The individual nature of music studies is diverse as it covers a number of forms of activities
necessary to achieve the artistic result. During practical classroom sessions with teachers, and
working independently, students improve their performance technique skills and study new repertoires, examine music from historical and theoretical perspectives, listen to records, analyse the interpretation traditions of music they play and their context, discuss with more experienced
musicians, etc.
Like in other higher education schools, learning outcomes are usually assessed during an examination. As a rule, music examination takes the form of a concert, recital or performance (e.g. opera). These are the most appropriate ways to test the acquired competences taking into account the nature of music and future activities of an artist. The assessment of learning outcomes must be based on clear assessment criteria which should be directly related to the objectives of studies, subject-specific and generic competences. Below is one of the possible forms for testing
and assessing competences.
Art of Performance, master’s studies
The qualification degree of a master of music is granted to students who:
• have acquired music art knowledge and creative capacities necessary for the unique and independent development of artistic ideas, learned about the latest theories, methods and technologies of research of music art;
• are proficient in using the acquired artistic experience, knowledge and understanding in artistic activities requiring creativity and integration of knowledge and in art research,
understand music analysis methods and creative techniques and their applications, are
able to evaluate the quality of performance art and know its evaluation criteria;
• are able to apply the acquired artistic experience, knowledge and understanding in addressing artistic issues, work in a constantly changing environment in cross-field, cross-area and international contexts related to the area of music studies;
• are able to constantly learn independently, know and critically assess theoretical and artistic innovation in music knowledge and creation field, efficiently act under circumstances which require independent searching for information, justification of conclusions being made and their adequate presentation to stakeholders of various education, understanding of ethical and social consequences of own knowledge and judgements based on this knowledge as well as responsibility for them.
Final (qualification) examination(s):
• recital
• ensemble/concertmaster/chamber ensemble • orchestra/choir/opera
• research paper
Table 10. Competences assessed during final examinations r ecital ensemble/ concertmaster/ chamber ensemble or chestra/choir/opera resear ch paper
skills and artistic abilities
Ability to perform professionally music of different styles, genres and
forms * * *
Ability to select and apply the most effective practicing and musicv
performing techniques * * *
Ability to understand the interrelationship between theoretical and
practical studies, and effectively apply them in musical performance
practice * * *
Ability to take perform in various ensemblesprofessionally and
artistically * *
Ability to analyse, critically assess and independently master distinct
artistic skills * * *
Ability to control the body and emotions on stage * * *
Repertoire skills
Posession of a large repertoire of major instrument (voice) and ensemble music ranging from early to contemporary music, and knowlede the
conventions of musical interpretation in different styles, genres and forms * * * *
concert skills
Capacity to perform the repertoire publicly in various cultural and
social contexts and ability to develop public performance experience * * *
theoretical competences
Knowledge of the conventions of music interpretation traditions in
different styles, genres and forms * Ability to effectively apply theoretical knowledge (aural capacities and
knowledge of musical repertoire) in music performance practice *
independence
Perseverance, determination and independence in carrying out
assignments and undertaken obligations * * * * Ability to organise and plan own work and make decisions * * * *
Ability to learn, search for, process and analyse information from a
variety of sources * * * *
psychological understanding
Ability to create different concepts that shape how music is created and
perceived ’ * * * *
Ability to work in a team and ability to motivate people to move toward
common goals * *
Ability to adapt to new situations * * *
critical awareness
Ability to analyse, critically assess and independently master distinct
artistic skills * * * *
Ability to create, articulate and communicate musical ideas in various public and social contexts
information technology and communication skills
Ability to cooperate with other artists * *
Ability to communicate artistic ideas and artistic practice in writing,
verbally and visually (where applicable) in the native and foreign
language * * * *
Ability to use the new technologies in music learning and research
processes * * * *
Assessment criteria:
1. Recital
• Complexity, compilation logic and mature preparation level of the artistic programme • possibilities of the artistic programme to reveal interpretation capacity and level of
performance technique
• the feel of the style, genre and form of works of music being played • accurate performance of the selected repertoire in terms of music text • artistic quality of the sound of music
• virtuoso abilities
• originality and artistic suggestion on stage of the interpretation 2. Ensemble/Concertmaster/Chamber ensemble
• Complexity, compilation logic and mature preparation level of the artistic programme • possibilities of the artistic programme to reveal interpretation capacity and level of
performance technique
• the feel of the style, genre and form of works of music being played • accurate performance of the selected repertoire in terms of music text • artistic quality of the sound of music
• mature performance in the ensemble matching the role of the part/ensemble member • artistic suggestion on stage
3. Orchestra/Choir/Opera
• Mature preparation level of the role/part
• the feel of the style, genre and form of the role/part being played • accurate performance of the role/part in terms of music text • artistic quality of the sound of music
• mature performance matching the role of the part/ensemble member • artistic suggestion on stage
4. Research paper
• The wording of the topic and structure of paper meeting the attributes of a research
paper
• appropriateness of sources of information used for the presentation of the problem • ability to analyse the problem in the most rational context
• ability to analyse, argue and assess critically
6. DEGREE PROGRAMME UPDATING AND IMPROVEMENT
Each degree programme that has undergone assessment procedures and is being
successfully implemented should be periodically reviewed and improved over time. Updates are usually related to changes in the public, artistic and creative life as well as new professional
requirements. An optimal degree programme review period could be 2–5 years.
The basic spirit of improvement of each programme should be associated with openness to new ideas rather than with a revolution. If the scope of parts of a programme in credits is
optimal, an update on one or several course units or modules should not destroy the programme as a whole.
When updating degree programmes, learning outcomes and competences should be
reviewed first to ascertain:
1. whether they correspond to the modern situation of changing society and art,
2. whether they meet the needs of students, employers and social partners,
3. whether they correspond to the higher education institution’s vision of the level of
qualification awarded and its requirements,
4. what learning outcomes and competences could be removed as irrelevant and what
learning outcomes and competences should be added to degree programmes to reflect
the changes required.
The revision of learning outcomes should be followed by the review of the list of course units (modules), their content, skills developed, teaching methods and assessment. It usually takes several years to implement changes, as all innovations are often viewed with distrust.
However, experience shows that, given cooperation among teachers, students, employers and
social partners, continuous improvement of degree programmes proves effective and is not