hsc_symposium_2024

The INTERNATIONAL HISTORY OF MUSIC EDUCATION Website

A project of ISME’s History Standing Committee

Guido d’Arezzo

Guidonian Hand

HISTORY STANDING COMMITTEE SYMPOSIUM PRESENTED AT THE 36th ISME WORLD CONFERENCE (HELSINKI), 2024 Symposium Title: Historical Narratives of Music Education in Finland Abstract: This symposium highlighted unique aspects of the historical development of music education in the host country, Finland. Four music educators from Finland contributed historical narratives on music as a subject in Finnish elementary and comprehensive schools; reforms of music education in Finland from the 1950s to the 1970s and the work of Ellen Urho; Music schools with a focus on equity; and, the changing role of higher education institutions in the history of Finnish music education. Convenor: Marie McCathy (University of Michigan, USA) Summaries of Speaker Presentations Presentation 1: Ellen Urho - The Pioneer of Reforms in Music Teacher Education in Finland in the 1970s — Marja-Leena Juntunen (The University of the Arts, Helsinki) The learning and teaching of music at school, as a compulsory subject in grades 1-8, aims to develop pupils' musical skills in a broad range of areas, create opportunities for diverse musical activities and active cultural participation, and promote good relationships with music. Pupils are encouraged to be curious about all kinds of music and to appreciate cultural diversity. The reform of music education towards such diverse musical practices began in Finland in 1950s based on international and domestic innovations. These were reflected in new pedagogical approaches and teaching materials, as well as in the reform of music teacher education and the organization of the field of music education. This presentation discusses the reforms that took place in music teacher education from the late 1950s until the early 1980s. These included establishing the department of music teacher education at the Sibelius-Academy, broadening the scope of music teacher education, and reforming the program and degree of music teacher education to match the training of other subject teachers in the universities. The presentation focuses on the pioneering work of Professor Ellen Urho in the 1970s. In ISME, Urho acted as a member of the board and executive committee during 1980-1992, including the presidency and hosting the world conference in Helsinki in 1990. ISME has recognized Urho’s achievements in the organization and in music education beyond Finland by awarding her an honorary life membership in 1992. Presentation 2: Music Schools - In Search of Equity — Marja Heimonen (University of the Arts, Helsinki) The historical narrative of the Finnish music school system has been characterized as unique. Despite being a small nation with approximately 5.5 million inhabitants, Finland has educated a significant number of world-famous musicians. This success has been attributed to the country’s systematic out-of-school music education, which is supported by government funding. The aim of this education system has been to promote social, regional, and economic equality by establishing a network of state-supported music schools. These schools were designed to offer equal opportunities for children and adolescents to receive instrumental and vocal instruction from qualified teachers. However, it is important to acknowledge that there have been criticisms and dissonances surrounding this narrative. Due to limited financial resources, not all music schools have received state funding. Additionally, the practice of selecting children through auditions has been regarded as elitist, as it may not cater to the diverse needs and interests of all learners. Furthermore, arts other than music have not received as much state funding for the education of children and adolescents. This has led to a sense of injustice and inequality within the field. To address these concerns, recent research projects have focused on creating a more flexible system that promotes diversity and equity. This presentation discusses the historical narratives of Finnish out-of-school music education, specifically basic arts education in music offered by music schools, from a legal-philosophical perspective. It explores the main instruments used by the state to support music education offered by music schools from the late 1960s to the present. In addition to law as an instrument, the discussion also includes the role of national core curricula as educational and financial instruments in the pursuit of equity. Presentation 3: Singing and Music as a Subject in Finnish Elementary and Comprehensive Schools — Erja Kosonen (University of Jyväskylä) The history of music education in Finland can be divided into four phases. First, the time of church-based music education began with medieval convent schools and continued until the establishment of the Finnish-language school institution in the middle of the 1850s. Second, music played a central role in Finnish teacher education ever since the first seminaries in the late 19th century. The 90-year period after the establishment of Jyvaskyla Teacher Seminary in 1863, which I call the era of popular education, is in fact the most significant period for the content of singing instruction and the role of singing as a school subject. Music was a valuable part of the curricula of Finnish elementary schools in the 1900s. Third, the period of reconstruction in Finland after World War II simultaneously meant constructing a welfare society. The promotion of equal educational opportunities existed, even though these were mainly at an ideological level. Class teacher training continued in seminaries and Colleges of Education in the 1960s. Fourth, the first national core curriculum for basic education in 1970 launched a new era in the history of Finnish education and teacher training, including music instruction: the nine-year comprehensive school curriculum for all students as part of a welfare society. Training for both the subject specialist teacher and the class teacher became an academic study in the 1970s. The status of artistic and practical subjects in class teacher training have deteriorated in many universities. The music teacher training programs at Jyvaskyla (1982) and Oulu (1993) Universities are two important exceptions. This presentation discusses the competence and qualification of the music and class teacher, particularly when music studies in the class teacher training program do not provide the necessary competence to teach music in primary school. Presentation 4: The Changing Role of Higher Education Institutions in the History of Finnish Music Education — Lauri Väkevä (University of Melsinki) This presentation examines the evolving role of higher education institutions (HEIs) in the historical trajectory of Finnish music education. The Sibelius Academy, now integrated into the University of the Arts Helsinki, is the sole HEI in Finland devoted exclusively to music. Founded in 1882 as the country's inaugural music school, the Academy laid the groundwork for an expansive network of music schools, institutes, and conservatories that now spans the entire nation. The Academy's influence is palpable at multiple levels—institutional, curricular, and pedagogical—and has significantly shaped the pedagogical approaches to music education in Finland. However, it is noteworthy that most educators teaching music in early education and comprehensive schools receive their training from the educational faculties of science universities, often with a minimal focus on music courses. This bifurcation accounts for the current dual structure of Finnish music education: specialized music education is heavily influenced by the Western conservatory model, while general music education is largely predicated on the educational and didactic approaches emanating from, but not exclusive to, the education departments of research universities. Collaboration between educators in these divergent sectors has also contributed to the holistic development of the Finnish music education system. The 2013 merger that led to the formation of the University of the Arts Helsinki has catalyzed new imperatives for research-based growth in both art education and art teacher training. Within this context, emerging opportunities have been identified to position music education at the intersection of art pedagogy and broader arts education interests. Active collaboration among arts educators within educational faculties also serves as a robust platform for the holistic development of the field.