Appendix 6 - International Music Council

In this context it has to be stressed that there are situations in which the private sector, i.e.
private music schools, promote musics not being dealt with by the state educational system.
Such is the case in Slovenia where private music schools offer courses in folk music
instruments which are rarely taught in public music schools.
The education of music teachers is not homogeneous in Europe. In some countries, such as
Spain and France, music teachers are not specially trained in music pedagogy like in other
European countries (see reports on Music Education in the various School Systems of
Europe on the EAS website http://www.eas-music.net)
The following list contains examples underlining the statements above and instances
displaying important exceptions to the general principles outlined above.
EXAMPLE 1: ALBANIA
Musical education from schools to universities concentrates on classical music. There is
now an ongoing discussion whether the local tradition of multi-part singing style should be
introduced in the curriculum for schools. Our Albanian interviewee disapproves this
measure for several reasons:
1. it would change the tradition
2. it would impose a tradition from a certain part of Albania to pupils all over Albania
3. it would be a measure taken by the state in order to influence people's attitudes and
limiting their own free choices– a principle reminiscent of the authoritarian cultural
policy of the former communist regime.
It is not possible to study other music than classical in state conservatories, and classical
music in this context is limited to a small set of important composers.
The general state of musical education is judged as low; as the main reason the state's
economical situation is mentioned (ERICarts Albania)
EXAMPLE 2: CHEMIN DE TRAVERSE IN BELGIUM
The programme Chemin de traverse (the traverse way) is a programme of the Ministry of
the French Community of Belgium and other Ministries of the government of the French
Community concerning culture, youth, and education. The program aims at developing a
critical spirit and deepened understanding of the world in which the pupils live,
encouraging their cultural integration in society and developing their artistic senses.
The cultural influence being looked for by the institutions of the projects is to establish
interfaces between the environment of the showcase and the school, to make the pupils
more sensitive concerning different techniques of cultural expression (theatre, dance,
music, cinema, painting) through the creation of spectacles. Another aim of the project is to
fight against violence through integration into the artistic creations that strengthen personal
self-confidence.
La culture est une danse (The culture is a dance) may serve as an example for one of the
projects of Chemin de traverse. Pupils are taught different dance traditions from different
cultures. Through this activity they are supposed to develop respect for other cultures.
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