Teaching and Learning Chamber Music: ECMA Next Step

ECMA Next Step
Teaching and Learning

Chamber Music
Teaching and Learning
Chamber Music
ECMA Next Step

© ECMA and Norwegian Academy of Music.
You may copy from this report as long as you specify the author and publisher.
The European Commission support for the production of this publication does
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made of the information contained therein.
Cover photo: David Engmo
ISBN 978-82-7853-251-5 (print)
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ECMA Next Step strategic partnership 5

The project 5
The outcome 5
The working group 5
Teaching and Learning Manual 7
1. What is ECMA? 8
Facts and reflections on ECMA and its history. 8
2. Institutional background 11
Universität fur Musik und darstellende Kunst Wien: mdw 11
Joseph Haydn Department for Chamber Music, Early Music and
Contemporary Music 11
Master in Chamber Music 13
Content and expected outcomes 13
Curriculum 14
Application 14
Final exam 15
Assessment and grading 15
Koninklijk Conservatorium Den Haag, KC 16
Chamber music on the Bachelor of Music programme 17
Organisation 17
Course content 18
Objectives 18
Assessment 18
Areas of specialisation at the RC 18
Chamber music on the Master of Music programme 19
Practice 19
Research 20
Career development 20
Role and impact of ECMA for the RC 21
Norges musikkhøgskole – NMH 21
Chamber Music on the Bachelor Programme 22
Chamber Music on the Master Programme 22
Role and Impact of ECMA for NMH 23
Fondazione Scuola di Musica di Fiesole Onlus – SMF 24
Philosophy 24
Chamber music at Scuola di Musica di Fiesole 25
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ECMA Next Step
Pre-academic studies 25
Chamber music on the bachelor programme 26
Perfezionamento / Higher Level 26
Tools 28
Lietuvos muzikos ir teatro akademija – LMTA 28
Aim of the study programme 30
Curriculum 30
Distinctive features of the study programme 32
The final exam (artistic project) 32
Royal Northern College of Music – RNCM 33
Chamber music on the undergraduate programme 33
Chamber music in the Postgraduate Masters/Diploma programme 34
3. Teaching methodologies – case studies 35

No 1 – Using a text to understand phrases and rhetorical
aspects in music 35
No 2 – Conducting can improve sound, phrasing and clear
musical gestures (strings) 36
No 3 – Flow and performance 37
No 4 – Flow and practice 38
No 5 – Reading, understanding and realising the score 40
No 6 – Connecting to the dramatic aspect of performing
chamber music 41
No 7 – Embodying the music 43
No 8 – Articulating musical opinions 43
No 9 – Improvisation 44
No 10 – Breathing 45
No 11 – Developing a deeper sense of communication
within the chamber group 46
No 12 – How to shape a musical phrase and add expression
‘where necessary’ 47
4. Assessment of chamber music 49

The ECMAster and (International) External Examiners 52
Purpose: why International External Examiners? 53
International external examiners and the ECMAster
Assessment Criteria 54
Practical considerations 55
Further experiments with assessment and feedback in
chamber music teaching 55
5. Resources 59
Bibliography 59
Performance practice 62
Music and rhetoric 63
E-documents 63
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ECMA Next Step strategic partnership
The project
ECMA Next Step is a strategic partnership funded under the European Union’s
Erasmus+ programme. The project aims to develop new content for the ECMA
training programme in terms of curriculum, mobility and recognition and to
further develop existing chamber music expertise. Particular focus is given to the
pedagogical knowledge and skills of chamber music instructors with a view to
strengthening chamber music’s position on regular training programmes. One of
the main goals of this three-year strategic partnership has been to ensure the
utmost quality of chamber music training and proactively meet the challenges and
opportunities that the increasing demand for chamber music entails.
The outcome
ECMA Next Step has had two working groups made up of members from the
project partners working on two separate outcomes. One working group has
developed a Joint Master Programme in Chamber Music (ECMAster) which is
offered at all the partner higher education institutions. The other working group
has developed this manual, which contains case studies on teaching and learning
chamber music, different approaches to organising chamber music at a higher
education institution, views on assessing chamber music and involving external
evaluators, and suggested further reading on the topic.
The working group

The working group has consisted of the following members:
Peter Schuhmayer, Universität für Musik und Senior Lecturer in Chamber

chair darstellende Kunst Wien Music and Violin
Antonello Farulli Fondazione Scuola di Professor of Viola and
and Musica di Fiesole Onlus Chamber Music, responsible
for the Research Department
and Development.
Rita Urbani Teacher in Research and

Development Department
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ECMA Next Step
Are Sandbakken Norges musikkhøgskole Professor of Chamber Music

Asdis Koninklijk Conservatorium Teacher of Viola and
Valdimarsdottir Den Haag Chamber Music
Indrė Baikštytė Lietuvos Muzikos ir Teatro Associate Professor of
Akademija Chamber Music and Piano
Accompaniment
Laura Jellicoe Royal Northern College of Chamber Music tutor, Head
Music of Flute
Tone Jordhus, Norges musikkhøgskole Senior Adviser,
secretary Project Coordinator
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Teaching and Learning Chamber Music
Teaching and Learning Manual

The connecting link for all the activities within the project ECMA Next Step is the
European Chamber Music Academy (ECMA), which became a synonym for support-
ing the values of chamber music within our short-lived and materialistic society.
This manual is the outcome of the three-year project, consisting of sections which
provide informative facts about the state of chamber music at the participating
higher education institutions as well as teaching and learning-centred methods and
ideas for practical use.
The manual might be misunderstood as something you should use in the same way
as you would use the manual for your car. In the case of the car manual, there is
usually just one way to deal with a problem. This chamber music manual is quite a
different story in that it is more a collection of ideas and strategies which may be
useful in certain situations in chamber music teaching or just serve as tips or
motivation to pursue new paths in student-centred teaching and learning.
As a teacher you have to be fairly flexible in providing strategies and ideas for
motivating the students, stirring their interest in further development, solving
problems and guiding them in improving their skills.
In normal chamber music teaching you use your experience or your instinct as a
teacher to work with the students. You very rarely write down your experiences or
ideas surrounding that process.
This document is an attempt to create a record of such day-to-day experiences in

higher education institutions in a format accessible to a larger audience.
The ECMA website may not only serve as an online database for looking up exam-
ples at some point, but also as an open archive which can be updated at any time
and enriched with teaching methods.
Finally, the bibliography in general contains a collection of selected and mostly

easily accessible texts, partly on the internet, on theory, philosophy or artistic
research in chamber music and music in general.
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ECMA Next Step
1. What is ECMA?
Facts and reflections on ECMA and its history.

By Hatto Beyerle
ECMA is an adventure – and a miracle in our troubled times. Maestro Piero Farulli,
former violist of the famous Quartetto Italiano and one of the greatest champions
of the preservation of occidental music, and I launched the idea of a European
chamber music academy. We called it “Academia Europea del Quartetto”. Many
young musicians have attended the academy in Fiesole. Both of us were motivated
by the fact that in our fast-moving and global times our European culture was
increasingly in danger of being forgotten or neglected. We started the first sessions
in the late nineties together with artists such as Norbert Brainin, Milan Skampa and
others. Some years later, after Farulli had died, it became difficult for us to keep the
“Academia” alive. In order to pursue the idea further and because I was still
worried about the future of our cultural heritage, I transferred the “Academia” to
Hannover, where I was teaching at the time, and in 2004 to the University of Music
and Performing Arts (my alma mater) in Vienna. At the same time we decided to
widen the scope from string quartet to all types of chamber music and therefore
changed the name to the “European Chamber Music Academy” (ECMA).
Since then our baby has grown into one of the most successful institutions of its
kind anywhere in the world. ECMA has gained several highly regarded music
conservatoires in Europe as partners, such as Universität für Musik und dastel-
lende Kunst Wien (mdw), CNSMD Paris, Scuola di Musica di Fiesole, Norges
Musikhøgskole in Oslo, Koninglijk Conservatorium Den Haag, Lietuvos Muzikos ir
Teatro Akademija, Hochschule der Künste Bern, and as a special partner the
Festival de Musique “Pablo Casals” in Prades. A great number of ensembles that
have trained with ECMA have won prizes in prestigious competitions worldwide
(Melbourne, Osaka, Vienna, Bordeaux, Reggio Emilia and Geneva to name a few).
This, and other factors, is proof of the success of ECMA.
ECMA is different from other institutions of its kind in many ways. Our “adventure”
is based on a collaboration with the partner conservatoires and thrives on our
continuing reflections on the content of music with a team of excellent musicians,
searching, together with the young musicians, for new solutions to interpretation,
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Hatto Beyerle. Foto: Gerard Spee
searching for common facts in music, philosophy and the natural sciences, search-
ing for the truth in life.
All the great artists of the past, such as P. Casals, J. Thibaud, Y. Menuhin, E. Isaye, D.
Oistrach, A. Grumiaux, C. Haskil, W. Gieseking and F. Gulda, to name just a few,
evoke a feeling of another era, a time where none of them played like the other but
everyone was on a life-long search for the “truth”.
That’s why we at ECMA are trying to pass on the secrets of music to the next
generation; something you can’t “teach” but may discover by studying, thinking and
searching yourself, often in contact with the young musicians who come to learn all
about music.
This is the story of the “adventure” that is ECMA.
At first we, the coaches, had to learn many things about the language of music, such
as the grammar of musical rhetoric, and many rhetorical figures, such as the
meaning of Anabasis, Katabasis or Abruptio and the meaning of counterpoint and
its most sophisticated result: the fugue. We had to learn the facts about tempo
(Allegro, Andante, Largo or Presto) to understand it as character, not as a
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ECMA Next Step
measurable speed. Next we went from studying contemporary sources to deeper

thoughts, and that led us to philosophical questions. We began to learn more about
European and Asian philosophy – sometimes together with our young ECMA
members – but all of us far from “knowing” the “truth”.
We are still trying to understand and to express the deeper sense of the written
notes, the “secret behind the secret” (LaoTse). We are also trying to understand the
meaning of “Thesis”, “Antithesis” and “Synthesis” (Hegel). We also have to learn
how the “Theory of Relativity” (Einstein) and “Quantum Theory” (Heisenberg)
draw closer to philosophy and music. These are the facts leading us to the concept
of “adventure”.
But at ECMA we are also trying to find ways to bring our partners and all our
ensembles closer together, bearing in mind the great distances between the
countries. We are beginning a continuous search for new solutions, such as using
“video teaching” (teaching over long distances by video). Last but not least, we are
seeking funding to meet the cost of the necessary flights the ensembles have to
undertake in order to complete their studies at other universities affiliated with
our partners in Europe. All this will help us to broaden the horizons of our young
musicians.
This will be the future of ECMA, an adventure of never-ending ideas.
Hatto Beyerle
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2. Institutional background

Chamber music is strongly supported at all the participating higher education
institutions. Yet they offer slightly different strategies and courses to incorporate
ensemble performance as one of the core values in musical and instrumental
education.
Some institutions offer bachelor and master programmes specialising in chamber

music, while others highlight chamber music as part of their instrumental studies.
There are differences in organisational ideas and assessment procedures as well as

in the formation of the panels for auditions and exams. Some colleges use grading
systems, while for other institutions just verbal or written feedback seems to be
the right strategy.
The various facets of chamber music teaching provide an opportunity for inspiring
others and learning from each other.
New ideas to promote ensemble performance not only for the performance aspect
but also as a field of study in its own right are emerging everywhere. Our hope is
that chamber music will be a prioritized area in all the higher education institu-
tions, and that initiatives will be supported.
The influence of ECMA on all institutions is without a doubt a significant effect

shared by all participating institutions.
Universität fur Musik und darstellende Kunst Wien: mdw

Joseph Haydn Department for Chamber Music, Early Music and
Contemporary Music
Vienna and chamber music – this immediately makes one think of the enormously
rich inheritance passed down to us by the vast number of major works within the
chamber music repertoire with direct connections to this city: from Haydn, Mozart,
Beethoven and Schubert to Brahms, and from the Viennese School, Zemlinsky and
many half-forgotten composers of the first half of the 20th century to today,
chamber music has been an essential medium of expression for the greatest
masters.
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ECMA Next Step
On the performance side there were the legendary quartets working with the
composers, the Schuppanzigh, Hellmesberger, Rosè and Kolisch Quartets. In the
last decades of the 20th century Alban Berg, Artis and a number of other quartets
have maintained this tradition. There have been and there are important piano
trios (Haydn Trio, Altenberg Trio and Wiener Klaviertrio), and there has always
been intensive chamber music activity amongst members of the orchestras in
Vienna.
In addition to that, this city has had (and still has) an almost unique tradition of
ambitious chamber music playing by trained amateur players.
Based on these foundations, around 20 years ago mdw decided to make chamber
music training an essential part of its performance curricula, which astonishingly
enough had not been the case before. Our main goal from the beginning was what
we today call “empowerment”: we want to give young musicians more of the
essential tools for their artistic careers.
In chamber music our young musicians learn to deal with more than just mastering
their own instrument: they learn to listen to what is going on while playing with
full immersion, they learn to understand and to feel musical structures and emo-
tions in complex settings, they learn to discuss what they find in the score, they
learn to combine theory and playing practice, and they find motivation to do their
own research in order to come to their own interpretation of the works they are
studying.
We are happy to have made this strong move and can confidently confirm that it
has proved extremely beneficial to our students and their development!
There is now a major chamber music scene at mdw with various levels of intensity.
All chamber music training is provided by the Joseph Haydn Department.
Chamber music has been a significant mandatory part of every performance

curriculum for instrumentalists studying at mdw for almost two decades. After ten
years’ experience of a chamber music major curriculum within the traditional
diploma system, chamber music major studies were recently shifted into the
Bologna system. For majors in piano chamber music there is a bachelor curricu-
lum, and mdw now offers a master curriculum for chamber music majors for
strings (violin, viola, cello), winds (flute, oboe, clarinet, horn, bassoon) and piano.
Chamber music major studies are accessible to individual students. The large
number of students enrolled in instrumental performance studies provides a large
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pool of potential ensemble partners, since all compulsory chamber music courses
for strings, winds and piano as part of the curriculum for instrumental studies are
being taught by 14 specialist chamber music teachers from the Joseph Haydn
Department. For instrumental students within the diploma system there are
chamber music intensive options (“Focus chamber music” in years 1 to 4, “Profile
chamber music” in years 5 and 6).
All solo and chamber music major students also explore ensemble practice in
historical and contemporary performance taught by specialist teachers of the
Joseph Haydn Department. Improvisation (basic skills) is now a compulsory part of
all curricula.
After regular studies (diploma or master) internal and external ensembles and
individuals have the opportunity to apply for the postgraduate chamber music
course (normally one year, maximum two years).
Regular studies are (for the time being) free of tuition fees for EU citizens. For
non-EU citizens and postgraduate students there are moderate fees (between 350
and 800 euros per semester).
mdw is carrying out a substantial reform of all curricula. The process is due to be
completed in the next 6 years, providing increased individualisation for students
and more cross-disciplinary options.
mdw provides a multitude of performing platforms and has a network of partners

among selected concert promoters including the Musikverein and the Konzerthaus
Vienna.
Online teaching is so far not included in the actual chamber music studies but
mdw’s state-of-the-art technical equipment (LOwLAtency system) is regularly used
for international co-operation, masterclasses and partnership projects.
Master in Chamber Music
Content and expected outcomes

Due to their highly developed professional standards, graduates are able to create
their own musical concepts and present them on a most convincing artistic level.
They are able to understand artistic processes and concepts and to work with them
on the basis of their highly advanced instrumental and ensemble playing skills.
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ECMA Next Step
They have learned to communicate within a group and can identify and solve
unexpected problems in musical practice.
Graduates are accepting musical responsibilities within a group in artistic aspects,

and they are interacting on a high social and ethical level.
They have the ability to use strategic knowledge to establish themselves in the
music market.
They have gathered wide-ranging experience of the main chamber music reper-
toire in different styles and formations and are able to use and communicate their
expertise on performance and theory to experts and non-experts alike.
On the basis of their acquired artistic and scientific values they are equipped for
autonomous further development.
Curriculum
The curriculum on the master programme (4 semesters) offers a wide range of
compulsory and elective subjects for developing not only performance skills but
also skills such as career planning and repertoire development, mental training
strategies, rehearsal techniques and recording.
The master curriculum comprises 120 ECTS in total, including 103 ECTS for
compulsory subjects (chamber music coaching and instrumental training, perfor-
mance techniques in contemporary music and on historical instruments, applied
music theory, repertoire contextualisation, history of interpretation, music market,
improvisation, production of a recording, research methods and preparation of the
master thesis). Electives to be chosen from a vast range of courses (9 ECTS) and the
master thesis (8 ECTS) complete the curriculum. The master thesis can be done as
a full research thesis or as an artistic project with an obligatory written part.
Application
The chamber music master is available to ensembles and individuals. In the case of
a pre-existing ensemble the application is still done individually.
A bachelor, master or diploma programme on the applicable instrument (as men-

tioned previously) must have been completed before starting the chamber music
master. The degree should be presented at the time of enrolment at the latest. Proof
of German language skills at level B-1 is a prerequisite for enrolment/inscription.
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All candidates have to pass an entrance audition. The audition panel consists of
mdw teachers from all instruments groups (strings, winds, piano). Before the
audition the candidates must pass a music theory test in the morning on the day of
the audition.
In the audition applicants present:
I) Solo: selection from the main repertoire
II) Chamber music: two pieces from two different chamber music categories
III) Prima vista playing (sight-reading)
More information about the audition programme can be found on the mdw
website.
Auditions take place in late April / early May. The first semester starts the follow-
ing October. A successful audition remains valid for one full academic year.
Final exam
At the end of the four semesters and following approval of the master thesis the
exam consists of two parts:
•• Performance in front of a jury of piano, string and wind experts, which selects
from the prepared repertoire. Duration approx. 40 minutes. If successful, candi-
dates are invited to perform in a
•• Public concert
The final exam repertoire should include eight major works in different chamber
music combinations and one substantial instrumental solo work (or parts of
different solo works).
Graduates receive a certificate with the academic grade Master of Arts.
Assessment and grading

The assessment criteria developed by the ECMA Next Step Working Group have
been in use since 2017.
The grading system is 1-5
1-Very good 3-Satisfactory 5-Insufficient
2-Good 4-Sufficient
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ECMA Next Step
mdw and the Joseph Haydn Department have been actively involved ever since the
very start of the initiative that eventually became ECMA. The combination of
building a diverse chamber music scene “at home” and cooperating on the highest
possible international level has proved most fruitful and effective.
A number of ensembles could grow from our department into ECMA and finally
make their successful way in the music market. The existence of ensembles at an
international award-winning level inspires all students, and it has helped establish-
ing a general acceptance of the value and importance of chamber music.
ECMA has been coordinated from Vienna since 2007, closely connected with but
still independent from the Joseph Haydn Department.
With the launch of the ECMAster in 2019 we will step into a new era of this suc-
cessful development.
Koninklijk Conservatorium Den Haag, KC
Chamber music is increasingly gaining popularity around the world, and as this is
happening the teaching of this subject is also gaining momentum. New chamber
music courses are being set up everywhere, and there are more excellently trained
young professional chamber music groups than ever before. This highlights the fact
that chamber music training at a high level is one of the most effective ways of
training young musicians for whatever facet of the music world they will eventually
join: as orchestral musicians, as soloists, as teachers or indeed as chamber or
ensemble musicians.
The Royal Conservatoire is following this trend with a master programme for
chamber music and an expansion of chamber music opportunities in all years of
the undergraduate programme. By studying chamber music, students learn about
the different layers of musicianship. They learn how to communicate musically,
how to support other voices with their own, how to shine when it is their moment,
and how to fit into and expand the tapestry of the music. They are challenged with
the technical demands of achieving a high level of ensemble. They get an opportu-
nity to delve into great masterworks in the repertoire, not only from a performance
point of view but also in terms of analysing the work with a theory teacher who
works with every group at the Royal Conservatoire. They learn about working
closely with others and all the challenges this brings. They learn about planning,
16
how to think ahead and how to arrange performance opportunities. In chamber

music lessons it is possible to focus on working with individual students on their
particular challenges in a way that is not possible in larger ensembles. Therefore
the learning is deeper and quicker, and the musician gains many facilities that
would otherwise take much longer to train. This is why investing in chamber music
training is a vital part of the Royal Conservatoire’s philosophy.
Chamber music on the Bachelor of Music programme

At the Royal Conservatoire The Hague (RC) we offer chamber music lessons from
the second semester of the Bachelor of Music programme. The students are encour-
aged to start their own groups in the first year of study. They can have lessons from
their second semester and throughout the four years of the bachelor programme if
they so wish. Chamber music is compulsory only in the second and third years of
study. In general the students are offered up to ten lessons per group during the
course of the year, but they are allowed to participate in up to four groups, so some
of the more proactive students end up having a lot more lessons than that.
Organisation
Students generally form the group themselves and pass their information to the
course coordinator. If they are not able to find others to work with, they will be
helped with forming a group. One of the members of each group acts as the main
contact and is responsible for organising the lessons with the allocated teacher of
their group. The head of the Classical department and some members of the chamber
music teaching team assess and approve the composition of the groups and their
choice of repertoire, bearing in mind the level of the students and the various
educational aspects. The coordination and organisation of the ensembles is done by a
theory teacher who also works with the students on the analyses of their chosen
repertoire. The groups are usually allocated one teacher who will work with them
throughout the year and, depending on the composition of the group, sometimes
they will be offered lessons by two or three different teachers, for example in the case
of groups with mixed wind and strings or piano. The students receive four lessons of
ninety minutes each per term and at least one lesson with a theory teacher to analyse
the music they are working on in terms of harmony and structure to enhance their
understanding of the music. The chamber music lessons are taught by the main
subject teachers, most of whom are active chamber music performers alongside their
teaching careers. From time to time there are master classes by visiting artists.
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ECMA Next Step
Course content
On the chamber music course the main focus is on the various specific skills
required for ensemble playing such as unifying the articulation, pulse and sound
production, understanding the context and structure of the work and looking for a
unified interpretation. Much emphasis is put on teaching good rehearsal techniques
and ways of breaking down ensemble problems in order to gain an understanding
of how to build a good ensemble. The students are encouraged to apply for perfor-
mance opportunities around The Hague made available through the school. They
need to plan and organise this themselves; it prepares them for life outside the RC.
Objectives
By the end of this course the student has studied in depth and performed represen-
tative ensemble repertoire; is able to analyse a composition and incorporate this in
the rehearsal process; has developed effective rehearsal techniques, including
planning, cooperation, studying repertoire, dealing with critique and communicat-
ing within the ensemble setting; is able to demonstrate artistic development and
craftsmanship; and can communicate musically in performance.
Assessment
Each ensemble has an opportunity to perform their repertoire before a panel in the
early part of December. This is not a graded exam; it provides an opportunity for
the teaching team to observe the work in progress and a goal for the students to
work towards. By the end of February the teachers indicate whether the students
have been attending lessons and working to a satisfactory level. If they have done
satisfactory work, they will be approved to perform in a festival of chamber music
that takes place in April at various innovative venues in the neighbourhood of the
RC. The following elements have priority in the assessment:
•• Perfection of playing is subordinate to the process.

•• If an ensemble is approved to perform, they cannot fail: the chamber music
festival offers a stage for a serious performance.
•• The panel committee offers immediate verbal feedback after the performance
and a written report for the ensemble and each member of the group. This
transforms an exam situation into a learning experience.
Areas of specialisation at the RC

On the bachelor programme students in the classical department are able to
choose an elective module from the other departments. The RC has a particularly
strong historical performance department, and the students can work with active
18
performers in that field. For example, this means that a string quartet working on a
Haydn quartet can have a session with a teacher from the early music department.
The RC places much importance on understanding the harmonic structure of

music. It therefore offers every chamber music group an opportunity to analyse
their repertoire with a theory teacher.
The RC has very strong links to contemporary music with a flourishing composi-
tion department. On the chamber music master programme every group will be
linked to a master student in the composition department to work on a new
composition.
The RC also has a strong focus on improvisation. Several teachers are experts in
various kinds of improvisation, ranging from tonal improvisation and improvisa-
tion in early music to free improvisation. This focus on improvisation has recently
been extended to encompass the use of digital technologies: students at the
conservatoire have been involved in a highly innovative experiment to improvise
online in real-time with students at the Yong Siew Toh Conservatory in Singapore.
Chamber music on the Master of Music programme

The Royal Conservatoire has been offering a new master specialisation in chamber
music since September 2015 for highly motivated chamber music ensembles with
ambitions to pursue a career in chamber music. An ensemble is allocated three
coaches: one for ensemble work, one for research and a third for career develop-
ment. Together they support the ensemble in building a national and international
career and generating the ensemble’s profile.
The chamber music master curriculum comprises three main parts: practice,
research and career development. Ensembles can also take modules from the
regular master programme curriculum.
Practice
•• Chamber music classes three hours a week. In addition students will have indi-
vidual classes of half an hour a week (or an hour each fortnight).
•• Each ensemble is affiliated to a master student of composition. Coached by a
composition teacher, the student, in close cooperation with the ensemble, will
compose one or more pieces for the ensemble.
•• Ensembles may attend classes in historical performance practice for the rele-
vant repertoire in the early music department. Incidental improvisation classes
are also part of the study programme in order to support the artistic develop-
ment of the ensemble as a whole and as individual students.
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ECMA Next Step
Research
A research project gives students the opportunity to do research together as an
ensemble on subjects that serve to foster the ensemble’s artistic development, such
as building up their repertoire, their relationship with their audience, exploring
historical performance practice, and interpretation or performance science. The
ensemble is allocated a dedicated research coach for this purpose whose expertise
in the subject of choice provides specific guidance on carrying out their research. A
coach may be someone from outside the conservatoire, for instance a leading
international musician or researcher.
Career development
The challenge for the ensemble is to develop its own artistic profile with guidance
from a career development coach. Moreover, the coach can give specific help in
cultivating contacts in the world of venues, concert impresarios, educative and
creative entrepreneurship and can provide advice about drafting a business plan.
The ensemble’s development is being supported in other ways as well:
•• Ensembles attend the Project Management and Performance & Communication

Skills modules on the New Audiences and Innovative Practice (NAIP) master
programme.
•• Ensembles gain experience of the recording studio and work on compiling a
digital portfolio in conjunction with sound recording students from the Art of
Sound department.
•• Ensembles are expected to give regular recitals. The Career Development Office
at the conservatoire and the annual chamber music festival offer numerous
opportunities for this. Ensembles are also expected to actively explore openings
for giving concerts and other activities that are appropriate to their ambitions
and their profile as an ensemble.
•• The study programme links up with existing career development activities,
which includes the Festival Classique in The Hague.
Admission is based on an entrance examination for which ensembles will be

required to prepare compositions from three different stylistic periods (classical/
romantic up to and including early 20th century/post-1950). The master presenta-
tion at the end of the first academic year and the final presentation at the end of
the second year will comprise a concert or series of concerts that the ensemble has
organised and will include compositions connected with the other parts of the
curriculum, from the research part or from their collaboration with the student
studying composition.
20
From the academic year 2019-2010 the master specialisation in chamber music
will be incorporated into the European Chamber Music Master – ECMAster in
cooperation with the European Chamber Music Academy – ECMA.
Role and impact of ECMA for the RC

The Netherlands is a small country. Joining the ECMA opens a fabulous window of
international exchange opportunities for our students. This exchange goes in both
directions. Our students get an opportunity to travel to the other ECMA institutions
and breathe in the music-making traditions of the other institutions and their
students and professors, and the whole of the RC benefits enormously when we
host an ECMA session and from all the inspiring lessons and concerts available to
anyone who wants to listen. The exploration of our European cultural heritage
through music and the ongoing search for new creative potential and innovative
ways of making music captured within the ECMA spirit have a life-changing impact
on everyone involved.
Norges musikkhøgskole – NMH
Chamber music and ensemble playing are key components of the study pro-
grammes offered by NMH. Over the years the institution has worked to expand its
chamber music activities and build chamber music expertise. Chamber music is an
important learning activity for all aspiring musicians, not only those who wish to
pursue chamber music as the focal point of their career, but also those who hope to
work as orchestral musicians or soloists. As a learning activity, chamber music is
quite simply a highly effective way for a musician to hone every aspect of their skill
set.
The chamber music programme at NMH is headed up by a dedicated professor of

chamber music and a chamber music committee with members from different
instrument groups. An administrator is responsible for co-ordinating the chamber
music activities.
Bachelor and master students on all performance courses are offered chamber
music tuition in every year of study. Chamber music and ensemble playing are
important activities in all genres. The specific term chamber music is used on the
classical study programmes, but ensemble performance is also mandatory on the
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ECMA Next Step
jazz and folk music courses, although they tend to use different terminology. In the
following the term chamber music is used regardless of genre.
Chamber Music on the Bachelor Programme

Chamber music is a compulsory subject for all bachelor students from year 1 to
year 4. New chamber ensembles with new repertoire are set up every semester, but
the students may also choose to sustain their existing constellations over time.
Students are encouraged to propose repertoire, ensemble make-up and coaches.
The majority of the students make their proposals by the given deadline, and some
students wish to join multiple ensembles. Students who have not submitted their
proposals are assigned to an ensemble. Each ensemble receives ten hours of tuition
every semester, but the students are also expected to rehearse together without a
coach. At least 20 minutes of repertoire must be performed in public every semes-
ter, usually at a concert. The students must organise the concert themselves, and it
may take place at NMH or elsewhere. If the coach is unable to attend an external
concert, the students must document the concert with a video or audio recording.
Students are assessed in chamber music every semester with either a pass or a fail
mark.
In year 3 or 4 of the bachelor programme the students may take chamber music as
an elective course in addition to the mandatory chamber music module. The
elective module lasts one year and involves permanent ensembles. Each ensemble
is assigned four different teachers: one performance / chamber music coach, one
aural skills teacher, one theory/harmony teacher and one analyst/composer. The
teachers meet three times a year to coach the student ensembles as a group. The
rest of the year they coach the ensembles individually, and the students benefit
from a wide range of impulses thanks to their different approaches. The students
must also write a reflective paper, and each semester concludes with a big exam
concert where the reflective paper is also presented. The subject is assessed with
either a pass or a fail mark. Students may opt to include chamber music as an
element in their principal instrument exam.
Chamber Music on the Master Programme

Students on the Master of Music Performance programme may incorporate
chamber music if they so wish:
•• Master students may take chamber music as an elective subject. The module
sees the student affiliated to a permanent ensemble for one year.
22
•• Master students may include chamber music as a component in their master

project.
•• Master students may opt to complete all or parts of their master degree as a
chamber music ensemble, either as an ensemble set up in the first semester of
the course or by applying to the programme as an existing ensemble.
•• A European chamber music master programme has been planned for 2019 as
a collaboration between NMH and six other European music education institu-
tions. The programme is aimed at established ensembles wishing to focus on
chamber music as the mainstay of their careers.
An important event in the chamber music calendar at NMH is the annual chamber
music week, which takes place every autumn. No ordinary teaching takes place that
week: everyone’s attention is on chamber music. The event takes the form of a
festival, and student activities are at the heart of proceedings, including perfor-
mances by ensembles in all kinds of formations and genres as well as master-
classes, lectures and other relevant tuition. Every year one or more top interna-
tional musicians are invited to put their stamp on the event.
Every winter a chamber music competition is held for the academy’s student
ensembles. The jury is broadly made up of NMH teachers. Norwegian concert
promoters are invited to the finale and offer performance opportunities to the best
ensembles. The winning ensembles also receive funding from the Academy to go on
study trips abroad.
Role and Impact of ECMA for NMH

NMH’s annual ECMA session takes place the first week after Easter every year.
During the Oslo session we always seek to provide robust academic content in the
form of themed lectures and a distinct profile for the week in addition to three
concerts. We also invite leading European educators to give talks. A number of
NMH teachers are involved in one way or another, and we want every Norwegian
session to include some Norwegian “specialities” such as folk music and folk
dancing, teaching models and research methodologies developed in Scandinavia
etc. Being part of the diversity of Europe through ECMA is of the utmost impor-
tance to the chamber music programme at NMH, and we see our ECMA session as
an exclusive highlight in the chamber music calendar.
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ECMA Next Step
Fondazione Scuola di Musica di Fiesole Onlus – SMF
Philosophy
The present contribution is based on a profound conviction reinforced by a long
history relative to the practice of chamber music both as an educational certainty
(on which the Music School of Fiesole itself is founded) and as an expression of the
highest professionalism demonstrated by the artistic achievements achieved over a
period of sixteen years by the European Academy of the Quartet, a founding
member of the ECMA.
Over the last fifty years instrumental pedagogy has changed from mere instruction
of a practical ability, that of playing, to an educational reality tout court. In this
sense, instrumental pedagogy registers an important delay compared to pedagogy
seen as a whole. Educating the human being through musical instruction appears
to be an important adventure for future decades in the discovery of the infinite
capabilities of human intellect.
Within this framework, chamber music and its teaching see the development of a
number of tools for the evolution and improvement of musical performance thanks
in part to the work done by the European Chamber Music Academy. However, in
our opinion not enough importance is given to a series of components that evade
the educator and the tutor because they represent a truth that does not appear on
paper, rather they exist in the musical text or in artistic or cultural skills. There are
many, perhaps too many, ensembles, sometimes even the best, that do not have the
opportunity to perform because they are troubled by internal psychological
dynamics that prevent them from persisting. These group psychological dynamics
are very complex and must be taken seriously. Ensembles such as the string
quartet, rather than the trio with piano, impose an almost daily attendance for
many hours and for many, many years. Knowing and understanding how to manage
one’s own and others’ emotions is one of the keys to the success of a group, and the
ensemble is the ultimate exercise for the development and maturation of a
personality.
The intent of this paper is therefore to outline in a synthetic way some of the
knowledge that today seems to represent the essential prerequisites of “good
teaching” of chamber music, especially if the teaching is aimed at ensembles that
have the expectation of making music their profession.
24
Along with these aspects, the profound conviction about the benefits of the practice
of chamber music imposes its diffusion on society at any level of study. Music
education is a sophisticated and expensive practice which belongs to a culture
constantly threatened by the exiguity of its audience in every country. The commu-
nication of its emotional and cultural contents must see facilitating channels such
as peer education that allow, at the same time, a wider diffusion and sharing with
contained costs.
The great violinist and pedagogue Ivan Galamian said: “The maximum result that a
teacher should obtain is to make the student self-sufficient in the shortest possible
time” (I. Galamian, Principles of violin playing and teaching, New Jersey, 1962).
It seems clear to us that in a framework of consideration of the development of

intelligence, chamber music needs further reflection on the ability of the subjects
to make “their own” the concepts that come from the teacher. What better way to
demonstrate that acquisition than to share and return it to peers? And what more
true means in effectively managing communication than one’s body?
And certainly, the practice of chamber music, which at the school is an integral part
of the training since the beginning of the study of the instrument, is an extraordi-
nary tool for leading the student towards autonomy.
Chamber music at Scuola di Musica di Fiesole
Pre-academic studies
Ensemble music is encouraged from the first approach to the instrument.
Micromusici and Piccolissimi Musici are the first instrumental ensembles to
welcome children who are new to the study of string instruments. Micromusici
welcomes children from 4 years of age, and Piccolissimi Musici from 6 to 12. When
the children reach a more advanced level on their instrument, they start lessons in
chamber music, having already developed a sense of rhythm, intonation and the
ability to listen to each other.
There are five chamber music teachers. The chamber music course is a compulsory
course of study. Students choose the chamber music or the quartet class. The
weekly lessons last an hour and a half and take place from October to June. During
the year there are numerous opportunities for performing in public. Once a year
between February and March there is a chamber music weekend which involves all
classes. Every semester there are in-class concerts as well as a music festival, which
sees the whole school involved on 24 June each year. For the best formations
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ECMA Next Step
identified by the Director, participation in the production activities of the School is

encouraged.
Chamber music on the bachelor programme

Premise
The courses are divided into chamber music courses (e.g. trio with piano) and
string quartets. Both courses are compulsory. Every student has the opportunity to
be part of several ensembles. The lessons start in the first semester and conclude at
the end of the three-year period. The weekly lessons last two hours and involve
different teachers for a total duration of 27 hours per year. There are three
teachers.
Content
The courses place particular emphasis on developing an awareness of the structure
of the selected works and on the interpretation with respect to context. The
teacher’s choice of repertoire is made with the aim of developing the skills of
playing together and encouraging students to get used to dealing with different
jobs to develop more models of interpretation. The performance is considered an
important moment in training. Therefore, students are offered the opportunity to
play in public and participate in the production activities of the school.
Assessment
The admission exam is held every year in November, and the examiners are
internal teachers. During the course, intermediate exams are scheduled. Once a
year there is an exam where the panel consists of three internal teachers, one of
which is the tutor of the ensemble. The final exam takes place at the end of the
three years. The examination panel is made up of both internal and external
teachers.
Relations with other departments.

Teachers of contemporary music collaborate with all departments both in the
three-year period and in the pre-academic module.
Perfezionamento / Higher Level

AEQUA – European Academy of the Quartet was founded in 2002 at the School of
Music in Fiesole following an initiative by Piero Farulli. AEQUA consists of two
parts: Annual Course and one annual ECMA-session:
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Annual Course
The European Quartet Academy is the most important educational-artistic event
dedicated to the string quartet in Italy. Thanks to an enduring and solid collabora-
tion with the European Chamber Music Academy, a summer session is held every
year in July and culminates every two years with the prestigious V. Rimbotti Prize.
From 2015 the Academy has organised activities throughout the entire year. Lead
Professor is Miguel Da Silva, the other teacher is Professor Andrea Nannoni.
Antonello Farulli coordinates the course. The aim of the course is to intensely
concentrate the work that the ensembles study with their professors at the Scuola
di Musica di Fiesole. It offers a rich array of concert and promotional opportunities
as well as supporting activities. One group among those enrolled will be chosen to
represent the school in the ECMA sessions, and several groups may be chosen to
participate in the ECMA summer session. Concerts held at other institutions are
also planned. At the professor’s discretion, the best students may be chosen to give
recitals during the year.
There are eight intensive work sessions with lessons on Fridays and Saturdays. The
course has several active groups as well as a number of auditors. The latter may be
offered an opportunity to attend classes and also to receive lessons. The course is
accessed through an exam. The admission panel is made up of the three teachers
from the course. The organisation of the course and the teaching is based on the
evaluation of the different phases of growth of the ensemble. The “life” of each
ensemble meets different historical moments, obstacles and necessities: personal
crises, differences in perspectives, different needs in life. These aspects must be
identified by the teacher and used to accompany the development of the group. For
this reason, the number of lessons provided is flexible and linked to the artistic and
professional phase of the group.
ECMA-session
The project includes a summer session to be held at the Fiesole Music School. Other
sessions will be held throughout the year by the various institutional partners.  
The main objectives of the project are:
•• Performance styles. Future meetings between quartets and theorists are

planned where the different violin school styles will be compared. There will
also be collaborations between musicians and modern-day composers.
•• In-depth study text analysis.
•• Acquisition of materials and original scores.
•• Performance techniques, with the possibility of performing in public concerts
and then studying the audio and video recordings.
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ECMA Next Step
Tools
Execution time. “Nec manus, nisi intellectus, sibi permissus, multam valent:
instrumentis et auxilibus res perficitur/La mano nuda e l’intelletto abbandonato a
se stesso servono poco. Per compiere le opere sono necessari strumenti e mezzi
d’aiuto” “Human hand and intelligence, alone, are powerless: what gives them
power are tools and assistants provided by culture”. Execution time is a tool
inspired by this enlightening phrase by Francis Bacon. Proficiency can be improved
only through practice.
Musical interludes at Villa La Fonte (100 metres from the school) are therefore
scheduled for every day of the session during which each group can ascertain the
progress made during their lessons.
Peer education
“Music is an asset to be shared” (Piero Farulli). The best groups are asked to hold
lessons for young ensembles of the Scuola di Musica di Fiesole in order to share
with them the ideas and experiences they have acquired, seeing that all are
inspired by the same enthusiasm for music.
Lietuvos muzikos ir teatro akademija – LMTA
The Lithuanian Academy of Music and Theatre (LMTA) is an internationally

recognised higher education institution which trains artists for a professional
career in music, theatre, dance and film. Specialising in arts education, the
Academy also offers the didactics of music disciplines, art management and art
research studies, which combined with artistic and creative practice make the
Academy’s profile distinguished.
Degree studies in Music (Music Performance, Composition, Sound Directing,

Musical Folklore, Music Theory and Criticism), Theatre and Film, Dance (classical
and contemporary), Pedagogy Art Studies and Music Therapy are available. Since
the year 2011 the Academy has also offered an artistic doctorate (4-year third cycle
studies).
The institution offers a bachelor degree for solo instruments which takes four
years (eight semesters). On the undergraduate (bachelor) course there are exams
each semester. The dates are December/January for the first session and May/June
28
for the second session. Solo instrument students have obligatory chamber ensem-
ble studies from the third to the eighth semester:
•• strings/piano
•• woodwind/piano
•• string quartet
There is a list of subjects which conclude in exams (practical and theory) with the
different scores listed in the annex to the bachelor diploma. Chamber music is one
of them. The sum of the scores (solo instrument, chamber exams plus interview)
counts as the entrance score for the Chamber Magister degree. Upon completion
the students may decide to continue their solo instrumental education or switch to
the Master of Chamber Ensemble programme.
Master of Chamber Ensemble is open to individual players. If the students’ scores

from the bachelor exam (instrument and chamber music) meet the requirements
for the Master of Chamber Ensemble, they just have to complete an interview
based on selected questions from the study programme:
•• analysis of the programme performed during the exam in terms of its content,
form and style
•• different editions of the works performed
•• comparison of interpretations by famous performers, knowledge of the course
literature
If a candidate completed their bachelor earlier or at another higher education

institution, they will be asked to perform solo, in a chamber ensemble or both in a
chamber ensemble and a string quartet/wind quintet (40–45 min.). The entrance
exam takes place at the end of June. The audition panel consists of LMTA teachers
from all instrument groups (strings, winds, piano).
The master programme takes four semesters to complete. The chamber music
department employs 14 teachers who only teach chamber music. Students are able
(and encouraged) to choose a teacher. Students have the opportunity to receive
lessons from other teachers, and some students already request this. It is called
“the principle of open class”. However, this arrangement occasionally falls short of
its objectives due to lack of time, space and scope. In the absence of certain spe-
cialties, resident professional musicians are employed to help form a permanent
ensemble or assist with the entrance exams.
Students are asked to choose not only their teacher but also the formation and
members of the group. Based on their requests the Head of Department forms the
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ECMA Next Step
groups. They stay together for as long as they are happy with the group – it could
be all four semesters. Changes to the group may be made after one academic year
(two semesters) or, in very rare cases, after one semester. Chamber ensemble
performance is an obligatory subject for solo instrument master students, but they
may also choose to play in other groups, for example with chamber ensemble
master degree students.
Aim of the study programme

To train professional and socially active musicians who meet the country’s artistic
demands, who nurture the continuity of cultural traditions, and who encourage
regeneration and creativity.
The study programme aims to educate mature and professional performers,

ensemble artists, who through their work and expression of high-level artistic and
other advanced ideas are able to impact on the development of art, culture and art
education within the country and beyond its borders. Master students improve on
the performance skills acquired during their bachelor studies, fostering their
capacity for independent study, learning business communication skills, cultivating
their intellect and expanding their erudition, and combining artistic practice with
artistic research.
Curriculum
The curriculum on the master programme (four semesters) offers a wide range of
subjects for developing not only performance skills but also skills such as career
planning, repertoire development and rehearsal techniques. All lectures are held
once a week. In total the master curriculum comprises 120 ECTS:
•• chamber ensemble studio

•• solo instrument
•• music interpretation history and theory
•• history of instrumental ensemble music
•• foundations of the research paper
•• research paper (a comprehensive written study of 25–30 pages)
•• training as assistant teachers
•• arts policy and the development of professional arts
LMTA has eight assessment criteria for artistic expression.
30
Mastery and artistry with regard to:
•• understanding the artistic idea

•• appropriate performance of the selected repertoire in terms of the text
•• artistic sound quality
•• sense of style
•• sense of the genre and form;
•• virtuosic and artistic skills at an appropriate level
•• repertoire conforming to the requirements of the study programme with regard
to individual skills
10-grade assessment system where every score point has a specific verbal
explanation.
Assessment Motivation of assessment

Excellent. Mastery and artistry. Exceptionally artistic and mas-
terful performance of the repertoire in terms of the music text,
10
demonstrating virtuosity and a clear understanding of the style,
genre and form.
Very good. Mastery. Clear and masterful performance of the
repertoire in terms of the music text, demonstrating essential
9
virtuosity and a clear understanding of the style, genre and
form.
Good. Basic skills of music performance. Orderly performance
of the selected repertoire in terms of the text, but lacking one or
8
several outlined skills: virtuosity or an understanding of style,
genre and form.
Highly satisfactory. Average skills of music performance.
7 Formal performance of the repertoire with occasional mistakes,
demonstrating average artistic skills.
Satisfactory. Satisfactory skills of music performance.
Disorderly performance of the repertoire, demonstrating satis-
6
factory artistic skills related to virtuosity and understanding of
style, genre and form.
Sufficient. Poor skills of music performance. Poor perfor-
mance of the music repertoire in terms of artistry, virtuosity
5
and understanding of style, genre and form, with numerous
mistakes.
Insufficient. Insufficient performance of the music repertoire
4
with regard to the established assessment criteria.
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ECMA Next Step
Distinctive features of the study programme

The emphasis is on students’ acquiring international experience by choosing to
conduct part of their studies abroad as part of an exchange programme.
Improvement of the students’ profession-based competencies is encouraged in an
informal manner (via participation in masterclasses, concert activities and compe-
titions). Collaboration with artists from other fields such as participation in
interdisciplinary art industry projects and international activities is also encour-
aged. The final assessment of students’ profession-based and general competencies
takes place during the final exam period, as competencies are taught according to
the principle of continuity.
The final exam (artistic project)

During their studies the students participate in the following ensembles:
•• String players: chamber ensemble, string quartet and early music ensemble.
•• Woodwind players: chamber ensemble, wind quintet and early music ensemble.
•• Pianists: two different chamber ensembles and early music ensemble.
The final exam (artistic project) is a recital programme lasting 45–60 minutes and
consisting of three complete chamber music works in all of the aforementioned
ensemble constellations (e.g. chamber ensemble, string quartet and early music
(optional) for string players). The examination panel consists of LMTA teachers
from all instrument groups (strings, winds, piano) headed by an external examiner
(most often international).
•• Students receive their professional qualification upon completion of their

Master of Chamber Ensemble degree. Master graduates holding a degree from
the music performance programme (specialisation – chamber ensemble) have
the opportunity to further their studies by undertaking a PhD.
LMTA has been an active member of ECMA (European Chamber Music Academy)
since 2012. For a small country like Lithuania, participation in this organisation is a
major and invaluable experience. The first Lithuanian ensemble to be part of ECMA
– the FortVio piano trio – says:
“Ever since we first heard of ECMA, it was our dream to become a member. ECMA
allows you not only to expand your horizons in terms of musical perception, but
also to enhance your communication skills and didactic knowledge while having a
chance to immerse yourself in the cultures of other countries. For our lives and our
32
career together, we view ECMA as being of inestimable value, and we’re very glad
that we can be part of it.”
Royal Northern College of Music – RNCM
During their time at the RNCM students will benefit from a thriving and energetic
programme of chamber music coaching, delivered within the RNCM International
Chamber Music Studio, led by pianist Jeremy Young.
Chamber music on the undergraduate programme

Chamber music (or ensemble activities) is a compulsory part of the first and
second year undergraduate course. During induction week students will be
assisted in forming an ensemble that they will work with over the course of the
year. They will receive a minimum of 10 hours of chamber music coaching over the
course of the year and be expected to take part in chamber music performance
classes, targeted lectures and optional chamber competitions. In the first year the
module aims to develop and refine interpretative, collaborative and rehearsal skills
under expert tuition. Students will develop the ability to explore ensemble reper-
toire in a variety of historical styles and with varying technical demands and
develop skills in teamwork and group management. In years 1 and 2 the ensemble
will be assessed by a tutor report written by the ensemble’s ‘principal’ chamber
music tutor. The tutor gives continuous assessment throughout the year, and
students are required to produce written self-evaluations at the end of the aca-
demic year. Students may choose to continue their chamber music activities in
years 3 and 4 as a credit-based module and will similarly receive 10 hours of
coaching. They will be expected to be more accomplished communicators as part of
an ensemble, feel secure in developing nuanced and refined interpretations and to
demonstrate mature individual problem-solving skills as part of a collaborative
group. Students in years 3 and 4 will be expected to additionally participate in
public masterclasses and to show excellent commitment to their ensembles. In
years 3 and 4 students are assessed on a performance lasting between 20 and 30
minutes. In year 4 the student ensembles are additionally expected to collaborate
with RNCM student composers and other instrumentalists as part of their recital
programme.
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ECMA Next Step
Chamber music in the Postgraduate Masters/Diploma programme

At postgraduate master/diploma level, admission to the chamber music module is
through prior experience of ensemble playing either by way of a brief portfolio,
audition or list of prior achievements. Ensembles will receive 15 hours of expert
chamber music tuition throughout the year in which they will be expected to
broaden their core knowledge and skills by consolidating and developing their
ability to perform as part of a chamber ensemble. They will learn through the
experience of rehearsing and performing with their peers and receive training at
an advanced level. All students have access to chamber music masterclasses,
performance classes and internal competitions. They will be assessed on a perfor-
mance lasting 30–40 minutes and a viva voce in which they must demonstrate a
high degree of technical assurance, interpretative insight and excellent ensemble
communication skills. They should demonstrate advanced knowledge of their
particular genre and an awareness of their roles in a chamber music setting.
Chamber ensembles are self-motivating groups fostering initiative, teamwork and

commitment. At all levels at the RNCM students may choose to build on their skills
by pursuing some of the many exciting and varied options on offer, including the
annual International Chamber Music Festival and the European Chamber Music
Academy session.
Key features which demonstrate the strength of the RNCM’s chamber music
programme include:
•• An international dedicated chamber music staff.

•• The annual International Chamber Music Festival which consists of visiting
artist recitals, high-profile performance opportunities for current students,
masterclasses and lectures.
•• Close links with some of the most important international chamber music
centres and organisations. Recent exchanges include groups from France,
Austria, Finland, Italy, Singapore and Australia.
Since 2007 the RNCM has been the sole UK partner institution of the European
Chamber Music Academy, linking up with and offering teaching experience at
conservatoires in Vienna, Helsinki, Paris, Hannover, Vilnius, Fiesole, Oslo and The
Hague.
34
3. Teaching methodologies – case studies

The background for collecting teaching methods from first-hand experiences,
helpful advice and new strategies from the members of the working group is an
attempt to start the creation of a knowledge pool for chamber music education
from a practical perspective.
The pool will never be complete, and it should always be open to further adjust-
ments or additions.
The collection as presented here includes methods for improving sound produc-
tion, articulation, ensemble skills and development of personal expression.
Furthermore, the collection highlights the values of intense analysis of the score
and offers exercises for improvisation training, breathing and relaxation
techniques.
Some of the topics will also be featured through visual examples in the project
videos. These videos can be found on the ECMA web-page: www.ecma-music.com
The described methods might be helpful at all levels in chamber music education,
but they do not represent a certain philosophy or unified teaching method. Rather
it is a collection of important values to boost effectiveness in chamber music
teaching in general.
No 1 – Using a text to understand phrases and rhetorical aspects in

music
The idea of understanding music as a kind of conversation has its roots in the use
of rhetorical figures in ancient Greece and resolutely found its way into music in
18th-century France. JS Bach also used many rhetorical elements in his works, but
the strongest advocate in chamber music focusing on conversational aspects was
Joseph Haydn.
Following this trail leads us to a practical way of combining language and music
which might be used in chamber music coaching.
In order to achieve clear articulation and various kinds of intensities within a

phrase, it is helpful to find a text for musical motives.
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ECMA Next Step
One of the particular qualities of speech is that the words never stretch the inten-
sity until the very end of each syllable, and the meaning is built through a longer
context between the words. The same happens in music: the context of single notes
is building a phrase which rises to a peak before relaxing again, although this does
not necessarily happen continuously on each note.
Finding a suitable text and then singing (or at least speaking) it can serve as a great
tool for experiencing the natural flow within a phrase.
As soon as the students try to follow the text on their instruments, the understand-
ing of the phrase becomes more obvious, and less theoretical explanation is
required by the teacher.
It helps to shape single notes in terms of sound production and proper use of
vibrato as it supports the natural flow within a phrase and melodic line.
If you understand the message and content of the music, it is easier to find your
personal way of expressing it.
At the end are the rhetorical elements such as exclamatio, interrogatio, suspiratio
etc.; the composer’s code which allow us to understand and present the meaning of
the musical gestures even without words.
No 2 – Conducting can improve sound, phrasing and clear musical

gestures (strings)
Some players in chamber music groups are suffering from a complete absence of
personal expression both on their instrument and in the communication process
within the ensemble.
If they are unable to find a way to remove their physical (and emotional?) blocks
during playing and never reach a minimum level of personal expression, it may be
worth giving it a try and letting them conduct the music instead of playing their
instruments.
The ability to shape natural phrases and make clear musical gestures requires
natural and very relaxed breathing to enable musical excitement and relaxation. A
high energy level and intensity during a performance are essential to making a
convincing musical statement.
In other words: it needs the involvement of the whole body, not just the brain.
36
A good conductor motivates the orchestra and initiates the right pulse with clear
gestures and body language.
To stimulate these qualities in our students, we could motivate them to breathe on

upbeats and lift their arms while conducting in the same way they should feel when
playing their instruments. Especially with strings, the similarity in the use of the
bow and the use of a baton is obvious. The upbeat (upbow) prepares for the initial
start of the bar where the most energy is necessary, and the side motion(s) in
conducting means a relaxation in the bow until the upbeat again connects to the
new first beat with different intensities within a longer phrase.
In other words, the initial start of the sound production with the bow is followed
by a phase of relaxed flow before the preparation for the next bow change brings in
new energy while continuing the energy flow at the same time.
Repeated attempts to show/conduct the various intensities in the music may lead
to a more natural and relaxed way of performing on the instrument and handling
the bow.
No 3 – Flow and performance

The ideal condition for a performance, both in music and sports, generally occurs
in what we could call a “state of grace”. At the beginning of the 1970’s Mihaly
Csikszentmihalyi, an American psychologist of Hungarian origin, became interested
in this phenomenon and made available to the scientific world a work in which he
“explored the creative processes of painters and sculptors”. In a large-scale study
he interviewed a multitude of people from the world of sports and the arts, many
of whom described their experiences as a continuous flow. This is the way in which
he came to define them as “flow experiences”. The flow represents a stage of
mental operation in which a person is absolutely and fully immersed in what he is
doing, characterised by a feeling of full, concentrated participation, and success in
conducting the activity.
Seven elements make up the “flow experience”. The first three are the necessary
prerequisites for the flow experience to originate, while the next four describe
what the person experiences subjectively during the flow:
1) Awareness of successes and feedback.

2) High levels of concentration relative to a specific field: this allows the conscio-
usness to go into the depths of the activity without becoming distracted.
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ECMA Next Step
3) Balance between skills and goals: a task, of a given level of difficulty, must corre-
spond to the appropriate goal; a challenge too great causes tension, anxiety and
frustration; a challenge that is too easy leads to a non-stimulating situation and
a feeling of boredom.
4) Sensation of total control: be careful not to misinterpret the term “control”; it
can be associated with compulsive domination and nervous attention. Control
within the flow does not possess any of these characteristics; it is a state of
relaxation with the complete absence of concern that refers to the known
paradox in Zen Buddhism as “control without control”.
5) Action in the absence of effort: the flow includes ease, flexibility and natural-
ness; the different parts must work harmoniously, without effort.
6) Altered perception of time: in a state of deep flow, the perception of time
is altered. Two hours seem like ten minutes; this is because the right brain
hemisphere, mainly a deputy for creative activities, is activated, and both
hemispheres work according to a pattern of great synchronisation. Therefore
every analytical capacity, relative to the left hemisphere, moves on a backgro-
und dimension.
7) Merging actions and consciousness: a state of total concentration leaves no
room for worry, fear or distraction. The performers should no longer feel sepa-
rated from their actions: they must be at one with their performance.
The musician arrives on stage and feels that the tension inside gradually melts
away, transforming into calm and concentration: the breath is regularised and
becomes deep, the room becomes dark and he enters into a kind of trance where
there is nothing but the expression of music for those who perform it and those
who listen to it, in a tight, intense dialogue. Time flows quickly, small imperfections
are not even considered because there is something more important, a magic, an
atmosphere which must not be disturbed. In this very particular condition the
performer is at one with himself and every movement, every idea follows an
absolute inner coherence that is not minimally distracted by external events.
No 4 – Flow and practice

There is a real flow exercise that can be done both individually and, even more
successfully, in a group. In the string quartet one particular way is to start playing
with freedom of bowing in a very simple score, for example a Bach chorale.
Immediately afterwards, without losing the sensation of the free flow of the bow,
we try to coordinate the bows until we have the profound impression that the
sounds are completely grounded and increase in richness of harmonics and in
38
quantity. This feeling of freedom is not easy to achieve when you play together.
Perhaps it can be for a first violin, but for the second violin, viola and cello it is
always a matter of coordinating one’s own feelings with those of others. To let
music flow in us as a simple expression of what we feel is an experience to culti-
vate. This is certainly a sensation more common to the concert than it is in compet-
itive situations such as auditions and competitions. The invitation of Kató Havas to
always return at the moment of execution to the fundamental concept of giving and
receiving musical emotions is, in such cases, more difficult to apply. As far as one
can know one’s own emotional experiences, experience teaches that every context
is different.
It is very important to enter a state of full concentration to promote good commu-

nication between body and mind. If the mind takes up too much space, it is very
important to compensate with daily exercises and study practices that bring
balance.
Contact with the instrument belongs to a particularly important tactile intelligence.

The coordination and the connection between the various parts of the body as well
as between the bow and the instrument belong to a holistic vision of the human
being whose development undoubtedly passes through the experience of the
movement as well as that of the manipulation of the instrument even in non-tradi-
tional forms (G. Kurtag, Jatekok, Editio Musica Budapest).
Burzik’s studies relating to the lack of effort in musical performance refer to Paul
Rolland’s experience in the early 1970’s. The violinist and educator of Hungarian
origin emphasised the need to counter the “rigor mortis” so widespread among
instrumentalists in favour of a naturalness of movement whose base resides in the
kinaesthesia where this term indicated the perception of self.
If we want to imagine a synthetic “list” of “experiences” that an ensemble should be

able to assume as a study activity, at least four points should be listed:
1) Singing and moving

An ensemble sings the work to be studied, moving in time and making
movements with the arms outstretched to lengthen the muscles and internalise
the rhythm. (exemplification taken from Havas, Katò, “A new approach”, Kato
Havas and Lakeland Home music, 1991).
2) Dancing
Activities carried out by Steven Player, the well-known choreographer and
dancer, during the 2016 and 2017 ECMA-sessions held at the Music School of
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ECMA Next Step
Fiesole, led the members of the ensembles on to an extraordinary path, through

the practice of some of the most important baroque dances. This led to a greater
awareness and perception of their bodies. These perceptions made them physi-
cally more effective; embodying the rhythmic pulsation made them more logical
and spontaneous and coordinated with the sound.
3) Body percussion experience
Body percussion is used extensively in music education, because of its accessibi-
lity: the human body is the original musical instrument and the only instrument
that every student possesses. Using the body in this manner gives students a
direct experience of musical elements such as beat, rhythm, and metre and
helps a student internalise rhythmic skills.
4) Theatrical improvisation exercises
Each member of the group imagines being a wax statue, and in turn the team-
mates make him assume a different position and then exchange roles. Again, all
the members of the group pass an imaginary ball, changing direction abruptly
and increasing the speed to develop their reflexes, their ability to listen, and
their perception of the intentions of the partner.
No 5 – Reading, understanding and realising the score

Musicians consider score-reading to be crucial to learning a chamber music work.
Yet many conservatoires provide little structured training in this key skill. Theory
and instrumental teaching generally tend to be taught entirely separately, and there
is often minimal contact between the teachers in the different subjects. This is
problematic, since students may find it difficult to identify the correlations
between theory and performance. One solution is to enable music theory teachers
to work directly with the chamber ensembles on the pieces they are currently
rehearsing. This is already happening at some institutions, but it is something
everyone should aim for eventually. Score-reading practice should also be more
systematically integrated in ordinary chamber music tuition, i.e. the teachers
should make time for it.
1) Listening actively to the music as a whole whilst playing is a key skill that
students must learn. They must be able to “hear the score” while playing.
Stopping to consult the score to see what the others are playing is a sign of poor
listening skills. Swapping parts in selected passages may help with perception.
This is a highly effective exercise that rejuvenates the interaction between the
performers and helps them see the bigger picture.
40
2) Playing straight from the score can give the performers an instant idea of all the
different parts. In practice this involves photocopying, shrinking, cutting and
pasting to be able to play an entire movement without having to stop to turn
the page. Always having the score, and therefore also the complete music, in
front of you has obvious advantages in that it speeds up the teaching and
learning process and makes it more effective. One minor weakness is that it can
be easy to focus on the details you see in the score at any given moment instead
of really listening. Another is that the print is very small and you have to spend
energy on the actual reading activity.
3a) Carefully analysing the score is without doubt the best way of preparing a work.
During the first lesson with a new group the teacher should introduce them to
the “analytical tools”. They must be given an introduction on how to annotate
phrase lengths, chord symbols (function) and degree of exposure (first/second
parts) in the score. Everyone should have their own score. A rudimentary
analysis of the score should be set as homework, and before the second lesson
the teacher should check the students’ analyses. The students play from their
respective parts during the chamber music lesson but should have the full score
“in their heads” and keep it to hand.
3b) It is highly recommended to discuss the interpretation of the score together.
Time should be set aside for this on a regular basis. Fundamental stylistic
elements such as melodic/harmonic (rhetorical) figures, articulation, tempo,
dynamics and musical terms (usually Italian) that describe the musical expres-
sion should be reviewed. The teacher should ask trigger questions and stimu-
late the students’ collective imagination: What was the composer’s intention
behind this notation? How are the phrases structured; what about the instru-
mentation? What kind of character can you glean from the score? Which tonal
qualities do you feel could realise the nature of the music?
No 6 – Connecting to the dramatic aspect of performing chamber

music
When a student chamber music group is confronted with a complex work they
often struggle to find a way to perform it convincingly. By the time they have
managed to find a way of playing it at a technically acceptable level and with
reasonably good ensemble they quite often run out of ideas in terms of how to
bring the music to life. Even with their best effort and very good coaching they can
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ECMA Next Step
still sound mechanical and uninteresting and find it hard to take their performance
to the next level.
If this happens, it can be very helpful to draw a parallel to what actors need to do
when they are tasked with interpreting a text. They are challenged with a string of
words that could in fact mean quite different things depending on how they are
read out loud. Actors need to understand the deepest content of the story and find
a way to deliver it convincingly to the audience. They are finely tuned into their
co-actors’ every move and need to be totally flexible and spontaneous in case one
of their team does something unexpected. They need to unify their interpretation
and be meticulous about every nuance and turn of phrase. They need to know how
to develop their material and how to perform it in such a way that the audience in
the back row on the upper balcony can hear them and understand what they are
saying.
We musicians have a musical text in front of us; a row of notes that can evoke quite
different emotions depending on how they are interpreted. The description above
might just as well be about musicians as about actors. Our challenge is in fact very
much the same. We need to bring our musical text to life and find a way to interpret
it; to translate the story hidden in the music in such a way that it evokes feelings in
the listener and touches them in a palpable way. This is of course more abstract
than speaking actual words, which makes it all the more challenging. Therefore, it
can be very helpful when the student is having trouble finding a way to play a
theme convincingly to get them to think about the music in terms of a theatrical
play. What sort of a character would the first theme be? What emotion(s) would
they associate with this character, and what does this character experience as they
develop through the piece. If the second theme were a character, who would they
be and how would they relate to the first theme? And so on…..
The parallels in terms of ensemble playing are of course also very obvious and very
useful. Such as asking a question and giving an answer; catching a phrase thrown
to you and passing it on to the next colleague or back; supporting whoever is
performing the main role at any given moment and helping them shape their line;
knowing when to pause and catch the tension created in a moment of suspense and
when to break the silence. The term ‘timing is everything’ is just as applicable to
music as it is to drama, but the magic of music is that with it we can convey emo-
tions that most of us are unable to express in words.
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No 7 – Embodying the music

Students in a chamber music group often have trouble finding a common pulse and
making complicated rhythms feel organic. Feeling the pulse and the rhythm
physically in the body can be very helpful with rhythmic challenges. It is quite easy
to play correctly with the metronome, but it is much more difficult to find the
agogic swing in the music as a group.
Ask the students to put their instruments down, stand up and link arms. Get them
to walk this way in the pulse of the music and either say the rhythms or sing their
parts. This will help them find a common general pulse and give them a deeper
understanding of the complexity of their rhythms.
This can be very helpful for something as simple as a minuet in a classical work
when they do not understand the agogic element of the dance and any rhythms
that are not completely metronomic such as a waltz or a Hungarian folk music
theme in Bartók. They can of course do more or less the same by clapping their
hands and saying the rhythms, but linking arms and physically moving together
gives them a deeper understanding of how to actually breathe and play completely
in synch with each other. Physically moving with the natural flow of the music with
linked arms puts the music in our bodies and helps us feel it together; ensemble
will be easier and more natural.
Younger students often have trouble understanding how to play even simple
syncopated rhythms together and how to be flexible and elastic. This exercise can
be very helpful for that; with linked arms they can alternate putting the main beat
in their feet and saying or singing the syncopation and the other way around. They
can speed up and slow down to understand how to respond and develop flexibility
when playing the syncopation as it moves with the flow of the music.
No 8 – Articulating musical opinions

Usually, having attended a concert or listened to a music recording, students tend
to express a subjective and highly generalised opinion “enjoyed/didn’t enjoy.” One
of the most significant elements of student education is the formation of their
tastes, positions and opinions as well as the ability to express such opinion pre-
cisely in words.
Suggested teaching method

Ask the students to listen to 3–4 different interpretations of the piece they are
working on (audio or video recordings) and to analyse these interpretations during
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ECMA Next Step
the next lesson. They should be asked to compare the performance styles and
discuss technical, ensemble and communication aspects as well as the energy level,
sound balance and various other performing subtleties. The students should be
able to indicate which recordings they liked more and which less by offering their
valid arguments. This way, the students learn how to formulate their opinion,
express it in a constructive way and defend it during a discussion. During a semes-
ter (e.g. after two months) it is highly recommended to listen to the same record-
ings one more time and to discuss them once again.
No 9 – Improvisation
Performers of classical music are, in a way, squeezed into the framework of musical
text, i.e. they have to perform precisely and qualitatively the material expressed in
notes. As a result, the line between text performance and creativity becomes very
blurred. If one concentrates only on the quality performance of the written mate-
rial, there is a danger of losing touch with space, time and ensemble colleagues.
One very valuable method that helps liberate the hearing, sensitivity and creativity
of ensemble members is improvisation. Qualified teachers who have developed
their own methodology should conduct such improvisation sessions. It would be
highly useful if an ensemble attends at least one or two improvisation lessons
during a semester. However, simple improvisation exercises can be performed
during a chamber ensemble or string quartet lesson or rehearsal. Exercises can be
created both by the ensemble coaches and the members of each group.
Suggested exercises
1) Following a discussion on mood, sound quality, sound range and tempo
development, an ensemble improvises by playing a single note for 2 minutes
(e.g. in the tonic of the key). The timbre, length, attack, pitch and dynamics of
the note should be selected in relation to ensemble partners. Such an improvi-
sation exercise must embrace the beginning, elaboration, climax and ending.
This exercise helps to develop hearing sensitivity to the sound of ensemble
colleagues and to enhance reaction and the feeling of time. When an ensemble
returns to the piece they have been working on, ensemble members should be
able to hear the general sound better, respond to the dynamic development by
their colleagues and concentrate less on just their own part.
2) Another exercise is intended to develop the feeling of ensemble pulse and is
played from sheet music using improvisation methods. A piece can be started
either by all ensemble members or just one of them with the others joining
in gradually, as they see fit. At the beginning of the exercise, not all notes are
44
played; just one note per bar or per two bars is played and then held. The main
point of this exercise is to feel the general pulse of a piece. Even though not all
notes are played, the tempo and time should flow at “normal” pace. Gradually,
more and more notes are added until a piece regains its original form. During
this exercise, it becomes obvious who tends to hurry and who is inclined to slow
the pace. Often, after several bars it is possible to hear that the pulse of ensem-
ble members is different, and by adding more and more notes it turns out that
ensemble members get lost in time completely.
No 10 – Breathing
The emotional condition experienced by all performers before going on the stage
can be referred to as stressful. Stress management does not necessarily imply
stress reduction. When stress reaches a certain limit, the results actually become
better. The human body mobilises in stressful situations. Problems arise when
stress levels are too high or when dealing with long-term stress. It has been proved
that musicians are similar athletes in terms of the levels of stress they experience.
Doctors and sport psychologists recommend that performers should employ the
same approaches to body awareness, body relaxation and body alertness as
athletes employ before competitions.
Breathing exercises are an important part of relaxation techniques. Both chamber

ensemble members and their teachers should pay particular attention to breathing,
not only as an inseparable part of their physical activity, but also as a means of
controlling their emotional status. Breathing is vitally important when feeling
under stress. Irregular breathing can only increase anxiety, muscle tension, head-
aches and fatigue. All of the aforementioned phenomena are well known to musi-
cians, and only when they learn how to understand and control their breathing will
they be able to calm down more easily and to relax when it is most needed.
Breathing exercises (done either together with other relaxation techniques or
separately) can improve both physical and psychological well-being. The following
are only some of many breathing exercises:
Counting exhalations
1) Sit or lie down comfortably. Make sure that your hands and legs are not crossed.
Keep your back straight.
2) Inhale deeply and hold your breath for a while before exhaling.
3) When exhaling, start counting, “one.” Keep breathing and continue counting
with every exhalation, “two… three… four…”
4) Continue doing the exercise – count from one to five for 5-10 minutes.
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ECMA Next Step
5) Observe how your breathing gradually slows down, the body relaxes and
tension in your head decreases.
Relaxation sighing
A human being yawns and sighs numerous times per day. Usually, this is how our
body signals that it needs more oxygen. Every sigh is accompanied by a certain
tension reduction. The following reaction of the organism can be employed pur-
posefully to reduce tension.
1) Sit down or stand up straight.

2) Sigh deeply – produce the sound that occurs naturally when you feel relieved.
3) Do not think about exhalation. Let the air out naturally.
4) Perform 8–12 of such sighs and feel how your body starts relaxing.
5) Repeat the exercise as many times as you need.
Exhaling tension
1) Sit down comfortably on a chair with your legs firmly on the floor.
2) Inhale deeply. While inhaling, think to yourself, “I’m inhaling relaxation.” Hold
your breath for a moment before exhaling.
3) When exhaling from your abdomen, think to yourself, “I’m exhaling tension.”
Wait a moment before inhaling again.
4) Feel the tension in your body with every breath you take.
5) With every exhalation, let part of your tension go.
Certain exercises that are performed through one or two inhalations or exhalations
are best when you have just a few seconds to relax and concentrate. For example,
basketball players employ the technique of sudden exhalation before taking a free
throw. Such exhalation (especially in combination with slower and deeper breath-
ing than normal) helps reduce tension effectively and also activates the body,
creating a momentary sensation of readiness. This is a perfect exercise just before
the beginning of the performance, when you are already on the stage.
No 11 – Developing a deeper sense of communication within the

chamber group
So much about playing chamber music well depends on using our sixth sense. We
communicate on a deep level with our fellow musicians, and our musical antennae
need to be in overdrive!
There are many ways of developing this feeling of playing as a group, not as
individuals, and one way is to practise with your eyes closed. Firstly, practise
46
coming in together on one note. Do not nominate a leader, but rather all members
of the group should start the note together when the time is right – just try to sense
when it will happen. Try the following:
1) Relax and close eyes, with instruments in playing position

2) ‘Experience’ the group silence, and wait until it feels like it is time to play
3) Someone/all breathe on the upbeat, then play together
Discuss, repeat.
You could develop this exercise by repeating the above steps, but this time playing
a very short unison phrase. Be aware of the ‘rise and fall’ of the phrases and the
exact moment when your colleagues are ready to change the note.
This can be quite a special experience and can help to develop a deeper level of
understanding and trust within the group. Hopefully you will experience an
element of surprise, as you hear the most ‘together’ note your group has ever
played!
Another way of developing this deep level of listening is to turn the chairs in an
outward circle and play a passage from your piece. At first it can seem rather
daunting and isolating not to be able to communicate visually, but with a little time
the musicians themselves soon realise that they have started listening on a totally
different level. The challenge is then to return to playing in a ‘normal’ seating
position, but now with deeper listening skills and more awareness of the other
musical parts.
Both the above methods can be used not only to practise sections of your reper-
toire, but also diminuendi, crescendi, colour changes, vibrato etc. It is easy to
deceive ourselves that we are making these musical expressions and dynamic
changes as a group, but when we really listen deeply, maybe this is not always the
case.
No 12 – How to shape a musical phrase and add expression ‘where

necessary’
Another important aspect of music-making is learning how to shape a phrase
whilst at the same time making sense of the expression and vibrato. Exactly how
much expression and vibrato does the music need, or are we just adding vibrato
because it’s ‘what we do’?
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ECMA Next Step
Here is an exercise which will hopefully give you the opportunity to really think
about, and question, your vibrato and ensure that the shape of the musical phrase
is always clear.
1) Choose a complete phrase from your chosen piece – it could be a section where
you all have the same music, but it could also be a passage with ‘melody and
accompaniment’, or even a fugue passage.
2) Play through as you normally would, being aware of the different lines within
the music.
3) Play through again with very good sound and musical line/direction, but this
time take out all the phrase shapes and all the expression.
4) Play through again as in Point 3, but this time add shape/rise and fall to your
phrases. There should still be NO expression.
5) The final version! Play through again, but this time add musical phrasing/shape
AND expression/vibrato where you feel it is necessary with the intention of
making the musical lines clearer and enhancing the music with appropriate
expression.
It is important to play each version with your most beautiful tone and a real sense
of line, even when playing with no shape or expression. Believe in what you are
playing, and deliver it with musical intent. If you are playing a section where all
players have similar music, try to play with the same shapes and expression; if the
parts differ, bring out the individual shapes of each voice. In this case, Point 4 will
be particularly interesting.
You should start to hear phrases and shapes in the music which you had never
noticed before, without the confusion of vibrato, and hopefully this will help you to
think more about the amount of vibrato/expression which you would now like to
add in order to enhance the music.
48
4. Assessment of chamber music

The search for assessment criteria was one of the requirements within the
expected output of the “Working Group for Teaching and Learning”
Assessment in general is a sensitive field which should allow for considerable

individuality for the student being assessed as well as for the person giving the
assessment.
A clear conception of what you want to assess is necessary, followed by a decision

on how you want to establish the assessment procedures. Is verbal assessment
enough, or does it require a more detailed list of criteria that all jury members can
easily approve? Does the written assessment make enough room for individuality?
The working group is of the opinion that individual feedback is of great value when
circumstances allow it. But we also emphasise that a description of the expected
learning outcomes must serve as a basis for all grading systems, whether these are
uniform across several institutions or individual in various schools and levels.
It may not be possible to find assessment criteria which are completely suitable for
all situations and levels, but we have tried to create an assessment form that meets
the main requirements in the field of chamber music and in instrumental perfor-
mance in general.
During the search for this assessment form our working group selected parameters
which allow us to evaluate the principles of instrumental and ensemble playing as
well as the competencies for an artistic concept and stage presence generally.
During the Joint Staff Training Event in The Hague in March 2017 we had a kick-off
for a selection process where the working group members started to identify
qualities which are needed for a convincing performance. The result was a long list
of ideas which then needed to be articulated to create an assessment form. We used
the first edition of those results on internal worksheets to comment on the perfor-
mances we heard as jury members during the Chamber Music Festival organised by
KC. Usually the students get verbal feedback, but it was helpful for us to try out a
written format as well.
After three days we met again to evaluate the results and revise the definitions for
a more practical use.
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ECMA Next Step
The outcome was the first version of an assessment form which may be suitable for
auditions and exams. This version was clearly more streamlined than the first
draft, and we used it for another trial during the ECMA session’s performances in
May 2017 in Grafenegg.
The performances there were of a semi-professional standard, and we made just

minor adjustments to the definitions of the criteria.
The juries at the Lithuanian Academy for Music and Theatre and at the University
of Music and Performing Arts Vienna subsequently used the finalised assessment
criteria in their chamber music auditions and exams after the Grafenegg session,
and that final version of our suggested assessment form was introduced at the
Multiplier Event during the AEC Congress in November 2017.
We believe that the use of such an assessment form will guarantee a more objective
assessment for all candidates and will also help to simplify the integration of
external examiners into the local panels or via live streaming in the future. Because
of the usual shortage of time during auditions, we would seek to avoid too exten-
sive or complex assessment procedures.
Another important issue in the assessment process is the composition of the panel.
In order to get a more objective view in the assessment of the presented perfor-
mances, we strongly recommend inviting external examiners onto the panels.
The focus on the performance in general, the personality and the originality will
strongly benefit from the expertise of external artists who will be less inclined to
focus too much on instrumental or ensemble skills as the main requirements.
Furthermore, the invitation of students to participate in the panels may also serve
as a future tool to make the assessment more student-centred. Alongside these
strategies we need to communicate the expected outcomes of the exams as clearly
as possible during the educational process and integrate helpful aspects such as
mental training, physical relaxation, breathing techniques etc. in the curricula of
our institutions. The strongest personalities need to be able to develop without
being held back by physical or mental blocks.
Whatever the assessment criteria, grading system or feedback process, having

open-minded and experienced panel members is ultimately the strongest asset
when evaluating artistic performances in our institutions.
50
ECMA Next Step – WG 1 – Assessment criteria
Jury member:
Date:
Location:
Performers (fill in names)

Technical skills (intonation; quality, variety
and clarity of sound)
Adherence to the score and the style of
composition (rhythm and articulation,
phrasing, dynamics, tempo)
Communication and energy level within the
group
Balance and homogeneity of sound as an
ensemble.
Applies only to ensemble assessment

Awareness of the performance situation
(communication with the audience, stage
behaviour, authenticity of performance)
Total
Interview (self-reflection, selection of repertoire, historical context etc.) for optional use
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Comments:
ECMA Next Step
The ECMAster and (International) External Examiners
One important point of discussion during the development of the “European

Chamber Music Master – ECMAster” as part of the ECMA – Next Step project was a
common approach to assessment. This discussion resulted in the development of
two important outcomes, which will become an integrated part of the joint pro-
gramme in the future: a set of common assessment criteria for chamber music and
an approach towards the exchange of (international) external examiners. The
Working Group suggests that these criteria will be used in the assessments taking
place on the ECMAster programme but could also be used by the institutions for
chamber music assessment on other programmes. Furthermore, in order to
maintain a common approach to the assessment criteria, it is also suggested that
the ECMAster makes use of (international) external examiners from the other
consortium partners, who will be members of the assessment panels for the
ensembles studying for the ECMAster but possibly also on other study pro-
grammes. This approach is described in section 14 of the ECMAster Consortium
Agreement.
This section describes exactly what is meant by the term International External
Examiner (IEE), the relevance to the institutions of using such examiners, how the
use of IEE relates to the assessment criteria that have been developed, and which
practical details should be considered when operating a system that uses IEE.
What exactly do we mean by the term International External Examiner? In the

document ‘International External Examiners in Higher Music Education: Role,
Purpose and Case Studies’ published by the ERASMUS Network for Music
‘Polifonia’, information is provided on the various types of external examiners. As
has been identified through research in the ‘Polifonia’ project, there are many
different practices as regards the use of IEEs and their role(s) in relation to the
assessment of student performances.
In order to avoid confusion with the terminology used in some countries where a
tradition of external examiners/evaluators/assessors exists (e.g. in the UK), it is
important to be clear about the different roles and types of external examiners:
1) In the context of the ECMAster, an IEE is normally a specialist on chamber music

tasked with serving on assessment panels for formative and/or summative
performance assessments.
52
2) In some countries another practice exists in which an external expert (often

called an ‘overall external examiner’ or a ‘programme external examiner’)
oversees final examinations in different departments as a generalist in order
to examine the overall comparability of standards and procedures between
departments within one single degree.
3) The meaning of the word ‘external’ only refers to the fact that the external exa-
miner comes from another institution.
Whereas the ‘overall external examiner’ can be seen more as a quality assurance
tool to review the institution’s internal standards and procedures for assessment,
the specialist external examiner will be more directly involved with the actual
assessment of individual students. Therefore, the profile of such a specialist
external examiner will be more connected to the actual content of the study
programme and its curriculum, and it is this type of external examiner that will be
active within the framework of the ECMAster.
Purpose: why International External Examiners?

The presence of IEEs will be important to ensure that the assessment criteria will
be applied in the same way across the joint programme. At the same time, the
presence of the IEEs will also facilitate the exchange of expertise between teachers
and can play a role in the continuing professional development of teachers with
regard to assessment and feedback. This way, international collaboration on
assessment is an effective way of enhancing teachers’ expertise through engaging
with colleagues at an international level and gaining an understanding of other
assessment systems. Teachers gain experience of different pedagogic approaches
but above all learn to develop their own idea of what standards are required
internationally.
There are also other more general benefits to be gained from the use of the IEE:
•• Music is a highly specialised discipline, and there may be only a small number
of instrumental practitioners in a particular country. It is therefore possible that
cross-institutional assessments at institutions within one country will have only
limited benefits in terms of objectivity. The engagement of an IEE enlarges the
number of practitioners and thus enhances objectivity.
•• Higher music education is very much an international discipline. To ensure that
the programmes are continually updated in line with the requirements of inter-
national professional practice, it is not only important that there are foreign
students and teachers present at the institution but also that the study pro-
grammes are continuously benchmarked at an international level. International
53
ECMA Next Step
cross-institutional assessment can provide valuable information as to a pro-

gramme’s outcomes in relation to international standards.
•• Lastly, this international approach can make a positive contribution to the
accreditation and programme or institutional review procedures institutions
will have to undergo as part of their national quality assurance systems. Not
only can this approach identify stronger links between the assessment, quality
assurance and internationalisation policies of the institutions involved but also
provide a useful tool for comparing standards of student achievement at an
international level.
International external examiners and the ECMAster Assessment Criteria

A crucial requirement is careful preparation of a visit by an IEE. It is important that
the IEE is fully informed of the assessment procedure and the grading system in
advance of the examinations. Even when the agreed ECMAster Assessment Criteria
are being used, additional marking/grading criteria provided by the host institu-
tion may be essential tools for the IEE. It is expected that over time teachers will
learn about the assessment practices at other ECMAster institutions, but even then
there may be changes or developments that he/she should be informed of.
When using the ECMAster Assessment Criteria, it may be useful to adopt a common
methodology with regard to the actual assessment process. There are two ways in
which the criteria can be used:
•• As a tool for feedback only. In this case, the form listing the Assessment Criteria
(see above) will be filled in for each student in the ensemble according to each
criterion. These forms will then be used as a basis for written or verbal feed-
back to the student ensembles. Copies of the forms could also be given to the
students. This would be the most transparent way of giving feedback, although
it also may inhibit teachers from writing critical comments.
•• As a tool for feedback and grading. Apart from using the form to collect feed-
back, there may be situations in which the performance of the student ensem-
ble needs to be graded. This will then be done using the grading scale of that
particular institution. It is recommended to relate the institutional grading scale
to the ECTS Grading Scale when the conversion of grades is required. To get the
most objective result possible, blind marking is highly recommended. The final
assessment and grading should always be related to the assessment criteria
so that if a student asks for further clarification, a reference to the assessment
criteria can always be made.
54
Practical considerations
It is anticipated that the Programme Board of the ECMAster will discuss the
exchange of IEEs once the programme is up and running. Nevertheless, there may
be concerns amongst the institutions regarding the high cost of using IEEs. In the
Consortium Agreement it is mentioned that the cost of external admission panel
members will be shared between the host and home institutions, unless otherwise
agreed by the institutions. If possible, it should be combined with Erasmus+
teacher mobility in which Erasmus+ rules and regulations apply. Here are some
further thoughts on this issue:
1) The use of the regular teaching staff exchanges in ERASMUS+ can be considered
for this purpose on the basis that the visiting teacher is carrying out a role in
the evaluation of teaching. At the moment there are no regulations that would
contradict this assumption, as the regulations usually only stipulate limits in
terms of time to be spent at the host institution. It is prudent to check this with
the ERASMUS+ National Agency beforehand. A solution could be to combine
the role of the teacher as an IEE with a few hours of actual teaching at the host
institution. If ERASMUS+ can cover the cost of the IEE, then using an IEE could
even be more financially attractive than employing one from within the same
country.
2) Another financial arrangement could be to use the principle of ‘closed purses’.
This means that the home institution pays the travel costs, while the host insti-
tution covers local costs (hotel and meals).
3) In some countries it is standard practice to pay external examiners a fee. If this
is the case, the IEE should be treated in the same way. It is important to agree
very precisely on such details beforehand.
Further experiments with assessment and feedback in

chamber music teaching
During the second Joint Staff Training of the project, which took place in The Hague
on 19 – 23 April 2018, the discussions about assessment and feedback in chamber
music teaching were continued. This Joint Staff Training took place, similarly to the
first edition of this activity, during the Chamber Music Festival of the Royal
Conservatoire. This festival is actually a long weekend of assessments for chamber
music ensembles consisting of Bachelor of Music students from the Classical Music
55
ECMA Next Step
Department of the Royal Conservatoire. During the festival between 40 and 50

chamber ensembles perform for assessment panels and the general public in a
series of public concerts in various venues around the city. This provided a perfect
setting for the experiments the project wanted to execute.
The experiments addressed the following aspects with regards to assessment and
feedback.
4) Testing different compositions of the assessment panel with three types of

situations:
•• One situation took place in which the assessment of an ensemble was done
in parallel both by a local assessment panel and an external ‘ECMA panel’
consisting of chamber music teachers from ECMA partner institutions par-
ticipating in the Joint Staff Training. Both panels used the same criteria, after
which the results were compared.
•• In another situation one overall assessment panel was put together with the
ECMA teachers joining the local assessment panels as external examiners.
•• In both of these situations, the presence of students in the assessment
panels was also tested. The students were from higher years in the bachelor
programme and would not be members of the same class as the students
to be assessed. Furthermore, the students were not asked to grade but only
provide feedback during the discussion of the assessment panel following
the performances.
5) Testing two different approaches to giving feedback following the performances

of the students:
•• One approach consisted of a discussion of the assessment panel on its own
to decide on the grading to be immediately followed by a feedback session
with the students. In this ‘open forum’ approach all teachers were asked
to give feedback, explain the grade and engage in a discussion with the
students.
•• In another approach the committee discussed grading and feedback, and the
results of this discussion was then reported back by the chair of the panel in
a summarised way to the students. An opportunity was given to students to
ask questions, which sometimes led to a discussion but not always.
6) The Joint Staff Training also provided an excellent opportunity once again to
use, discuss and fine-tune the ECMA assessment criteria developed in this
project.
With regards to the situation with the two parallel assessment panels, it was
interesting to notice there was a slight difference in grading between the local and
the ECMA panels, mostly with the ECMA panels giving higher grades compared to
56
the local panel. Because the ECMA panel consisted of teachers from different
institutions, it referred in its discussion more to the ECMA Assessment Criteria
than the local panel, which seemed to show an approach to grading that was much
more based on previous experience than on the use of the written assessment
criteria. In the situation with one overall panel with both local and ECMA teachers
acting as external examiners, the assessment criteria were again important for the
discussion on grading and standards because of the presence of the external
examiners. An interesting debate emerged about ‘product’ and ‘process’, which
showed that the local teachers (having heard the ensembles before) were more
inclined to take into account the progress of the ensembles in the assessment,
whereas the external teachers could only assess the performance of the ensemble
at the time of the concert. This debate demonstrates the benefit of having external
examiners in the panels for such chamber music assessments, as they typically
address both formative and summative aspects and therefore seek to find a balance
between assessing ‘process’ and ‘product’.
As to the presence of students in the assessment panels, several observations were

made. The students having had the opportunity to be members of the panel
stressed the benefits of this experience, as it gave them a clear view of the assess-
ment procedure with regards to process, criteria, grading and fairness. The stu-
dents also contributed actively to the discussions in the panel and it was clear they
were giving a different and highly valuable perspective as peers. This gave their
presence an added value, which was also confirmed by the teachers. Furthermore,
it was mentioned by the students they learned a lot from having to motivate and
express their opinion clearly in the panel. Interestingly, they felt more at ease in the
external ECMA panels than in the local panels, probably because they knew the
local teachers well. This showed that the presence of students in assessment panels
must be very well communicated to teachers beforehand and facilitated well by the
panel chair during the assessment process so that awkward last-minute surprises
can be avoided.
With regards to the different ways of giving feedback, a preference emerged over
the weekend towards the ‘open forum’ approach, with all teachers giving feedback
in an open way to the students and the chair of the panel facilitating the discussion.
As the feedback differed in some cases, it was interesting for the students to hear
different perspectives directly from the teachers. The ‘open forum’ feedback also
appeared to be more oriented towards helping the students develop, while the
summarized feedback by the chairs seemed to be more assessment oriented. In the
panels where the feedback was given as a summary by the chair, the advantage was
57
ECMA Next Step
that panel members were inclined to speak freely about their personal impressions
with the students not being present. However, this also showed that the strength of
the ‘open forum’ approach is that panel members learn to translate their impres-
sions into feedback that is useful for the students. The use of the ‘open forum’
approach therefore resonates with the development-oriented nature of the assess-
ment. Ideally, in the ‘open forum’, the role of the chair is to monitor the discussion,
ensure all panel members get the chance to speak, and to possibly query the
students on how they will handle the feedback. Panel members in open forums also
learn from the way other members interact with students. Overall, the teachers
having gone through the experience reported being happy with the atmosphere in
the ‘open forum’ feedback sessions. The ‘open forum’ approach also appeared to be
a great time saver as things only need to be said once.
As to the use of the ECMA assessment criteria, it was observed that, as mentioned
in the beginning of this chapter, they can play an important role in the assessment
of chamber music performance. Not only will they increase objectivity, but the use
of the criteria will also force panels to keep an eye on the overall picture and avoid
panel members being carried away by good performance on one criterion. With
regards to grading, it was mentioned that the procedure with the blind marking
(e.g. grades being given first before a discussion in the panel) worked well and
enhanced objectivity and fairness.
Finally, it was mentioned by the teachers involved in this Joint Staff Training that
the activity gave them an excellent opportunity to revisit their perception and
understanding of assessment, and the great importance of giving good feedback to
students. They also mentioned it was highly valuable to be able to benchmark their
own qualitative standards with teachers coming from different institutions.
58
5. Resources
The teaching of chamber music is a complex and fascinating practice. The teaching
strategies that have been described are not only good practices but the result of
profound reflection on general and innovative pedagogical principles.
The suggested texts in the bibliography are linked to different areas of knowledge:
psychology, pedagogy, philosophy. But all are based on a concept of learning as a
relationship between subjects and as processes that are not mechanical.
According to the Multiple Intelligence Theory (MIT) proposed by Gardner, the

leading American psychologist, it is wrong to believe that there is only one intelli-
gence, a single capacity, inviolable and given at birth, that can be measured. Instead
Gardner defines intelligence as a problem-solving skill in a specific environment
and context. He says that “a human intellectual competence must involve a set of
problem solving abilities, allowing the individual to solve problems or difficulties
he has encountered and, if necessary, to create an effective product” (H. Gardner
(1983), Frames of Mind: The Theory of Multiple Intelligences, Basic Books, New
York, p. 80).
Learning and teaching are not processes that only work through cognitive
channels.
Goleman, a psychologist, writer and journalist from the United States, defines the
concept of emotional intelligence as “the ability to persist in pursuing a goal in spite
of frustrations, to control impulses and postpone gratification, to modulate one’s
moods, not allowing our suffering to prevent us from thinking, being empathetic.
and hoping.” (D. Goleman (1997), Emotional Intelligence, Milan, Rizzoli p. 47).
Bibliography
Arnold, R. (2003, October). Empathetic intelligence: The phenomenon of intersub-

jective engagement. Paper presented at the First International Conference on
Pedagogies and Learning, University of Southern Queensland.
59
ECMA Next Step
Arnold, R. (2004). Empathic intelligence: Relating, educating, transforming. Sydney:

University of New South Wales Press
Blum, D. (1986). The art of quartet playing: The Guarneri Quartet in conversation
with David Blum. New York: Cornell University Press.
Brown, L. M., & Gilligan, C. (1992). Meeting at the crossroads: Women’s psychology
and girls’ development, Cambridge, MA: Harvard University Press.
Butterworth, T. (1990). Detroit String Quartet. In J. R. Hackman (Ed.), Groups that

work (and those that don’t) (pp. 207–224). San Francisco: Jossey Bass.
Carlozzi, A. F., Bull, K. S., Eells, G. T., & Hurlburt, J. D. (1995). Empathy as related to
creativity, dogmatism and expressiveness, The Journal of Psychology, 129, (pp.
365–373.)
Clayton, M. (2005). Communication in Indian raga performance. In D. Miell et al.

(Eds.), Musical communication (pp. 361–382). Oxford, UK: Oxford University
Press.
Cohen, A. J. (2005). Music cognition: Defining constraints on musical communica-

tion. In D. Miell et al. (Eds.), Musical communication (pp. 61–84). Oxford, UK:
Oxford University Press.
Cohen, M. (1999). Commentary on the Organization Science special issue on

complexity. Organization Science, 10, (pp. 373–376.)
Davidson, J. W. (2005). Bodily communication in musical performance. In D. Miell

et al. (Eds.), Musical communication (pp. 215–238). Oxford, UK: Oxford
University Press.
Davidson, J. W., & Good, J. M. M. (2002). Social and musical co-ordination between
members of a string quartet: An exploratory study. Psychology of Music, 30, (pp.
186–201.)
Fabian, J. (1990). Creative thinking and problem solving. Chelsea, MI: Lewis.
Firestien, R. L. (1990). Effects of creative problem-solving training on communica-

tion behaviors in small groups. Small Group Research, 21, (pp. 507–521.)
Glaser, B. G., & Strauss, A. L. (1967). The discovery of grounded theory. Chicago:
Aldine.
60
Hoogsteder, M., Maier, R. & Elbers, E. (1998). Adult-child interaction, joint problem
solving and the structure of cooperation. In M. Woodhead et al. (Eds.), Cultural
worlds of early childhood (pp. 178–195). Routledge: London.
Jarboe, S. (1999). Group communication and creativity processes. In L. R. Frey, D. S.

Gouran, and M. S. Poole (Eds.), The handbook of group communication theory
and research (pp. 335-368). Thousand Oaks, CA: Sage.
King, E. C. (2006). The roles of student musicians in quartet rehearsals. Psychology

of Music, 34, (pp. 262–282.)
Lewin, R. (1992). Complexity: Life at the edge of chaos. New York: MacMillan.
Lincoln, Y., & Guba, E. (1985). Naturalistic enquiry. Beverly Hills, CA, Sage.
McLeod, J. (1994). Doing counselling research. London: Sage.
Murnighan, J. K., & Conlon, D. E. (1991). The dynamics of intense work groups: A
study of British string quartets. Administrative Science Quarterly, 36, (pp.
165–186.)
Punch, K. F. (1998). Introduction to social research: Quantitative and qualitative

approaches. London: Sage.
Rounds, D. (1999). The four and the one: In praise of string quartets. Fort Bragg,
CA: Lost Coast Press.
Salazar, A. (2002). Self-organizing and complexity perspectives of group creativity:

Implications for group communication. In L. R. Frey (Ed.), New directions in
group communication (pp. 179–199). Thousand Oaks, CA: Sage.
Sawyer, K. (2006). Group creativity: Musical performance and collaboration,

Psychology of Music, 34, (pp. 148–165.)
Seddon, F. A. (2005). Modes of communication during jazz improvisation. British

Journal of Music Education, 22, (pp. 47–61)
Seddon, F. A., & O’Neill, S. A. (2003). Creative thinking processes in adolescent

computer-based composition: An analysis of strategies adopted and the influ-
ence of formal instrumental training. Music Education Research, 5, (pp.
125–138.)
61
ECMA Next Step
Sherman, H., & Schultz, R. (1998). Open boundaries: Creating business innovation
through complexity. Reading, MA: Perseus.
Stacey, R. D. (1996). Complexity and creativity in organizations. San Francisco:

Berrett-Koehler.
Sunwolf. (2002). Getting to “group-aha”: Provoking creative processes in task

groups. In L. R. Frey (Ed.), New directions in group communication (pp. 203–
218). Thousand Oaks, CA: Sage.
Tovstiga, G., Odenthal, S., & Goerner, S. (2004). Sense making and learning in
complex organisations: The string quartet revisited. International Journal of
Management Concepts and Philosophy, 1, (pp. 215–231.)
Underwood, J., & Underwood, G. (1999). Task effects on cooperative and collabora-
tive learning with computers. In K. Littleton & P. Light (Eds.), Learning with
computers: Analysing productive interaction (pp.10–23). Routledge: London
Young, V. M., & Coleman, A. M. (1979). Some psychological processes in string

quartets. Psychology of Music, 7, (pp. 12–16.)
Performance practice
Bach, Carl Philip Emanuel. Versuch über die wahre Art das Clavier zu spielen. 1.
und 2. Teil. Reprint der 1. Auflage Berlin 1753 und 1762 (mit Ergänzungen
1787 und 1797), Bärenreiter
Boyden, David D. The History of Violin Playing from its Origins to 1761, Oxford
University Press, 1990
Galeazzi, Francesco. Elementi tecnico-pratici di musica, con un saggio sopra l’arte

di suonare il violino, Roma, Pilucchi-Cracas 1791–96
Geminiani, Francesco. Regole per suonare con buon gusto (1748), Trattato sul
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Harnoncourt, Nikolaus. Der musikalische Dialog: Gedanken zu Monteverdi, Bach

und Mozart, Bärenreiter
Mattheson, Johann. Der vollkommene Capellmeister (1739), Bärenreiter
Mozart, Leopold. Versuch einer gründlichen Violinschule, Bärenreiter
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Prelleur, Peter. The Modern Music Master or the Universal Musician, London,
Printing Office in Bow Church Yard 1730–31
Quantz Johann Joachim. Versuch einer Anweisung die Flöte traversiere zu spielen,
Berlino, Johann Friedrich Voß, 1752. rist. Kassel, Bärenreiter, 1997
Türk, Daniel Gottlob. Klavierschule, oder Anweisung zum Klavierspielen für Lehrer
und Lernende: mit kritischen Anmerkungen, Leipzig, Schwickert u.a., 1802
Music and rhetoric

Schering. Die Lehre von den musikalischen Figuren. In Kirchenmusikalisches
Jahrbuch 1908, pp. 106–1
H.-H. Unger. Die Beziehungen zw. Musik und Rh. im 16.–18. Jh. 1941; Triltsch
Verlag, tr. Italiana di Elisabetta Zoni, Alinea ed. Firenze, 2003
D. Bartel. Hb. der musikalischen Figurenlehre, Laaber, 1982
Liebert. Die Bedeutung des Wertesystems der Rh. für das dt. Musikdenken im 18.
und 19. Jh. 1993; MGG 6 (1996) [Musik und Rh.]
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[Humanismus] u. 5 (2001) [Musik; Musikalische Figurenlehre]
E-documents
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63
This manual has been developed with an aim to increase focus on the role of chamber
music in higher music education. It is an outcome of the ECMA Next Step Strategic
Partnership and provides information about the state of chamber music at the partic-
ipating higher education institutions, teaching methods and ideas for practical use in
chamber music education, and ideas for assessment of chamber music.
One of the main goals of this three-year project has been to ensure the utmost quality
of chamber music training and proactively meet the challenges and opportunities that
the increasing demand for chamber music entails.
ECMA Next Step is funded under the European Union’s Erasmus+ programme. The
project aims to develop new content for the ECMA training programme in terms of cur-
riculum, mobility and recognition and to further develop existing chamber music ex-
pertise. Particular focus is given to the pedagogical knowledge and skills of chamber
music instructors with a view to strengthening chamber music’s position on regular
training programmes.
Norwegian Academy of Music

Slemdalsveien 11
P.O. Box 5190 Majorstua
NO-0302 OSLO ISBN 978-82-7853-251-5 (print)
nmh.no ISBN 978-82-7853-252-2 (pdf)

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ECMA Next Step

Teaching and Learning

ECMA Next Step

ECMA Next Step strategic partnership 5

Teaching and Learning Manual 7

3. Teaching methodologies – case studies 35

4. Assessment of chamber music 49

The working group

Peter Schuhmayer, Universität für Musik und Senior Lecturer in Chamber

Rita Urbani Teacher in Research and

Are Sandbakken Norges musikkhøgskole Professor of Chamber Music

Teaching and Learning Manual

This document is an attempt to create a record of such day-to-day experiences in

Finally, the bibliography in general contains a collection of selected and mostly

1. What is ECMA?

Facts and reflections on ECMA and its history.

Hatto Beyerle. Foto: Gerard Spee

This is the story of the “adventure” that is ECMA.

measurable speed. Next we went from studying contemporary sources to deeper

This will be the future of ECMA, an adventure of never-ending ideas.

2. Institutional background

Some institutions offer bachelor and master programmes specialising in chamber

There are differences in organisational ideas and assessment procedures as well as

The influence of ECMA on all institutions is without a doubt a significant effect

Universität fur Musik und darstellende Kunst Wien: mdw

Chamber music has been a significant mandatory part of every performance

mdw provides a multitude of performing platforms and has a network of partners

Master in Chamber Music

Content and expected outcomes

Graduates are accepting musical responsibilities within a group in artistic aspects,

A bachelor, master or diploma programme on the applicable instrument (as men-

In the audition applicants present:

I) Solo: selection from the main repertoire

III) Prima vista playing (sight-reading)

Graduates receive a certificate with the academic grade Master of Arts.

Assessment and grading

The grading system is 1-5

1-Very good 3-Satisfactory 5-Insufficient

Koninklijk Conservatorium Den Haag, KC

how to think ahead and how to arrange performance opportunities. In chamber

Chamber music on the Bachelor of Music programme

•• Perfection of playing is subordinate to the process.

Areas of specialisation at the RC

The RC places much importance on understanding the harmonic structure of

Chamber music on the Master of Music programme

The ensemble’s development is being supported in other ways as well:

•• Ensembles attend the Project Management and Performance & Communication

Admission is based on an entrance examination for which ensembles will be

Role and impact of ECMA for the RC

Norges musikkhøgskole – NMH

The chamber music programme at NMH is headed up by a dedicated professor of

Chamber Music on the Bachelor Programme

Chamber Music on the Master Programme

•• Master students may include chamber music as a component in their master

Role and Impact of ECMA for NMH

Fondazione Scuola di Musica di Fiesole Onlus – SMF

It seems clear to us that in a framework of consideration of the development of

Chamber music at Scuola di Musica di Fiesole

identified by the Director, participation in the production activities of the School is

Chamber music on the bachelor programme

Relations with other departments.

Perfezionamento / Higher Level

The main objectives of the project are: