SEADOM Overview and Developments Ho Chi Minh City 23 rd March, 2013 SEADOM Congress

Background First meeting of schools from SE Asia held in July 2008 but at that stage with a view to establishing an Asia- wide network primarily for information and exchange Subsequent meetings in Singapore (October 2009), Thailand (March 2011) and Malaysia (March 2012) with a sub-group meeting in August 2011 in Singapore Invited speakers have included James Scott (University of North Texas and NASM Committee member), Johannes Johannsen (AEC President), Richard Vella (NACHTMUS President), Martin Prchal (former AEC Chief Executive)

Points of focus In total, the previous 4 meetings have involved representation from 35 institutions including representation from all ASEAN countries Initial meetings predominantly about introductions and exploring areas for possible collaboration The last meeting moved forward to try and give greater definition to future direction with a view to exploring some form of regional recognition and funding support

Outcomes from last year Definition: SEADOM a network of institutions in Southeast Asia involved in professional music training Aim To promote cooperation at regional level and represent the interests of the professional music training sector in Southeast Asia

Proposed SEADOM Objectives Celebrate the richness and diversity of music in the region Promote the role and importance of professional music training in Southeast Asian societies Provide a platform for sharing of expertise, developments and best practices at institutional, national and regional levels

SEADOM Objectives II Encourage exchange and collaborations between institutions and nations Organize an annual conference for its members, encompassing areas of research, music education, composition, ensemble playing, Southeast Asian traditions and performance

Proposed SEADOM Topics Southeast Asian Music traditions The Role Of Research In Professional Music Training Music education (class room teaching and vocal/ instrumental teaching) and its role in general education Composition Opportunities for music professionals in South East Asia Ensemble music making Performance across a range of diverse genres and cultures Improvisation Oral/aural/notational systems Intellectual Property issues Modes of dissemination

The Past 12 months Discussions with SEAMEO about possible network under their auspices / presentation at Mahidol about music in SEAsia Funding proposal developed with Mahidol which Dr Sugree was able to use to attract funding for upcoming 5 years (November) Meeting in HCM (December) and subsequently Mahidol (January) to prepare for this congress

The challenge and opportunities of diversity Training in performance of repertoire across a range of styles and genres with diverse expectations of prior experience and with a broad range of pedagogies and underpinning philosophies and embracing a variety of instruments and technologies Private, post 16, stand-alone (publicly funded), embedded in universities or in Institutes of Education Certification from certificates of attendance to Doctorate Training in composition and improvisation Evolving stylistic insights /general musicianship) both of specialist styles and of broader musical awareness Developing awareness of professional opportunities for musicians – the range is incredibly wide dependent on context Educating to teach music both as a general subject and with specific focus on individual instrument and/or ensemble development

Challenges II Diversity of study and of qualification Danger of prioritising value of ‘imported’ styles over indigenous styles Lack of recognition of music as a profession – need for advocacy Potential lack of regional knowledge of opportunities and developments or of opportunities for collaboration or sharing of resource Opportunities for assuring or evolving quality are quite limited Lack of awareness of regional expertise (leads to a danger of prioritising inter-continental expertise over regional expertise)

Learning from the Experience of others NASM (National Association of Schools of Music) AEC (European Association of Conservatoires) NACHTMUS (National Association of Colleges of Higher Education in Music –Australia)

AEC Perspectives Advocacy / Transparency / Quality / Mobility Political context (international and national): – To be seen as an active player in (higher) education in general – To keep the initiative To ask for attention to the specific needs and characteristics of our sector To benefit from international cooperation at institutional and individual levels: – Benefits for students – Benefits for teachers – Benefits for management staff – Benefits for curriculum – Financial benefits

NACHTMUS areas Six areas: * Research & Innovation * Learning & Teaching * Policy & Advocacy * People & Professional Development * Communications & Community * Web site

Identified areas Southeast Asian Music traditions The Role Of Research In Professional Music Training Music education (class room teaching and vocal/ instrumental teaching) and its role in general education Composition Opportunities for music professionals in South East Asia Ensemble music making Performance across a range of diverse genres and cultures Improvisation Oral/aural/notational systems Intellectual Property issues Modes of dissemination

Proposals for this meeting Identify SEADOM structure Establish priorities for next 12 months Identify leaders in relation to key areas as well as establish an executive Find student, staff and faculty opportunities that give visibility to the organisation Come to know each other better

Questions The focus of partnerships: institutional, staff, faculty, students, curriculum? The scope of mission: exclusively tertiary and public / private / also engaging with younger musicians? The diverse nature of resources and points of development: how to make this work for everyone? Engaging beyond the immediate topic area into the broader education environment and to the 21 st century world. How much can we do? What should we prioritise?