"<< Background >>Digital technologies in education are an area of strong development in innovation in all sectors of higher education. However, in music education, this process is held back by difficulties in the development of training in instrumental and vocal practise, which may be particularly complex in the case of multiple performers who play and/or sing together, particularly in the example of chamber music. Performing together cannot be assimilated to a lecture or discussion, in which teachers and students interact verbally. As a result, the didactical development for the primary departments in this area is stalled, although there are some promising technological solutions. It is necessary to test these solutions in the academic environment to see how well they meet the needs of higher education. This could be the starting point for a methodological, technological and organizational study toward an overall assessment of current technical possibilities and their possible practical uses, by creating a specific model of integrated digital didactics tailored to the needs of higher education in chamber music. The research and development of new tools, materials and pedagogical models for higher education in music will respond to the needs of the sector at various levels: 1) for teachers, to define some categories of teaching activities that can be completed with the use of digital technologies and their technological requirements, together with the required digital skills and any necessary training to achieve these skills; 2) for students, to define requirements for equipment, technologies and digital skills needed to participate in such ""digitalized"" activities; 3) for directors, to define the requirements, available options and levels of implementation for the organization and facilities in institutions of higher musical education.<< Objectives >>The main objectives of the project are to: -- analyze the state of the art in digital technologies suited to teaching practices in chamber music, with particular reference to solutions for synchronized live streaming between different environments, thus allowing several musicians to perform together while distanced; -- explore the different types of usage and educational settings in which digital technologies could find a valid application, in addition to analyzing related requirements in technological and digital skills of teachers and students; -- define a model of integrated digital education specific to higher education in chamber music in various forms, such as integrating instruction live and through distance learning. This is proposed by means of digital technologies adopted for students in attendance in order to develop their ability to use music technologies, and through the creation of mixed live / virtual music classrooms with part of the students in live attendance and others participating through distance learning;-- articulate the model on different levels in order to make it applicable in different contexts with different needs and means; -- offer a concrete and immediately applicable contribution to higher education in music in terms of an innovative methodological model for integrated digitalized education in the field of chamber music; -- make available to the sector recorded tools and resources to facilitate the application of the method;-- propose, through the direct and indirect impact of this project and by the dissemination of the project results, validation for the integration of digital technologies in chamber music instruction in higher education in music, particularly in consideration of the fact that this instruction is currently held back by the lack of specific research.<< Implementation >>The following primary activities are planned in order to achieve the project objectives: - a collection of best practices in the use of digital technologies in higher music education; - research on the international state of the art in digital technologies for streaming available through open source applications; - analysis of the needs for integrated digital teaching in higher musical education, with particular reference to chamber music; - elaboration of an innovative methodological model for integrated digital didactics in the sector, applicable at different levels and in different situations; - analysis and documentation of the requirements for the implementation of integrated digital instruction in higher music education at different levels, including requirements for equipment, internet connectivity and any technological skills required of teachers and students; - collection and archiving in an open repository of digital educational content useful for the implementation of the proposed innovative teaching methods in this specific field; - training of both teacher and researchers in project partner institutions to develop and test the methodology, texts and tools of the project; - project pilot testing in the participating conservatoires from 6 European countries (IT, RO, HU, ES, BE, SI) for field verification of the proposed model of integrated digital education in chamber music; - production of documents, materials and tools useful for the development of innovation in higher education on chamber music content consistent with the outcomes of the pilot testing; - wide distribution of the model and results throughout Europe and internationally.<< Results >>The IVMS project is expected to produce: - Project result no. 1: a research report on “Digital technologies in Higher Education for Chamber Music. State of the Art Analysis” ; - Project result no. 2: the “New In Media Stat Virtus Method for Distance Training in Vocal – Instrumental Chamber Music: Guidelines for Teachers ; - Project result no. 3: the “New In Media Stat Virtus Method for Distance Training in Vocal – Instrumental Chamber Music. Handbook for Applied Technologies” ; - Project result no. 4: the web database of educational resources “In Media Stat Virtus Repository: digital OERs for training in vocal – instrumental chamber music”; - Project result no. 5: the distance learning program for teachers “eCourse – Introduction to the In Media Stat Virtus method for the development and delivery of distance training in vocal – instrumental chamber music”; - Directed experimentation and validation of said results in six European institutions of higher musical education and/or conservatoires; - European and international distribution of the results through events open to professionals in the sector in six countries and the open distribution and online use of results."

The COVID-19 crisis has hit music industry – both in its performing and educational aspect – particularly hard, becoming therefore one of the most disadvantaged area, in every respect. The traditional, personal way of music education and training – as the traditional mode was not passable anymore – needed to undergo a rapid digital adaption. The coronavirus pandemic revealed: reality makes us always creative. The digital environment raised a lot of tricky factors: besides being aware of these, we realised the immediate necessity of “recycling” the traditional elements, and/or finding creative, new focuses. There has been an ongoing, clamant need to enhance skills development and digital competences that reinforce creativity, contributing to the recovery and resilience of the music education sector. We have to become aware and acknowledge that all the challenges the cultural and creative fields are facing in this global crisis, represent also the opportunities for them to renew approach and methods, also find a new, creative way of music teaching, without sacrificing its main definition.Purpose:The aim of the project is to develop digital pedagogical competences of HEIs’ music educators through a) the development and use of an innovative audio database of parts/voices of the vocal, instrumental music compositions comprised within the music curriculum, b) the development of progressive integrated digital curriculum of vocal, instrumental, theoretical music teaching and training subjects.With the utilization of high-quality digital content (audio database tool and digital focused curriculum), the project improves music educators’ practical skills in digital music teaching and training with contribution to the modernisation and digital transformation of HEI education and training systems.Partnership members:Coordinator: Eszterházy Károly University Eger (H)Partner 1: University of Rzeszów (PL)Partner 2: Conservatorio Lorenzo Perosi Campobasso (I)Partner 3: Conservatorio Ottorino Respighi Latina (I)Partner 4: Academy of Arts in Banská Bystrica (SK)Partner 5: Babeş-Bolyai University Cluj-Napoca (RO)Partner 6: Zeneiroda Kft. (H)The partnership consists of higher education institutions from the field of arts/art communication, and a digital technology expert enterprise.Project outputs:1) Methodological guide for music instrumental, vocal and theoretical HEI teaching/training staff in order to approaching more digital and resilient recovery from Covid-192) Innovative audio database of parts/voices of the vocal, instrumental music compositions, comprised within the music curriculum, to meet the need for modernisation and digital transformation of music education and training systems3) Progressive integrated digital curriculum of vocal, instrumental, theoretical music teaching and training subjects at partner HEIs4) Academic publications communicating project results for digital education readiness and informing the educational community about the project outcomesMethodology to be used in carrying out the project:a) Identify, edit, create best practices in online and blended music education and training by music educators and digital technology expertsb) Create and use online resources and tools as well as manuals necessary for digital music education activitiesc) Share resources and expertise, collaborate with digital technology expertsd) Promote networking, strengthen the strategic and structured cooperation between HEIsDescription of the results and impact envisaged:In response of the Covid-19 situation, the project aims to obtain updated, qualitative and modern resources, tools for music teaching and training; a multidimensional, multifocal, complex, transformative approach; helps the implementation of digital components and viewpoints into the traditional music teaching, enhancing also the recovery of all the paths of communication in/through music. The partnership cooperation complements and adds up the efforts to help the cultural sector recover from crisis situations, thereby also contributing to the EU’s strategic priorities.

ICSS (International Creative Soundtrack Studies) is a strategic partnership with the aim to develop an international programme in music composition for the audio-visual named InMICS (International Master in Composition for Screen).The partnership is composed of 4 higher artistic education institutions with a great expertise in teaching music composition for the audio-visual and of 4 professional partners active in the fields of cinema and audio-visual arts and showing a particular interest in musical creation: Lyon CNSMD, coordinator, and Aubagne International Film Festival (France), KASK & Conservatorium/School of Arts Gent and Film Fest Gent (Belgium), Conservatorio di Musica G.B. Martini and Fondazione Cineteca di Bologna (Italy), Faculty of Music/University of Montreal and Permission Inc specialised in copyright clearance. (Canada).In addition to the development of the curriculum, a study was written and published. It consisted of a mapping process to provide an overview of curricula dedicated to composition for screen offered in Europe and North America. The analysis was based on identifying the existing of those curricula with the institutions specialised in audiovisual studies. Another objective was to determine current characteristics of the professional sector in terms of artistic, technological and economical aspects linked to music creation for screen.This study relied on the feedback of various representatives of the sector: teachers and students in composition for screen, sound design and audiovisual studies, and professionals involved in the large range of the audiovisual production area. Partners developed questionnaires and did a series of interviews.This study has been very useful to the partnership as it gave precise keys of understanding on the challenges and needs of the professional area in order to build a curriculum which corresponds to the sector specificities.The innovative aspect of ICSS is both powered by objectives and its structure relying on a right balance between the involvement of academic institutions and professional structures, profiting from the participation of KASK & Conservatorium/School of Arts Gent, educating both musicians and filmmakers and the association of 2 North American partners bringing their enriching expertise and their specific network to the project.The InMICS curriculum, ready to be integrated to an international academic offer, is unique in its field since it concentrates its training on the pooling of expertise and specific teaching methods of the 4 educational partners, on the cooperation between composers and audiovisual artists and on the immersion of students within an international network of professionals. InMICS brings together the academic and the professional world in order to enhance the employment opportunities of its graduate students.The singularity and innovative peculiarity of this educational offer lies in the very specific structure of the curriculum awarded by a double diploma. According to his/her profile and background and his/her professional project, each student will be take part in an individualised two-year programme, taking advantage of a double specialisation in two different institutions but also of courses delivered simultaneously to the entire group of students by the 4 institutions through e-learning courses or visio-conference.The quality of the international programme InMICS relies on the expertise of the partnership members and on the leading international figures of field that have been associated to the project. The diversity the stakeholders, their expertise, their background, their activity and their skills enlarged the perspectives in terms of geographical coverage, aesthetics and working habits. During the 3 years of this cooperation, the partnership conceived pedagogical and artistic pilot activities, supervised by professional experts, in order to experiment pedagogical contents and methods and to precisely and knowingly confirm choices and decisions taken during the development of the InMICS programme.The communication and dissemination activities have been key aspects of the process. The partnership has promoted the work done and hopes that it will launch new initiatives via the use of dedicated tools: website, Facebook page, newsletters, flyers, banners and videos. On top of that, partner festivals, known for their large audience and international dimension, participated in the large outreach of the dissemination events: a large panel of students, teachers and professionals, in order to recruit the best possible candidates at an international level and to exchange good practices.One coupled and sustainable effect of the activities and results of the project is to strengthen the cooperation between the academic and the professional fields, the promotion of this specific sector of the artistic creation, still under-represented in the academic area, and the incentive to create new pedagogical offers.

"This project is in a some extent, the development of "" Bluebird"" project created by teachers from Gällivare Kulturskola and Pitea Music & Dance School in 1996. The main aim of that was to teach and promote music improvisation both among the teachers and pupils. For nearly 20 years a group of teachers, pupils and students from Norrbotten/the north part of Sweden used to have at least once a year three days meeting, to play - improvise with and for each other. Thanks to Erasmus plus program this idea could developed and was continued with two others international partners in a much wider area, by establishing a schools partnership project called: ""Improvisation joints us gives us inspiration"". Our partnership consists of four schools from three countries: Sweden represents Gällivare Kulturskola and Pitea Musik och Dansskola, Poland - The Secondary Music School in Kielce, Italy - Frosinone Music Conservatory. The main project's objectives were:1. Develop, test, adapt and adopt innovative practice relating to music improvisation i.e.: the new learning / teaching materials and tools for teachers and pupils; base on the Swedish & Italian experiences exchange; 2. Improve competence in teaching rhythmic by introducing the new guidance and tools of the Dalcroze Eurhythmics teaches concepts of rhythm; provides by the Polish partner.3. Increase the music teachers skills and knowledge thanks to peer learning, exchanges experience, and implementation the new materials and tools created during the project. 4. Better understanding by all project’s participants, both pupils and teachers, the social, ethnic, linguistic and cultural diversity of the present EU’s society.The activities undertaken to achieve the project's goals:1) two joint staff training for teachers organized in Sweden and Italy with the aim to develop their knowledge and skills, exchanges experience, peer each other work, to create and share new materials and methods; 2) two short-term exchange of pupils with workshops running by the teachers and testing the newly creating both improvisation and rhythmic mythology.3) two transnational project meetings; - one in the middle of the project after two staff joint training and before the exchanging of pupils, - the project's summarizing meeting in Gällivare, which included 3 concerts open to public: played by one polish, one by italian teachers and a joint jam session concert played by mixed swedish-polish- italian Superb jazz band!4) working on tolerance and respect for others, we organized the following activities: - visit to Ajte Same' Museum in Jokkmokk - visit to Anagni the ancient, historical town and the artistic center - visit to the II WW Uprising Museum in Warsaw - visit to F. Chopin Museum at his birthplace Zelazowa Wola - visit to the Mount Cassino rocky hill - the place of the one of largest battle of the Second World War.Each of the teachers participating in the project contributed to the project their most-powerful skills, experience and pedagogical values.There were two persons - the leaders in each subject: and more then 20 other teachers who were deeply involved in project's activity. During the summing up meeting, the teachers emphasized the substantive contribution made by Sandra Fortuna, who through her own research has found common fields of action for improvisation, rhythms, expanding them even with images. Every teacher has had the opportunity to show their personal conception of improvisation, allowing to widen the boundaries of the idea of improvisation.The different musical heritage of each country has allowed to enrich a concept of improvisation, not only focused on the music aspect.The results of project's partnership:- teaching /learning materials :""Dare to dive into improvisation"" by T.Lakso; ""Guideline of rhythmic exercises "" by Ola Lipinska ; ""Booklet children improvisation"" by Sandra Fortuna and Loredana Crucitti ; ""Didactic Improvisation "" by Marianna Rossi and absolutely, inspired improvisations videos based on Kandinsky paintings, by Sandra Fortuna and Loredana Crucitti.- DVDs, CDs, youtube films, project's website, publication - two press releases in Poland and Sweden, live radio broadcasting- disseminations materials ( project logo, posters, leaflets, gadgets, ..)- cooperation with local and regional music/culture schools and general public schools- improvement of english used to communicate by teachers and pupils- better understanding the social, ethnic, linguistic and cultural diversity of the present EU’s society.The best summary of the project is presented in a press article written by a pupil one of the mobility participant: ""..How amazing is it that we have had the chance to participate in this exchange? Now we have contacts in both Italy and Poland who will welcome us with open arms if we want to come again. It’s crazy how inspired you can get from other people. Jazz is so cool."""

"VOX early MUS aimed to improve the quality and relevance of higher music education through creating a joint master program on vocal early music small ensembles, at the excellency level. Under this frame, prestigious teachers, students and professionals from European conservatories and potential employment institutions gathered in order to exchange good practices on innovative methods and approaches in teaching, learning, assessing and performing vocal early music, taking into account four important dimensions: internationalization, vocal pedagogy, artistic performance and professional integration.Having young specialized professionals in vocal early music appears as an evident need nowadays: quality, professionalism, true aesthetic values are the alternatives this music offers. Thus, implementing vocal early music for small ensembles in the university curriculum - as a joint master program - arised as a common need of the partner institutions. This new learning offer in music education leads the students and graduates to identify new professional competencies and wider career opportunities. Partner institutions in VOX early MUS:1. National University of Music Bucharest - coordinator (Romania)2. Den Haag Royal Conservatory (Netherlands)3. ""Joseph Haydn"" Conservatory, Eisenstadt (Austria)4. ""Arrigo Pedrollo"" Conservatory of Vicenza (Italy)5. ""Arrigo Boito"" Conservatory of Parma (Italy)6. Association of European Conservatories - AEC (Belgium)7. Fondazione Italiana per la Musica Antica - Rome (Italy)8. National Choir Association - Bucharest (Romania)VOX early MUS addressed both direct and indirect beneficiaries - as target groups. More than 90 students - from five European conservatories - who have the vocal skills, knowledge and a special interest in approaching and understanding vocal early music - benefited of the intellectual outcomes of the Transnational Project Meetings and tested the innovative teaching methods put in act during the three Intensive Programmes. All the activities during the three years (Steering group meeting, Transnational Project Meetings and Intensive Programmes) were connected to the main objective of the project: ellaborating a new Master programme for Early music small vocal ensembles, based on the two intellectual outputs: Curriculum design and development handbook on vocal early music small ensembles (O1) and ""VOX early MUS mastering excellence"" - an electronic didactic support (O2). The working group consisted in 13 experts and teachers from all the partner institutions, with a high level of expertise and experience in the early music field. Due to the project's needs, the working group splitted in two sub-groups, focused on: 1. Curriculum design and development: preparation of the Joint Master Programme (chair: Isaac Alonso de Molina - Den Haag Conservatoire) and 2. Repertoire research: collecting the research studies of the institutions in the field of vocal early music and preparing the three Intensive Programmes (chair: Nicolae Gheorghita - UNMB) . The two sub-groups cooperated ""in parallel"" between and during the Transnational Project Meetings. Collaborative tools have been used in order to facilitate the ""distance collaboration"": online platforms to exchange information, research studies, repertoire suggestions, list of Intensive Programmes participants and organisation, Skype sessions, etc. The three Intensive Programmes have been conceived as a laboratory for the future Master programme. Each of them gathered together 30 students (6/conservatoire) and 6 to 12 teachers and experts during eight days of Voice-labs, where the theoretical aspects and perspectives have been put in act through one-to-one and ensemble training, body awareness, workshops of improvisation, ornamentation, conferences, lectures and artistic performances. The Multiplier event - has been organized by the AEC and hosted by the National University of Music Bucharest, between 25th and 26th of May 2018 as an important dissemination opportunity for the project. Co-organized within the Early Music Platform of the AEC, the event gathered European experts from the Early Music field. Along with the main activities of the project, the management played an important and constant role - shared between the coordinator institution and the partners - being responsible for the quality assurance of the planned and implemented activities, expected results, impact on the target groups and project sustainability.The newly formed consortium on vocal early music pedagogy will continue to provide teachers and students in order to make functional the Joint Master Programme. Based on the principles and the intellectual outputs, this master program ensures a clear and formalized structure, internationally-oriented towards the students and the employment market.Besides the existing partners, VOXearlyMUS is open for additional institutions interested in participating at the Joint Master Programme."