Quatre questions pour les doyens / The Deans' Four Questions

Version française...

Quatre questions pour les doyens / The Deans' Four Questions

by Wah Keung Chan, Claire Godin, Lucie Renaud, Sophie-Natacha Robichaud

Quels sont certains des aspects les plus distinctifs de votre curriculum ? / What are the most innovative elements of your curriculum? (i.e., Why should a student pick your institution?)

UBC: We focus on practical high-quality education, with a curriculum that has variety, intellectual and cultural opportunities. We aim to bridge the community with the music world, and our programs match practical music with developments in technology. We have multidisciplinary activities in music with our distance-learning programs, and we have one of the few double majors in music in the country--every year we have one or two students that can handle majors in Music and Science. We have a strong graduate program leading to a doctorate. (Jesse Reed, Director, School of Music, University of British Columbia)

Western: The excellence of our faculty as well as our fine teaching are recognised by students. (Robert Wood, Dean, University of Western Ontario Faculty of Music)

Manitoba: The strength of our faculty lies with our highest priority; student success. Once we have auditioned a student, it is our responsibility to ensure that he or she succeeds. The attitude of the members of the faculty is positive and the student morale is high. (Dale J. Lonis, Director, Manitoba University Faculty of Music)

UdeM : Le secteur piano de notre faculté reste célèbre et amène une clientèle toujours plus grande. Le secteur chant a également pris son essor au cours des dernières années. Tous les secteurs se sont renforcés, on ne note pas de maillon faible. Beaucoup de nouveaux professeurs se sont ajoutés à la faculté. (Réjean Poirier, doyen de la Faculté de musique de l'Université de Montréal)

McGill: Our performance department is what we are best known for. It is part of our public image, and so are the concerts and other activities put on by our student population. We are the largest music school in the country. The orchestral playing program is a key one because so many of our teachers are members of the MSO. The opera program is also quite renowned and links students with professionals. Jazz programs have an unbelievable number of applicants, and the programs are very high quality. We have also developed a niche in the early music area. We are continuously trying to attract students who want that specialisation. We have had a very strong organ program for years.

I should also mention the strength of the contemporary music department, particularly with the involvement of Denys Bouliane. The continuing strength of the faculty in research has always lain in its humanities--the musicology and theory departments are leaders in these fields. (Don McLean, Dean, McGill University Faculty of Music)

Laval : Au baccalauréat, le programme d'éducation musicale est le seul dispensé uniquement en français. Nous offrons aussi un important programme de jazz et de musique populaire. Aussi, en raison du nombre limité d'étudiants par programme, la clientèle profite d'un enseignement et d'un encadrement personnalisés. Dans l'esprit d'une plus grande ouverture des étudiants vers le monde, les programmes suivent le développement d'un profil international. (Gilles Simard, doyen de la Faculté de musique de l'Université Laval)

UofT: At the undergraduate level, knowledge and practice are integrated. Instead of focusing on specialization, students such as performers can get expertise in one area with a wide range of knowledge and be exposed to various opportunities. In terms of curriculum, students get performance skills at both the graduate and undergraduate levels. They are also widely exposed to non-traditional experiences and world music ensembles. All students take courses in non-occidental music. This is quite interesting for students who want to teach. I also want to stress the possibility for students to complete a master and a Ph.D. at Toronto, one of the two institutions offering the degree in Canada. The faculty also has a unique musicology program. (David Beach, Dean, University of Toronto Faculty of Music)

Glenn Gould: We have a great faculty, an interesting curriculum, and an innovative career-management course in both grad and undergrad programs, for example, a communication course--how to make performance more engaging for audiences, how to program for different audiences. We also have a learning-through-the-arts program--going into classrooms, helping students prepare for student concerts and family courses. We offer technology courses to design websites, elementary sound recording, career-management courses--help in writing bios and resumes. Students should have a complete portfolio, have filled grant proposals and talked to people in the industry, such as arts managers.

Our master class program is unique. Students are always interacting with professionals of high calibre. We can say the same about the orchestral program: we have guest artists come in to conduct. Our strong suit: connecting with people in the profession. (Rennie Regehr, Dean, Glenn Gould School)

Do you feel that the students have changed in the last few years, in quantity, level of musicianship, and choice of programs, for example? / Avez-vous l'impression que la population étudiante a changé au cours des dernières années : en nombre, au niveau des choix de programmes, le niveau des acquis musicaux ?

Western: The number of students has been constant for the last 10 years. However, students arrive better prepared. Their involvement in music has broadened. They take an active interest in performing and participating in various music activities. (Robert Wood, Dean, University of Western Ontario Faculty of Music)

Manitoba: Normally, we accept around 45 students a year. Last year, however, we accepted 70 students. We have recruited students of very high quality from around the country. (Dale J. Lonis, Director, Manitoba University Faculty of Music)

UdeM : Nous recevons plus d'étudiants de l'étranger, grâce, entre autres, aux programmes d'échanges qui ont bien été mis en œuvre. Le niveau des étudiants semble en constante progression. (Réjean Poirier, doyen de la Faculté de musique de l'Université de Montréal)

McGill: Many of these things are driven by demographics and there are certain factors that are beyond the music schools' control. I think McGill succeeded in adjusting in the nick of time. In the beginning of the 80s and up to the 90s, there was a bulge in the population throughout the university system. All programs grew to a new level. In the 90s there was a dip in the population. Now we have the baby-boom echo generation (their children are in university now), so there is a new influx of students. The level will go up because more people are applying to fewer potential spots. It is particularly evident in the winds' area, because of the connections with MSO players and our recruitment efforts. Our applications went up 89% in one year. We notice a lot more interest from students from the United States and have been approached by many European universities for research partnerships. (Don McLean, Dean, McGill University Faculty of Music)

Laval : La faculté de musique de l'Université Laval a vu croître le nombre de ses étudiants, et ce, spécifiquement dans le programme Jazz et musique populaire. Aussi, la même progression a été observée à la maîtrise. Quand au calibre des étudiants, le doyen se réjouit d'une augmentation de la qualité des nouveaux étudiants. Cette situation est imputable à leur préparation avant leur arrivée aux études supérieures. La situation de la faculté de musique de Laval semble particulièrement privilégiée à ce chapître puisque les vases communiquants entre le Cégep régional et l'Université sont particulièment forts en raison de la cohabitation des deux institutions sous le même toit. (Gilles Simard, doyen de la Faculté de musique de l'Université Laval)

UofT: I have noticed that the average age of first-year students has decreased in the last ten years, which has caused a lowering of basic skills. The weakening of music programs can also be explained by the cuts in American and Canadian schools. Students are coming from different backgrounds and their training is no longer the same. (David Beach, Dean, University of Toronto Faculty of Music)

Glenn Gould: Every year our student body (165 this year) gets stronger. We are more selective and students who applied are more serious and have a more realistic view of what is possible in their profession. The students are mature without being old. They have a good sense of their responsibility in the world and are supportive of each other. By the time they come into an undergrad program, there are some tremendously strong pre-college programs. The Royal Conservatory, the Vancouver Academy of Music and Mount Royal College in Calgary have very good programs. The Conservatoire system in Quebec is very strong. When students get to their undergrad years they are smarter and more sophisticated. We accept one in three students. (Rennie Regehr, Dean, Glenn Gould School)

UBC: We are getting more applicants at a higher quality applying from greater distances. Students are applying not just from the western provinces, but from Ontario, Quebec and beyond. We are seeing students with good performance experience, but the level of basic music education (theory and ear training) is lower than before. Music education in public schools has suffered budget cuts in the rush to embrace technology. The better prepared students come from the richer provinces, like Ontario and Quebec, where key politicians see the importance of culture in the school system. (Jesse Reed, Director, School of Music, University of British Columbia)

L'enseignement de la musique reste-t-il un choix pertinent dans monde moderne ? / Is music teaching still a pertinent choice in today's world?

Western: Absolutely. Students from other disciplines join the faculty after looking around elsewhere. It is important that they have the opportunity to learn music. (Robert Wood, Dean, University of Western Ontario Faculty of Music)

Manitoba: It is more important than ever. Our society is losing the sense that music and art are essential, mainly because of budget cuts and the rise in the importance of other fields. I ask: how will our culture be remembered in 200 years? Not by how many [sport events] we have won, but by our music and our art. We remember ancient cultures by their artifacts. Music is fundamental to the quality of life. (Dale J. Lonis, Director, Manitoba University Faculty of Music)

UdeM : La passion ne passe jamais de mode. Il faut, encore et toujours, savoir faire preuve de détermination si on décide d'embrasser la carrière musicale. (Réjean Poirier, doyen de la Faculté de musique de l'Université de Montréal)

McGill: There is no question that students in music, dance, theatre, the visual arts, all face a tremendous challenge. We have an obligation to be relevant to people. We have to express things that are part of our collective consciousness and unconsciousness and that is a huge challenge for the artist. We have to continuously make music revivified. Every institution faces the same challenge: people come into music at a time when they're adolescents and they have a passionate need to express themselves. Our biggest challenge is to prepare students for success but also for a kind of failure since most of them won't be professional musicians. I tell my students: "If you can see yourself doing anything else, you should." The challenges are enormous, and yet the rewards are unparalleled. (Don McLean, Dean, McGill University Faculty of Music)

Laval : Les membres du corps professoral de la Faculté sont particulièrement sensibles au rôle de la musique dans les écoles primaires et secondaires. Le doyen prône un enseignement de la musique de plus en plus intégré au curriculum afin de permettre aux jeunes d'y accéder et d'en voir la pertinence. (Gilles Simard, doyen de la Faculté de musique de l'Université Laval)

UofT: Music teaching is still relevant but the key issue is the capacity for students to be flexible and to get an academic background leading to this flexibility.

The biggest issue that music faculties are facing is the problem of funding since the government is not supportive enough. (David Beach, Dean, University of Toronto Faculty of Music)

Glenn Gould: We are building on the traditions of the past, but not the outmoded methodology. We privilege a more holistic way of teaching. We are facing some challenges also: are we relevant in preparing students for the profession? We have to train students in taking leadership to transform a music profession that is in some difficulty right now. Audiences are being left out. They are looking for meaning. As music institutions, we need to help students discover this depth of meaning: "Do you love what you are doing? Please don't ever lose that." (Rennie Regehr, Dean, Glenn Gould School)

UBC: We are educating people to make people aware of the importance of music in the world. (Jesse Reed, Director, School of Music, University of British Columbia)

Votre faculté offre-t-elle des programmes qui privilégient la technologie (prise de son, musique assistée par ordinateur, etc.) ? / Are there programs in your department that specialise in technology (sound engineering, computer-generated music, etc.) ?

Western: We have all these programs. We have an electro-acoustic section in our composition program. Our students in teaching are trained in computer technologies. Also, we have recording facilities that allow the students to explore this medium. (Robert Wood, Dean, University of Western Ontario Faculty of Music)

Manitoba: There is a wonderful electro-acoustic composition course and recording engineering. A major grant from the province has allowed us to update our technological facilities. We have a new studio equipped with CD recorders and burners. (Dale J. Lonis, Director, Manitoba University, Faculty of Music)

UdeM : L'UdeM possède une des plus grandes plateformes Internet, la plateforme Webcity. Le département de composition électroacoustique fonctionne également à l'aide de logiciels. On est loin des appareils d'antan ! L'Université mise énormément sur la technologie : tous les professeurs sont branchés. Je ne crois pas qu'aucune université en ait fait autant. (Réjean Poirier, doyen de la Faculté de musique de l'Université de Montréal)

McGill: Part of it is driven by the changes in technology but, let's not forget our 25-year tradition of sound recording technology and probably a 15-year tradition of computer applications and technology. They are a driving force behind the new building project. We certainly hold a Canadian-leadership and possibly a world-leadership position in broadband with multi-channel sound, high-definition video transmission. That research is one aspect of the bigger project known as CIRMMT (Centre for Interdisciplinary Research in Music Media and Technology) that is inter-university and inter-faculty. We have partners at Sherbrooke, Université de Montréal, and international universities. It is only one element of McGill but one that many people have been interested in. (Don McLean, Dean, McGill University Faculty of Music)

Laval : La Faculté n'offre pas de programme distinct. Cependant, un cours portant sur la musique et les technologies est obligatoire au baccalauréat. (Gilles Simard, doyen de la Faculté de musique de l'Université Laval)

UofT: In the composition program, students have had access to an electroacoustic studio since the 60s. Courses in recording technologies are offered but no programs exist in technologies. (David Beach, Dean, University of Toronto Faculty of Music)

Glenn Gould: We don't have a computer-generated music program here. We are exploring interesting connections with other institutions, like distance-learning with Acadia University. We are looking into the possibility of doing masterclasses with the help of digital pianos--playing a piano in one site and hearing it in another. (Rennie Regehr, Dean, Glenn Gould School)

We have advanced electronic and computer music programs and Artificial Intelligence in Music. (Jesse Reed, Director, School of Music, University of British Columbia).