Mobility and Recognition

 

In this section of the website you will find information on the following topics:

Recognition of Studies and Qualifications in Music

 

Recognition of studies and qualifications is an important factor in the realisation of freedom of movement within the European Union. In order to achieve and sustain this freedom of movement, the European Union has developed several tools for the recognition of studies and qualifications.

Addressing the recognition of studies and qualifications is also relevant at the global level, so as to facilitate the mobility of music students and musicians worldwide. This issue has been studied by the working group of the 'Mundus Musicalis' project (the first project in the field of music supported by ERASMUS MUNDUS), which collected data on the various credit point systems that can facilitate the recognition of studies, as well as on the recognition of qualifications at international level. The outcomes of this work can be found in the handbook “The International Recognition of Studies and Qualifications in Higher Music Education” downloadable below.

In relation to this issue, a distinction needs to be made between the following types of recognition:

  • Recognition for academic purposes (for the continuation of studies abroad or for the recognition of a study period abroad as part of the regular studies) To organise this recognition in Europe, the EU has developed several tools, such as the European Credit Transfer System (ECTS) and the Diploma Supplement (DS). The documents listed below give general information about the recognition of studies and qualifications, as well as information on the general use of ECTS and the DS. More information about the use of credit points in music training can be found on the web page The use of credit points and modules in music study.
  • Recognition for professional purposes (to be allowed to work in a certain profession) In Europe, this recognition is organised through a system of EU directives for regulated professions. In order to assist professional musicians looking for work in another country and wanting to know more about which music profession is regulated in which European country, the AEC has made a list of regulated professions in the field of music. In the framework of the ‘Mundus Musicalis’ project, this list has been extended with the addition of regulated professions in music in countries outside Europe.  
AEC is pursuing the issue of Recognition in its current Polifonia project (2011-14) by examining the extent to which there is a shared set of standards across European higher music education and, in particular, looking at ways to strengthen the mechanisms for recognising students' achievement while on exchange.

Additional general information about the recognition of studies and qualifications, the relevant procedures and national contact persons can also be found in the documents below.

Downloadable documents
 
Handbook "The International Recognition of Studies and Qualifications in Higher Music Education" English
Recognition of studies - the European Credit Transfer System ECTS English
Europass English

European Exchange and Cooperation

The promotion of European exchange and cooperation is at the core of AEC’s activities and aims. It is one of the main objectives of the AEC to improve the European dimension in professional music training through the following activities:

  •  The dissemination of relevant information through an active on-line dissemination and publication policy with the development of the website ‘DoReMiFaSOCRATES’, entirely dedicated to mobility. This website aims at promoting and supporting the participation of higher music education institutions in the LIFELONG LEARNING PROGRAMME by offering customised information and on-line tools to music students, teachers and international relations coordinators and music professionals, including FAQs, student reports, information documents, hanbooks, several standard forms that can be used specifically for exchanges between professional music training institutions, a web blog for music exchange students and much more.
 
  • The realisation of an Annual Meeting for International Relations Coordinators in European Conservatoires, taking place in September each year. During this meeting, officials dealing with European cooperation in and outside the framework of European programmes can meet, network, exchange information, experiences and good practice and receive training on how to develop their activities. This highly popular meeting has resulted in increased levels of mobility and higher success rates of music projects in the framework of European programmes such as CULTURE, ERASMUS MUNDUS and ERASMUS. 
 

International Exchange and Cooperation

 

In the framework of the ‘Mundus Musicalis’ project (2005-2007), the Final Report Higher Music Education: A Global Perspective has been produced. This document addresses issues on international cooperation in higher music education and global trends in music and music education, including the benefits of international mobility and cooperation, the challenges and factors conducive to the international cooperation and mobility in higher music education, the tools to support international mobility and cooperation in higher music education and training, and practical information for the development of international activities.

Although the music profession has always been a subject area with a strong international dimension, contacts between music training institutions in Europe and the United States have been limited in number and highly informal. In order to address these issues, an international project called ‘Music Study, Mobility and Accountability’ was initiated in 2002. Thus, between 2002 and 2004, a European - American Working Group explored issues regarding student and faculty exchanges, curricula, and evaluation criteria and procedures. The information produced in this project has been assembled in a number of publications such as ‘Transatlantic cooperation in professional music training’, ‘A short history of exchange developments in professional music training in Europe’, ‘FAQs for music students and for music teachers wanting to go on a transatlantic exchange’, ‘Music as a Major Vehicle for Cultural Understanding and Project Recommendations’ and ‘Why professional music training institutions should be involved in international exchange’.