the AEC Learning Outcomes 22 tocreateprogramme-specificlearningoutcomes?

The Learning Outcomes Working Group (2015-2017) 24 Colophon 25

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1. Introduction1.1 Whatarelearningoutcomes?

Learningoutcomesare statementsofwhat a student is expected toknow, understand and be able to doattheendofaperiodoflearning.1

Learningoutcomesare thecoreelementand focusof theEuropeanQualificationsFramework(EQF),andapplytoalllearningwithinhighereducationregardlessofthesystem,countryorinstitutionwhereapar-ticularqualificationwasacquired.

1.2 What are the AEC Learning Outcomes and why were they created?

TheAssociationEuropéennedesConservatoires,AcadémiesdeMu-sique etMusikhochschulen (AEC) has developed learning outcomesspecifictohighermusiceducation(HME).ThedevelopmentoftheseAEC Learning Outcomes (AEC LOs) began in 2001 and culminatedintheirpublicationin2009asakeypartofthedocumentReference Points for the Design and Delivery of Degree Programmes in Music, oneof the subject-based texts produced as part of theTuning pro-ject.2TheAECLOshavenowbeenrevisedtoensuretheircontinuedfitnessforpurposeindefiningtheskills,competencesandknowledgerequiredbygraduatingstudentsinHME.3

1Source:theEuropeanQualificationsFramework(EQF).TheEQFisacommonEuropeanreferenceframeworkwhichhelpscommunicationandcomparisonbe-tweennationalqualificationssystemsacrossEurope.Moredetailedinformationisavailableatwww.ec.europa.eu/ploteus/content/how-does-eqf-work.2FormoreinformationabouttheTuningproject,pleasevisitwww.tuningacad-emy.org. 3The revisionof theAECLOs tookplace in thecontextof theFULL SCORE project(2014-2017).MoreinformationabouttheFULL SCORE project,aswellas detailed information about the FULL SCORE LearningOutcomesWorkingGroupandtherevisionprocess,canbefoundatwww.aec-music.euandinthe‘AEC Learning Outcomes. Background to the 2017 Revision Process’ document, whichisavailablefordownloadinthepublicationssectionoftheAECwebsite(www.aec-music.eu/publications).

The AEC LOs were created to:

• assistinstitutionsinimplementingtherequirementsoftheBolognaProcessreformsand,morespecifically,in(re-)designingcurriculaandadoptingastudent-andcompetence-orientedapproachtocurricu-lum design;

• facilitatetheinternationalrecognitionofstudents’studiesandquali-fications,andincreasecompatibilityandtransparencywithinandbe-yondtheHMEsector;

• provide current or potential students, employers and otherstakeholderswithaclearpresentationofthemainaspectsofaHMEcurriculumanditsopportunities;

• serve as reference point for institutions and relevant stakeholderswithinqualityassuranceandaccreditationprocessesinHME;

• help employers and other stakeholders to understand thecompetencesofmusicianstheyhire.

1.3 Whatarethebenefitsofusinglearningoutcomes?

For all stakeholders – students, teachers, institutionalmanagers andemployers–therearedemonstrablebenefitstoderivefromengage-ment with learning outcomes.

For students, learning outcomes increase transparency about:

• themissionoftheinstitution;• thepurposeandeducationalgoalsoftheprogramme(i.e.thepro-grammelearningobjectives);

• thegoalstheywillbeassessedagainst(i.e.theassessmentcriteria).

For teachers, learning outcomes increase transparency about:

• therelationshipbetweentheprogrammeofstudyandthemissionofthe institution;

• the focus, priorities and overall objectives of the programme ofstudy;

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1.4 How are the AEC Learning Outcomes structured?

The AEC LOs are structured into:

• practical(skills-based)outcomes;• theoretical(knowledge-based)outcomes;• generic outcomes.

ThisthreefoldstructureisusedinordertoprovideconsistencybetweentheAECLOsandtheEQF,uponwhichallnationalqualificationframe-workswithin theEuropeanHigherEducationAreaarebased.WithintheEQF,learningisdescribedasacquiring:

• skills: described as cognitive (involving the use of logical, intuitiveandcreativethinking)andpractical(involvingmanualdexterityandtheuseofmethods,materials,toolsandinstruments);4

• knowledge:describedastheoreticaland/orfactual;5• competences:describedintermsofresponsibilityandautonomy.6

Inthetableshereafter,theAECLOsarepresentedinthreecolumns.Eachofthecolumnscorrespondstooneofthethreetypesofoutcomes(practical,theoreticalandgeneric).Thisstructureenablestheexpressionofthreedifferentaspectsofthevariousareasof learningrelevanttomusicians(suchasartisticexpression,improvisation,verbalandwrittencommunication, etc.). In this way, each learning outcome is linkedverticallytotheotherlearningoutcomes(eachlinecorrespondingtoanareaoflearning),andatthesametimereinforcestheskills,knowledgeandcompetenceslinkedtoparticularareasoflearninghorizontally.

TheAECLOsarestructuredtoexpressachievementarisingfromeachofthethreemaincycles:

• 1stcycle(Bachelor);• 2ndcycle(Master);• 3rdcycle(Doctoral).7

4‘Skills’meanstheabilitytoapplyknowledgeanduseknow-howtocompletetasksandsolveproblems.5‘Knowledge’meanstheoutcomeoftheassimilationofinformationthroughlearning.Knowledgeisthebodyoffacts,principles,theoriesandpracticesthatisrelatedtoafieldofworkorstudy.6 ‘Competence’meanstheprovenability touseknowledge,skillsandper-sonal,socialand/ormethodologicalabilities,inworkorstudysituationsandinprofessionalandpersonaldevelopment.7Thesethreecyclescorrespondtolevels6,7and8asexpressedintheEQF.

• optionsandopportunities for thedevelopmentofcourseoutlines,teachingcontentand/orsupportingmaterials;

• options and opportunities for the creation of holistic assessmentswhichenablestudentstoachievetheintendedprogrammelearningoutcomes.

For the institutional managers, learning outcomes provide a frame-work for:

• the development of programme-specific objectives appropriate totheirinstitutionalmission,contextandpurpose;

• challengingthemselvesandtheirprogrammeteamsindefiningthepurpose,valueandnatureoftheiroffer;

• thedevelopmentofcurriculatosupportknowledgeandskillacquisi-tionandenableassessmentoflearning;

• thedevelopmentofappropriateresourcesandcurricularmaterialstosupportaprogramme’sobjectives;

• supportingteachingstafftoenablestudentstoachieveeducationalgoalswhichmeet institutionalor nationalbenchmarkexpectationsandasscrutinisedwithinqualitymanagement,enhancement,reviewandassuranceprocesses;

• benchmarkingthecontentofprogrammesagainstthelearningout-comesofsimilarprogrammes,especiallyinthecontextof(thedevel-opmentof)jointprogrammes.

For employers, learning outcomes increase transparency about:

• what knowledge, skills and competencies graduates of a particu-lar institutionwillhaveacquiredoncompletionofaparticularpro-grammesofstudy.

Essentially,learningoutcomescanbeusedbyallstakeholdersasatooltoengageindiscussionsaboutwhattheprioritieswithincurriculaareor could be.

The learning outcomes for each of these three individual cycles areprovided in separate tables. In the tables, each learningoutcome isidentifiedbyacode,forexample:‘2.B.8.’.Thecodeshouldbeinter-pretedasfollows:

• the first number indicates the relevant cycle (1 for Bachelor, 2 forMaster,3forDoctoral);

• theletterreferstothetypeoflearningoutcome(Aforpracticalout-comes,Bfortheoreticaloutcomes,Cforgenericoutcomes);

• thelastnumberisareferencenumber.

Theexample ‘2.B.8’ thus refers to a theoretical learningoutcome inthesecondcycle.ItshouldbenotedthatthereisnoimpliedhierarchyamongtheAECLOs:thelastnumberineachcodeismerelyarefer-encenumberprovidedto facilitate referring tospecific learningout-comes.Thenumberingdoesnotimplyrelativeimportance.

1.5 HowdotheAECLearningOutcomesrelatetothe Polifonia/DublinDescriptors?

The AEC LOs and the Polifonia/Dublin DescriptorsformtogetheraEu-ropeanSectoralQualificationsFrameworkforHigherMusicEducationwhichinstitutionscanrelatetheirstudyprogrammesto.

The Polifonia/Dublin Descriptors provide general statements of thetypical achievement of studentswho are awarded a qualification onsuccessfulcompletionofthefirst,secondorthirdcycleoftheirHMEstudies. The Polifonia/Dublin Descriptors can further assist HMEinstitutions in comparing their programmes with other programmesacrosstheEuropeanHigherEducationArea.

TheinitialversionoftheAECLOswasmappedagainstthePolifonia/Dublin DescriptorsandtheAECLOs2017stillcloselyrelatetothem.The Polifonia/Dublin Descriptors, aswell asmore information abouttheirlinkwiththeAECLOs,canbefoundinthedocumentReference Points for the Design and Delivery of Degree Programmes in Music.8

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8The Reference Points for the Design and Delivery of Degree Programmes in Musicpublication isavailable fordownload in thepublicationssectionof theAECwebsite(www.aec-music.eu/publications).

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9 Notabene(N

B)studentsshouldbeawareoftheinterrelationshipsandinterdependenciesbetweenoutcom

es.

10‘M

anipulate’shouldbeunderstoodas‘compose’,‘arrange’,etc.‘Musicalmaterials’includesigns,sym

bolsandstructures.

11NBinthiscontexttheword‘repertoire’shouldbeunderstoodtoincludeanoriginalworkorproductioncreatedbyanindividualcom

poser,

performerorensem

ble.

2. A

EC L

earn

ing

Out

com

es 2

017

2.1

AEC

Lea

rnin

g O

utco

mes

: 1stcycle

Atthecompletionoftheir1

stcyclestudies,andasappropriatetotheirdisciplineorgenre,studentsareexpectedtobeableto:9

A.Practical(skills-based)

ou

tcom

es

1.A

.1.Dem

onstrateabilitytorealise,recreate,

create,m

anipulateand/orproducemusicas

appropriatewithintheirdisciplineorgenre

forpracticalpurposesandsettings.

1.A

.2.

Dem

onstrateeffectiveandprofes

-sionallyappropriatestudy,practiceand

rehe

arsa

l tec

hniq

ues.

1.A

.3.Dem

onstrateevidenceofcraftskills

inrelationtoavarietyofrepresentative

repertoire,styles,etc.

1.A

.4. Recognise,interpret,

manipulate,

realiseand/ormem

orisethem

aterialsof

musicthroughnotationand/orbyear.1

0

1.A

.5.Engagemusicallyinvariedensemble

andothercollaborativecontexts,including

thosewhichgobeyondthedisciplineof

mus

ic.

1.A

.6.Dem

onstrateim

provisationalfluency,

interrogating,shaping

and/orcreating

mus

ic in

way

s w

hich

go

beyo

nd th

e no

tat-

ed sc

ore.

1.A

.7.Identifykeyquestionsabout,and

undertakeself-reflectiveenquiryinto,their

ownartisticpractice.

1.A

.8. Explore,evaluate,applyandchallenge

existingscholarship,researchandperform

-ingpractices.

1.A

.9.Utiliseappropriateoral,digitaland

practicalformatstodissem

inateinforma-

tion

and

idea

s abo

ut m

usic

.

1.A

.10.Communicate

information,ideas,

problemsandsolutionstobothspecialist

andnon-specialistaudiencesthrougha

rangeofmediaandpresentationformats.

1.A

.11.Useappropriatedigitaltechnology

tolearn,create,record,produceanddis-

sem

inat

e m

usic

al m

ater

ials.

1.A

.12.Evidenceskillsintheuseofnew

mediaforpromotionanddissem

ination.

C.

Gen

eric

outc

omes

1.C.

1. Dem

onstratesystematicanalyticaland

processingskillsandtheabilitytopursue

theseindependentlyandwithtenacity.

1.C.

2. D

emonstratestrongself-m

otivation

andself-managem

entskills,andtheability

toundertakeautonomousself-studyin

preparationforcontinualfuture(life-long)

learningandinsupportofasustainable

care

er.

1.C.

3.Dem

onstrateapositiveandpragm

atic

approachtoproblem

solving.

1.C.

4.Evidenceabilitytolisten,collaborate,

voiceopinionsconstructively,andprioritise

cohesionoverexpressionofindividualvoice.

1.C.

5. Evidenceflexibility,

the

abilityto

rapidlysynthesiseknow

ledgeinrealtime,

andsuggestalternativeperspectives.

1.C.

6.Recognisetherelevanceof,andbe

readilyabletoadapt,previouslylearned

skillstonewcontexts.

1.C.

7.Develop,researchandevaluateideas,

conceptsandprocessesthroughcreative,

criticalandreflectivethinkingandpractice.

1.C.

8.Respondcreativelyandappropriately

toideasandim

petusfromothers,exhibiting

tena

city

and

the

abilit

y to

di

gest

an

d respondtoverbaland/orw

rittenfeedback.

1.C.

9.Exhibitabilitytoutiliseandapplya

rangeoftechnologyinrelationtotheir

musicmaking,includingtheprom

otionof

theirprofessionalprofile.

1.C.

10.Projectaconfidentandcoherent

persona

appropriatetocontext

and

communicate

information

effectively,

presentingworkinanaccessibleformand

demonstratingappropriateITandother

presentationalskillsasrequired.

1.C.

11. Making

useoftheirimagination,

intuitionandem

otionalunderstanding,think

andworkcreatively,flexiblyandadaptively.

B.Theoretical(knowledge-based)

ou

tcom

es

1.B.

1. Demonstrate

knowledgeofpractices,

languages,forms,materials,technologiesand

techniquesinm

usicrelevanttothediscipline,and

theirassociatedtexts,resourcesandconcepts.

1.B.

2.Exhibitsound

knowledge

ofthe

theoreticalandhistoricalcontextsinwhich

musicispracticedandpresented,including

arangeofm

usicalstylesandtheirassociated

performingtraditions.

1.B.

3. Exhibitcomprehensiveknowledgeof

relevantrepresentative

repertoirewithin

theirareaofmusicalstudy,dem

onstrating

theabilitytocreateandprovidecoherent

musicalexperiencesandinterpretations.11

1.B.

4. Drawuponknowledgeandexperience

ofknownrepertoireandstylestoexplore

and

enga

ge

with

ne

w

and

chal

leng

ing

repertoireandstyles.

1.B.

5. Dem

onstrateknowledgeofpractices,

languages,forms,materials,technologies

and

tech

niqu

es in

mus

ic an

d th

eir a

ssoc

iate

d texts,resourcesandconcepts.

1.B.

6.Recognise,internaliseandrespondto

thefundam

entalprocesseswhichunderlie

improvisationandrecreatemusicalmaterials

aurallyand/orinwrittenform.

1.B.

7.Evidenceunderstandingofthemeans

bywhichmusicianscandevelop,research

andevaluateideas,conceptsandprocesses

through

creative,criticaland

reflective

thinkingandpractice.

1.B.

8.Dem

onstrateknowledgeof–and

ability

togatherand

utilise

relevant

informationfoundwithin–libraries,internet

repositories,museums,galleriesandother

relevantsources.

1.B.

9.Identifya

range

ofstrategiesto

interpret,communicateandpresentideas,

problemsandargum

entsinmodessuitedto

arangeofaudiences.

1.A

.13.Dem

onstratearangeofcommuni-

cation,presentationandself-managem

ent

skillsassociatedwithpublicperformance.

1.A

.14.Recogniseandrespondappropriate

-lytoarangeofperformingcontexts,spaces

andenvironm

ents.

1.A

.15.Recognise,reflectuponanddevelop

theirownpersonallearningstyle,skillsand

stra

tegi

es.

1.A

.16.Leadand/orsupportlearningand

creativeprocessesinothers,

creatinga

constructivelearningenvironm

ent.

1.A

.17.

Engagewitharangeofaudience

and/orparticipantgroupsacrossarangeof

professionalworkingcontexts.

1.A

.18.Exhibitawarenessof,andactively

engagewith,issuesaffectingthepersonal

(physicalandmental)healthandwellbeing

ofmusicians.

1.A

.19.Developartisticconceptsandprojects

andthecapacitytopresenttheseprofessionally

topotentialclientsandaudiences.

2.A

.1.Realise,recreate,create,manipulate

and/orproducemusictoahighprofessional

level,expressingtheirownartisticconcepts

andreflectingawell-developedm

usical

personality.

2.A

.2.Evidencesophisticatedcraftskillsin

relationtotherepertoire,styles,etc.of

theirdisciplineorgenre.

2.A

.3.Dem

onstratebreadthand/ordepth

ofspecialistknowledgeinrelationtotheir

areaofstudyevidencingfluencyacross

arangeofstylesand/oradistinctiveand

individualvoiceinoneparticularstyle.

1.C.

12.Recogniseandreflectondiverse

soci

al,

cultu

ral

and

ethi

cal

issue

s, an

d apply

local,

nationaland

international

perspectivestopracticalknowledge.

1.C.

13.Engagewithindividualsandgroups,

demonstratingsensitivitytodiverseviews

andperspectives,andevidencingskillsin

team

work,negotiation,leadership,project

developm

entandorganisationasrequired.

1.C.

14.Recogniseandrespondtotheneeds

ofothersinarangeofcontexts.

1.C.

15.Recognisethe

physiologicaland

psychologicaldemandsassociatedwith

professional

practice,

and

evidence

awarenessof–

and

preparednessto

engagewithasneeded–relevanthealth

andwellbeingpromotioninitiativesand

reso

urce

s.

1.C.

16.Exhibitalong-term(life-long)pers-

pectiveonindividualartisticdevelopment,

dem

onst

ratin

g an

inq

uirin

g at

titud

e, a

nd

regularlyevaluatinganddevelopingartistic

andpersonalskillsandcom

petencesin

relationtopersonalgoals.

2.C.

1. Exhibitsophisticatedskillsincritical

thinkingandcriticalawareness.

2.C.

2.Dem

onstrateindependenceinall

aspectsoflearning,socialinteraction,and

opportunityidentification.

2.C.

3.Exhibitconfidenceandcompetencein

theuseofarangeofcom

municationand

socialskillsasappropriatetocontext.

2.C.

4.Exhibitappropriateleadership,team-

work,negotiationand/orcoordinationskills,

takingaccountofavarietyofartisticcontexts.

2.C.

5.Evidenceabilitytointegrateknowledge

drawn

froma

varietyofcontextsor

perspectives.

1.B.

10. Displayknowledgeofarangeofways

that

tech

nolo

gy c

an b

e us

ed in

the

crea

tion,

dissem

inationandperformanceofm

usic.

1.B.

11.Dem

onstrateknowledgeofappropriate

communicationtheoriesandtheirapplications.

1.B.

12.Identifyarangeofprofessionalworking

environmentsandcontexts,reflectingonthe

roleofthemusicianincontemporarysociety.

1.B.

13. Recognisetheskilldemandsoflocal,

nationalandinternationalm

usicmarkets.

1.B.

14.Displayknowledgeofkeyfinancial,

businessandlegalaspectsofthem

usic

profession.

1.B.

15.Exhibitfamiliarity

withconcepts

andpracticesofpedagogy,inparticular

strategiestomotivateandfacilitatemusical

creativityandlearning.

1.B.

16.

Dem

onstrateawareness

ofthe

legalandethicalframeworksrelatingto

intellectualpropertyrights,andtheability

totakeappropriatestepstosafeguard

innovation.

2.B.

1. Dem

onstratesophisticatedknowledge

ofpractices,languages,forms,materials,

tech

nolo

gies

an

d te

chni

ques

in

m

usic

relevanttotheircoreand,asappropriate,

relateddisciplines,andtheirassociated

texts,resourcesandconcepts.

2.B.

2.Exhibitcomprehensive

know

ledge

ofrepertoirewithintheirareaofmusical

stud

y,13dem

onstratingasophisticatedlevel

ofskillincreatingandprovidingcoherent

musicalexperiencesand

interpretations

whi

ch e

ngag

e w

ith b

oth

wel

l- an

d le

sser

-, orunknownrepertoire.

2.B.

3.Developandextendtheirknow

ledge

ofthetheoreticalandhistoricalcontextsin

whichmusicispracticedandpresented.

A.Practical(skills-based)

ou

tcom

es

A.Practical(skills-based)

ou

tcom

es

B.

Theoretical(knowledge-based)

ou

tcom

es

B.

Theoretical(knowledge-based)

ou

tcom

es

C.

Gen

eric

outc

omes

C.

Gen

eric

outc

omes

2.2

AEC

Lea

rnin

g O

utco

mes

: 2nd

cycle

Buildingontheskillsacquiredinthe1

stcycle,atthecom

pletionof

thei

r 2ndcyclestudies,andasappropriatetotheirdisciplineorgenre,

studentsareexpectedtobeableto:12

12NBstudentsshouldbeawareoftheinterrelationshipsandinterdependenciesbetweenoutcom

es.

13NBinthiscontexttheword‘repertoire’shouldbeunderstoodtoincludeanoriginalworkorproductioncreatedbyanindividualcom

poser,

performerorensem

ble.

• 13

2.A

.4.D

emonstrateabilitytocreate,realise

andexpresstheirow

nartisticconcepts,

ensuringthatanyareasofrelativeweakness

inrelationtopractice,rehearsal,reading,

aural,creativeandre-creativeskillshave

been

add

ress

ed.

2.A

.5.Playaleadingroleinensem

bleand/or

othercollaborativeactivity.

2.A

.6. Dem

onstrateahighlevelofimprovi-

sationalfluency.

2.A

.7. Evidenceabilitytodevelop,research

andevaluateideas,conceptsandprocesses

asappropriatewithintheirdiscipline,genre,

areaofstudy,and/orownartisticpractice.

2.A

.8. Dem

onstrateexcellentcom

mandina

rangeofcom

municationmodesassociated

withtheirpracticeanditspresentationto

bothspecialistandnon-specialistaudiences.

2.A

.9.Exhibitcompetenceintechnological

utilisationandapplication.

2.A

.10.Takeresponsibilityfortheengagem

ent

betweencontext,audienceandmusical

material,

projecting

theirideasfluently

andwithconfidenceinawidevarietyof

performancesettings.

2.A.

11.Withinthecontextofthemusical

learningenvironm

ent,recogniseandidentify

individuallearnersneeds,andexhibittheability

differentiateandfacilitateactivityaccordingly.

2.A

.12.Engagewithasignificantlylevelof

criticalself-reflectioninrelationtotheirown

personallearningstyle,skillsandstrategies.

2.A

.13.Evidenceabilitytotranslatetheoretical

knowledgeintopracticalactivitiestoenable

musicallearningandcreativeprocessesin

othe

rs.

2.A

.14.Dem

onstratesensitivitywithregard

tothesubjectsoftheirresearch,respecting

diversityinthecharacteristicsofindividuals

andcontexts,andconsideringtheethical

dimensionsoftheirwork.

2.A

.15.Inrelationtorelevantself-identified

professionalpathwaysoropportunities,

demonstratesophisticatedunderstanding

oftheworkingfield,andidentifyand

formulate

strategies

for

developing

enga

gem

ent w

ith th

em.

2.C.

6. Dem

onstrateindependent

thought

supportedbyrationalandevidence-based

applicationofknowledgeinundertakingtasks

that

may

be:

•extendedandcomplex

•inneworunfamiliarcontexts

•baseduponincompleteorlimitedinformation.

2.C.

7.

Recognise

the

interrelationship

between

theoryand

practice,and

applysuchknowledgetounderpinand

strengthentheirownartisticdevelopment.

2.C.

8.Dem

onstrateabilityandwillingnessto

communicateknowledgeandideasthrough

modesotherthannotation,performanceand/

orothermusicaloutputs(recordings,etc.).

2.C.

9. C

onsis

tent

ly an

alys

e, in

terro

gate

, util

ise,

andrespondcreativelyandappropriatelyto

verbaland/orwrittenfeedback,ideasand

impetusfromothers.

2.C.

10.Initiateactivitiesorprojects,and

workwithothersthroughinteractionor

colla

bora

tion.

2.C.

11. Exhibitsophisticatedandappropriate

publicpresentationskillsinallaspectsof

theirpracticeandactivity.

2.C.

12.Exhibitasensitivitytothelearningstyles

andneedsofothersandabilitytomotivate

andfacilitatecreativityandlearning.

2.C.

13.Engagewithindividualsand/orgroups

asappropriateandinrelationtoboth

theirown,andawidervarietyof,cultural

contexts.

2.C.

14.Engageandshareinformationwith

specialistandnon-specialistmusiciansand

audiencesacrossabroadspectrumofsociety,

demonstratingawarenessofindividualand/

orgroupreactionstosuchinformationand

theabilitytorespondappropriately.

2.C.

15. Exhibitconfidenceinusingtheirown

psychologicalunderstanding

–and

their

senseoftheirownwellbeing,andthat

ofothers–tounderpindecisionmaking

inavarietyofsituationsassociatedwith

professionalpractice.

2.C.

16.Dem

onstratea

positiveattitude

tow

ards

, willi

ngne

ss to

eng

age

and

inte

rest

in,

on-going(life-long)

personaland

professionaldevelopment.

2.B.

4.Exhibitknow

ledgeofmusicalstylesand

asophisticatedandcriticalunderstanding

oftheirassociatedperformingtraditions.

2.B.

5. Develop,presentandrealiseprogrammes

that

are

cohe

rent

and

suita

ble

to a

wid

e ra

nge

ofdifferentperformingcontexts.

2.B.

6.Exhibitsophisticatedandembodied

know

ledgeofim

provisationalpatternsand

processes,andtheabilitytoapplythese

freelyinavarietyofcontexts.

2.B.

7.Evidenceunderstandingofarange

ofsophisticatedinvestigativetechniques,

enabling

the

application

ofselected

approachestodevelop,frame,researchand

evaluateideas,conceptsandprocessesas

appropriatewithintheirdiscipline,genre,

areaofstudyand/orartisticpractice.

2.B.

8.Identifyandutiliserelevantliterature

and/orotherresourcesasappropriateto

informtheirpracticeand

developm

ent

withintheirdiscipline,genre,and/orarea

ofstudy.

2.B.

9.Identifyandemploysophisticated

rese

arch

, st

udy,

co

mm

unic

atio

n an

d

presentationtechniquestoindependently

developanddeliveranextendedand/or

in-depthartisticproject.

2.B.

10.Utilisespecific

technologiesto

enablethecreation,dissem

inationand/

orperformanceofmusicappropriateto

theirdiscipline,genre,areaofstudyand/or

artisticpractice.

2.B.

11.Dem

onstrateathoroughunderstanding

ofpedagogicaltheoriesrelevanttomusic

educationinoneorm

orespecificeducational

contexts.

2.B.

12.Dem

onstrateathoroughunderstanding

oftheroleofthemusicianincontemporary

socie

ty,

rese

arch

ing,

en

gagi

ng

with

an

d reflectinguponspecificrelevantprofessional

workingenvironmentsandcontexts.

A.Practical(skills-based)

ou

tcom

es

B.

Theoretical(knowledge-based)

ou

tcom

es C

. G

ener

ic

ou

tcom

es

• 15

3.C.

1.Exerciseprofessionalstandardsinresearchandresearchintegrity,adheringtoand

encouragingdevelopm

entofresearchandartisticpractice.

3.C.

2.Identifykeyquestionsinrelationtotheirareaofstudy,considerthesecriticallyand

produceinnovativesolutions.

3.C.

3.Engagewiththewidercom

munityofresearchers,practitionersandcreators,be

responsivetocriticalengagem

entw

iththeideasofothersandreceptivetocritiqueof

theirownwork.

3.C.

4.Establishandmaintaincooperativerelationshipswithpeers,seniorcolleagues,

students,artisticcollaboratorsandotherstakeholders,withsensitivitytoequality,

diversityandculturalcontext.

3.C.

5. Engageinresearchwithim

pactandcom

municateitsoutcomestodiversespecialist

andnon-specialistaudiences,enablingpublicunderstandingofthesubjectand/orw

ider

artis

tic in

sight

.

3.C.

6.Approachresearchtasksw

ithenthusiasm,perseveranceandintegrityanddevise

strategiestounlocktheirownfullpotential.

C

. Gen

eric

out

com

es16

3.A

.1.Identifyand

contextualisedynamicresearchquestions

fromtheirartisticpracticeortheirmusicaldom

aintoextend

understandingandcreatenewknowledgeandresearchoutputs.15

3.A

.2.Define,plan,m

anageanddeliverresearchactivitiesandprojects,

selectingandjustifyingappropriatem

ethodologicalprocessesand

resources,includingpossiblefundingopportunities,whilerecognising,

evaluatingandminimisinganyidentifiedrisksand/ornegativeimpacts.

3.A

.3. Support,collaboratewithandleadcolleagues,usingarange

ofpractical,facilitative,com

municationandnetworkingskillsto

influencepracticeandpolicyindiverseenvironm

ents.

3.A

.4.System

aticallyandcriticallyanalyseandevaluatetheirow

nandothers’researchoutcom

es.

3.A

.5.Identifythevalueoftheirresearchoutputsinsocial,cultural,

ethi

cal a

nd e

cono

mic

term

s.

3.A

.6.D

ocum

entanddemonstrateoriginalinsightsandinnovative

solutionsintherealisation,recreation,creation,manipulationand/

orproductionwithintheirm

usicalactivity/practice.

3.A

.7.Considertheimpactoftheirresearchondiverseaudiencesand

facilitateinsightforbothspecialistandnon-specialistaudiences.

3.A

.8.Seekopportunitiestoexploitandfurtherdevelopknowledge

derivingfromtheirresearch.

3.B.

1. Recognise,engagewith,andhelptomaintainstandardsof

excellenceintheirresearchfield.

3.B.

2.Seek,discover,access,retrieve,sift,

interpret,

analyse,

evaluate,manage,conserveandcommunicateknow

ledgederived

fromrelevantliteratureand/orotherresourcesasappropriate

withintheirareaofstudyand/orartisticpractice.

3.B.

3.Identify,selectandemployeffectiveandappropriateresearch

inquiryanddissem

inationtechniquesandmethods,takingaccount

oftheneedsofarangeoftargetaudiences.

3.B.

4. Engagewithprofessionalstandardsinresearchpractice,

acknow

ledgingethical,legal,andhealthandsafetyimplications

oftheresearchundertaken,itsnationalandinternationalcontext,

andtheow

nershiprightsofallthoseaffectedbytheirresearch.

A.Practical(skills-based)outcomes

B.

Theoretical(knowledge-based)outcomes

2.3

AEC

Lea

rnin

g O

utco

mes

: 3rdcycle

Buildingontheskillsacquiredinthe1s

t and

2ndcycles,atthecompletionoftheirstudies(whereappropriate,andaccordingtotheindividual

natureofthe3

rdcyclecurricula)studentsareexpectedtobeabletoworkautonomouslyinthepursuitofnewknowledgeto:14

• 17

14 NBstudentsshouldbeawareoftheinterrelationshipsandinterdependencies

betw

een

outc

omes

.15I.e.theproductsofresearchwhichcanbepublishedthroughanyformof

publicdissem

ination,presentation,performanceorexhibition.

16D

uringtherevisionprocess,theLearningO

utcomesW

orkingG

roup

decidedtoretaintheoriginalstructureofthe3

rd c

ycle

lear

ning

out

com

es.

Therefore,theseareprovidedintw

oseparatetables:onetablewithpractical

and

theo

retic

al o

utco

mes

, and

a se

cond

tabl

e w

ith g

ener

ic o

utco

mes

.

unhelpfullyappearfarmoredifferentiatedthanisnecessaryorindeedaccurate.Suchdifferentiationcanquicklyinhibit(international)studentmobility–whetherduringanindividual’sstudywithinanygivencycle,betweencycles,oruponentrytotheworkplace–andthusinhibitthefuturesuccessofstudentsandinstitutionsalike.ThiscanbeavoidedbyreferencingdirectlytothecommonEuropeanmusic-specificAECLOswhenwritinginstitutionalorprogrammelearningoutcomes.

ItshouldbenotedthattheAECLOsarenota‘onesizefitsall’tool:the protection and preservation of individual institutional autonomyanddiversitywas a keyprincipleof theTuning project; at the sametime,theindependenceoftheacademics,teachersandothersubjectspecialistswholeadcurriculumdevelopmentanddeliveryacrossAECmemberinstitutionsandparticipateinqualityenhancementandreviewprocesses at local, national and international levels is prerequisiteto excellence. HME institutions uphold the principles of shared andcelebratedvaluesandstandardswhichderivefromtheTuningproject,butequallytheyrightlyclaimtheabilitytodeterminewhatisimportanttotheminlightoftheiruniquenationalandinstitutionalperspective,mission,visionandcontext.It ishelpfultoHMEinstitutionstoassessif,aspartoftheirqualityassuranceprocesses,theyaremeetingtheirbenchmarked goals and to provide transparency about them for allstakeholdersthroughthelearningoutcomesarticulatedforanygivenprogrammeofstudy.TheAECLOsseektoprovideaframeworkwhichassistsinstitutionsintheHMEsectorinthisaspiration.

Finally,institutionsshouldbeawarethatthedevelopmentoftheAECLOs has taken place in full synergywith the other strands of AEC’songoingworktosupportandenhancetheEuropeanHMEsector:

• the AEC LOs have been drafted following the consultation of awide rangeof stakeholderswithin theAECmembershipand in itspartnerorganisations.Assuch,theyareexplicitlydesignedtotakeaccountoftheinterestsofthevariousAECWorkingGroups,memberinstitutionsandpartners;

• theAECLOshavespecificrelevanceandapplicabilitytoinstitutionsconsideringtomakeuseofthereviewandaccreditationservicesofAEC’spartnerorganisationMusiQuE–MusicQualityEnhancement.MusiQuE is an independent external evaluation body which aimsto assist HME institutions in their own enhancement of quality

• 19

3.Why are institutions encouraged to make use of the AEC Learning Outcomes?Firstandforemost,theAECLOsaredesignedtostimulatereflection,innovation and creativity within curriculum review and developmentwithintheHMEsector,aswellastoencourageindividual institutions– and their quality assurance agencies andministries – to recogniseandcelebrategoodandpioneeringpracticeinthedevelopmentanddelivery of learning within national systems. If embraced as a keycurriculum enhancement tool, the AEC LOs:

• can aid dialogue between students, teachers, institutional managers andemployers;

• stimulate new approaches to delivering, supporting and assessinglearning;

• underpin the development of new partnerships and associationsbetweenHMEinstitutionsandemployers;

• ensure that recent developments in the subject area, society andmusic industry are taken into appropriate consideration whendesigningeducationalprogrammes.

Importantly,however,institutionsofferingprogrammesofstudyinHMEare also encouraged to engage with the AEC LOs because they are designedtosupportthesectorinimplementingtheBolognaProcessreforms.TheAECLOsaimtoprovideasharedunderstandingacrosstheEuropeanHigherEducationAreaofwhatgraduateswillhaveachievedatanygiven level.Atnational level,ministriesandqualityassuranceagencieshaveinevitablyapproachedthecreationofframeworksforthemanagementofhighereducationqualityfromagenericperspective.InstitutionswithintheHMEsectorcansometimesstruggletointerpretorimplementthesemoregenericapproaches,andthereisanincreasedlikelihoodthatdifferentnationalsystems–wheninterpretedatsubject-specificlevel,andalongsideparticularnationalHMEtraditions–may

• 21

and to improve the quality of HME across Europe and beyond.Through MusiQuE, the HME sector possesses its own Standards for Institutional Review, Programme Review and Joint Programme Review,whichmakeexplicitreferencetotheAECLOs;17

• thedevelopmentoflearningoutcomesspecifictoHMEbytheAECisasignificantcredittothesector,whichisrelevantalsobeyondtheconfinesofHME.

4. How can institutions use the AEC Learning Outcomes to create programme-specific learning outcomes?Thecreationofprogramme-specificlearningoutcomesisanengagingprocesswhich hasbeen approached indiverse and creativeways incountries across the European Higher Education Area. The AEC’s2007handbookCurriculum Design and Development in Higher Music Educationprovidesauseful framework for institutionalconsiderationwhen undertaking programme design, including the creation ofappropriatelearningoutcomes.18Buildingupontheprinciplesoutlinedin this handbook, the followingpoints shouldbeparticularly kept inmindwhendesigningprogramme-specificlearningoutcomes:

• The AEC LOs can be used as source of inspiration for the developmentofprogramme-specific learningoutcomes: Just as eachindividualinstitutionpossessesitsownuniqueidentity,theAECLOsarenotdesignedtobeadoptedintheirentiretybyanyparticularprogramme,ortobe‘copy-pasted’directlyintothecurriculum.Theyshouldinnowaybeunderstoodasfocusingonthefulfilmentofasetofprescriptivenormativeexpectations,butratherbeusedasasourceofinspiration:asexamplestosupportanddrivedialogueaboutthecontentofaninstitution’sprogrammes.Thisdialogueshouldinvolveall stakeholders (students, teachers, institutional managers andemployers)toensurethatallneedsareaddressed.

• TheAECLOsrepresentanoverarchingsetofskillsandcompetenceswithrelevancetoHME:TheAECLOsaddressarangeofdifferent

17MoreinformationaboutthereviewandaccreditationservicesofMusiQuEandthe Standards for Institutional Review, Programme Review and Joint Programme ReviewcanbefoundattheMusiQuEwebsite(www.musique-qe.eu).

18 The Curriculum Design and Development in Higher Music Education hand-bookisavailablefordownloadinthepublicationssectionoftheAECwebsite(www.aec-music.eu/publications).

• 23

theirownmorespecificlearningoutcomesforsuchspecialisedstudyprogrammes.19

• Learning outcomes should reflect the institutional vision: Consistency between the institutional vision and mission, theprogramme goals and the curriculum is an essential underpinningin the work to create learning outcomes. The learning outcomes,whether developed for a programme as a whole or for a specificcurriculumelementorcourse,shouldreflecttheinstitutionalcontext,prioritiesandstrategy.

• Learningoutcomesshouldbeclearlyexpressedandcommunicated:Theuseofclearandsimplelanguagetoexpresslearningoutcomessupports their communication and comprehension to the greatbenefitofallstakeholdergroupsassociatedwithorinvolvedintheprogramme of study. Further, it is evident that the clear andwellcommunicatedLOsallowtransparencyinthecreationofadmissionand assessment criteria.

• The AEC LOs use a broad definition of ‘entrepreneurship’:UnderpinningtheAECLOsisanunderstandingofentrepreneurshipas a transversal key competence as defined by the EuropeanCommission’s EntreComp conceptual model: “Entrepreneurship iswhenyouactuponopportunitiesandideasandtransformthemintovalueforothers.Thevaluethatiscreatedcanbefinancial,cultural,or social.”20Entrepreneurshipisthereforeunderstoodnotonlyasasetof‘hardskills’,suchasbusinessplanningandmarketing,butalsoas theability todevelopcreativeandpurposeful ideas, tobelieveinone´sability,andother‘softskills’closelyassociatedwithartisticpractice.Forthisreason,entrepreneurshipisthereforeanintegratedaspectofmanyoftheAECLOs.21

areasoflearning:artisticexpression,repertoire,practice(rehearsal,reading, aural, creative and re-creative), ensemble, improvisation,artistic research, verbal and written communication, technology,publicperformance,musiciansinsociety,learningandteaching,andself-management(sometimescalledentrepreneurship).Theseareasare,however,notspecificallynamedorlabelledwithintheAECLOstoavoidpreconceivedassumptionsabouttheirrelevanceorrelativeimportancewithinspecificprogrammecontexts.TheAECLOsshouldinstead be read as an overarching set of skills and competences,withinwhicheachlearningoutcomecanpotentiallybeaddressedatsomepoint–toagreaterorlesserextentasappropriate–withintheprogramme.Itshouldbenotedthattherearenocompulsorylearningoutcomes:eachinstitutionmustevolveandagreeuponitsownsetoflearningoutcomesforeachgivenprogrammeItisnotexpectedthatevery,or indeedany,programmeshouldorcouldembodyallofthearticulatedAECLOs.However, it isequallyencouragedthatinstitutions utilising the AEC LOswithin curriculum review, designand/orenhancementprocessesshouldengagewitheachandeverylearningoutcome.Doingsowillensurenotonlythattheaspirations,assumptionsandconcernsofallstakeholdergroupsmaybemetinfull,butalsothatindividualinstitutionscanexplorecreativesolutionsto more challenging and/or new areas of competence within thecurriculumdevelopmentprocess.

• TheAECLOsareatooltodevelopprogramme-specificlearningoutcomestoaddressspecificstudyprofiles: The AEC LOs aim to addresscompetencesrelevanttomostHMEprogrammes;theyarenotdesignedtodifferentiatebetweenorexpressindetailoutcomesassociatedwithspecificprogrammespecialisationswithinthebroadlydefineddisciplineofmusic. Institutions thereforeneed todevelop

19 In thecaseofmusicpedagogyspecialistprogrammes, thereareanumberofexisting learningoutcomes formulationswhichmayserveasan inspirationtoprogrammeteamsalongside,andincomplementto,theAECLOs:asetoflearningoutcomes formusic teachers inschoolshavebeendevelopedwithintheframeworkoftheMusic Education Networkproject.Theyareavailableatwww.menet.info.Similarly,asetoflearningoutcomesforvocalandinstrumentalteachers have beendevelopedby thePolifoniaWorkingGroup INVITE – In-ternationalNetworkforVocalandInstrumentalTeacherEducationinthe2010Handbook Instrumental and Vocal Teacher Education: European Perspectives whichisavailablefordownloadinthepublicationssectionoftheAECwebsite(www.aec-music.eu/publications).

20Source:www.ec.europa.eu/jrc/en/entrecomp.21TheworkofthePolifoniaWorkingGrouponentrepreneurshipprovidesafur-therusefulsourcefordevelopinglearningoutcomesinthisarea.Moreinformationaboutmusicalentrepreneurshipisavailableatwww.aec-music.eu/musicalentrepreneurship.

• 25

The Learning Outcomes Working Group (2015-2017)ClaireMera-Nelson(Trinity Laban Conservatoire of Music and Dance, London, UnitedKingdom)

Ankna Arockiam (RoyalConservatoireofScotland,Glasgow,UnitedKingdom)

AnitaDebaere(Pearle*, Performing Arts Employers Associations League Europe,Brussels,Belgium)

IngridMariaHanken(NorwegianAcademyofMusic,Oslo,Norway)

JacquesMoreau(CEFEDEMRhône-Alpes,Lyon,France)

Ester Tomasi-Fumics (UniversitätfürMusikunddarstellendeKunstWien,Austria)

AngeloValori(ConservatorioLuisaD’Annunzio,Pescara,Italy)

JefCox(AECOffice,Brussels,Belgium)

ColophonAugust2017Design:Taluut

AssociationEuropéennedesConservatoires,AcadémiesdeMusiqueetMusikhochschulen(AEC)AvenuedesCeltes/Keltenlaan201040Etterbeek,BrusselsBelgium

email: info@aec-music.euaec-music.eutel:+3227371670

• 27