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AEC European Association of Conservatoires Escola Superior De Música, Artes e Espectáculo do Porto LLP Lifelong Learning Programme

9-11 September 2011 / AEC Annual Meeting for International Relations Coordinators

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The AEC team would like to express a special thanks to Bruno Pereira and Cecília Sequeira from

ESMAE for their wonderful support in organizing the AEC Annual Meeting for IRCs 2011 in Porto

Escola Superior De Música, Artes e Espectáculo do Porto

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Table of Contents

Page 04

Page 05

Page 06

Page 10

Page 12

Page 13

Page 19

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3

IRC Working Group

Conference Team

Programme

Parallel Sessions

Musical Introductions

Biographies of the speakers & abstracts of

their presentations

Concert Programme

Practical Arrangements

Location of Venues

List of Restaurants

List of Bars

Information on local transportation

Important Addresses and Numbers

Internet

ATM

TAXIS Porto

New Code of Good Practice


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IRC Working Group

Jeremy COX (AEC)

Sabine ROTH

University of Music and Performing Arts

(Vienna)

Rima RIMSAITE

University of Music and Performing Arts

(Vilnius)

Knut MYHRE

Norwegian Academy of Music (Oslo)

Raffaele LONGO

Conservatorio di Musica "S.

Giacomantonio" (Cosenza)

Joan-Albert SERRA

Escola Superior de Musica de Catalunya

(ESMUC) (Barcelona)

Bruno PEREIRA

Escola Superior de Música, Artes e

Espectáculo do Porto (ESMAE) (Porto)

Keld HOSBOND

Royal Academy of Music/Det Jyske

Musikskonservatorium (Aalborg/Aarhus)

Tuovi MARTINSEN

Sibelius Academy (Helsinki)

IRC Working Group Members


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Conference Team

Jeremy Cox

Chief executive

Linda Messas

General Manager

Sara Primiterra

Office and Events manager

Eleonoor Tchernoff

Project Supervisor

Annelotte Kolstee

Project Coordinator

Lotte Dieleman

Student Intern

Nerea Lopez de Vicuña

Student Intern

Francisco Beja

President of ESMAE

Constantin Sandu

Head of Music Department

Cecília Sequeira

Head of Administration

Bruno Pereira

International Coordinator

Association Européenne des

Conservatoires

Escola Superior de Música, Artes e

Espectáculo do Porto


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Programme Each plenary session starts with a short music performance

12:00 Registration opens

ESMAE

Rua da Alegria,

503

Fri

day 9

Sep

tem

ber

14:00 – 15:00

Newcomers Session

Presentation by Sabine Roth, IRCs working group member and Linda

Messas, AEC General Manager

Café Concerto

15:00 - 16:30 Pre-meeting for Networking and start of Poster Session Café Concerto

16:30 – 17:30

Plenary Session I - Opening event

Welcome words by:

Rosário Gambôa , President of Polytechnic Institute Porto (IPP)

Francisco Beja, President of ESMAE

Jeremy Cox, AEC Chief Executive

The Portuguese Music Education System by Mário Azevedo, Vice-

President and Daniela Coimbra, Professor, ESMAE

ESMAE's international activities, by Bruno Pereira, IRC, ESMAE

Presentation of the statistics on Erasmus activities of AEC member

institutions by Jeremy Cox

Practical Announcements about Parallel Sessions and Dinner

Concert Hall

17:30 – 18:00

Coffee Break

Courtyard


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Programme

18:00 – 19:00

Repeated

19:15 - 20:15

Parallel sessions

Workshops

1. The new Code of Good Practice

(by Rima Rimsaite/Sabine Roth

and Jeremy Cox)

2. “Working with Music” Placement

with Leonardo (by Lucia Di Cecca)

3. PRACTICS Project – The

Mobility of Artists - “Beyond

ERASMUS - how to help music

students prepare for working

across borders as future

professionals (by Richard Polacek

and Sara Primiterra)

‘Discussion Fora’

4. Intensive Programmes: Question

Time (by Raffaele Longo and

Hanneleen Pihlak)

5. Vertical mobility:

internationalization as a strategic

tool (by Knut Myhre and Joan Albert

Serra)

6. Horizontal Mobility: dealing with

the day-to-day organization of

mobility (by Tuovi Martinsen and

Keld Hosbond)

1. Concert Hall

2. Pav. 1

3. Room 209

4. Pav. 2

5. Room 208

6. Room 203

20:30 Dinner Café Concerto &

Courtyard

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10:00 – 11:00

Plenary Session II

Mobility and Employability – “upwardly mobile”

The Market Perspective – do employers value the mobility

experience?

Presentations by Michele Carulli, General Director Opera Theatre in

Dresden and Rose Lowry, General Manager of the Orchestre de

Picardie, Amiens, France

Followed by questions/answers session with the speakers

Moderator: Jeremy Cox

Concert Hall

11:00 – 11:30 Coffee break Café Concerto


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Programme

11:30 – 12:30

Plenary Session III

Mobility and Employability – “upwardly mobile”

Students’ and Alumni’s perspective – mobility for its own sake or as

part of a long-term career strategy?

Presentations by

Christian Windfeld, Aarhus

Carlos Pinto da Costa, Porto

Tine van den Geest, Amsterdam

Catarina Oliveira, Porto

Followed by questions/answers session with the speakers

Moderator: Bruno Pereira

Practical Announcements

Concert Hall

12:30 – 14:30 Lunch Grande Hotel do

Porto

14:30 – 16:00

Breakout Groups Session

Discussion based on pre-set questions on the theme Mobility and

Employability

A - Room 210

B - Teresa Macedo

C - Café Concerto

D - Library

E - Room 209

F - Room 208

G - 207

H - 206

I - 205

J - 204

K - 203

L - 44

M - 214

N - 213

O - Concert Hall

16:00 – 16:30 Coffee break Café Concerto


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Programme

Satu

rda

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0 S

ep

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ber

16:30 – 17:45

Information Forum

Moderator: Sara Primiterra, AEC Office and Event Manager

Presenting Institution/s Project

Conservatoires in Cosenza,

Monopoli, Frosinone, Napoli,

Vicenza, Pescara and Modena

(Italy)

ARTS Consortium for

Placements

Josef Haydn Conservatorium

in Eisenstadt (Austria)

IP “Haydn, The

Progressive –

Sustainability,

Exploitation,

Dissemination”

Conservatorio “G.Cantelli” in

Novara (Italy)

Black Keys White Keys

Musikhochschule Trossingen

(Germany)

Baroque Orchestra

ISSM “ Franco Vittadini” in

Pavia (Italy)

Musical Savant

Conservatoires in Gothenburg

(Sweden) and Verona (Italy)

IP Interdisciplinary

Projects in Community

Spaces

Concert Hall

17:45 – 18:30

Closing Session

Reporting back from the breakout groups

Announcement of IRCs Meeting 2012

News from the AEC Office

Practical Announcements for Networking Activity on Sunday

Closing Remarks

Concert Hall

18:30 - 19:00 Pre-concert snack Courtyard

19:00 – 19:45 Concert Concert Hall

Su

nd

ay 1

1 S

ep

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10:00 – 12:30 Networking Activity: Discover Porto with your fellow IRCs

Visit to Porto wine cellars and Boat Trip on the Douro river

Meeting Point

Largo Miguel

Bombarda,Vila

Nova de Gaia


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Parallel Sessions Friday 9th September 18:00 – 19:00, repeated 19:15 – 20: 15

There are 6 proposed Parallel Sessions repeated twice. Participants have the possibility to

follow 2 of the sessions proposed

WORKSHOPS: presentations followed by questions from the audience

1 - The New Code of Good Practice (Concert Hall)

Based on the feedback given by the breakout groups in Istanbul, the IRCs preparatory

working group and the AEC office worked on a new version of the Code of Good Practice.

The new document will be presented during this workshop and participants will have the

opportunity to ask questions and share views on the document. Chairs: Sabine Roth/Rima

Rimsaite and Jeremy Cox

2 - Project "Working with Music" - Placement with Leonardo (Pav. 1)

The project, implemented by a pool of Italian conservatoires and coordinated by the

Conservatorio in Frosinone (IT), deals with work placements for graduates within the

programme Leonardo. The AEC is a partner of the project. The presentation is followed by

questions/discussion with the audience. Chair: Lucia di Cecca

3 - Project PRACTICS - The Mobility of Artists (Room 209)

The project aims to facilitate the provision of information about EU cross-border mobility of

artists. The AEC is a partner of the project. The presentation is followed by

questions/discussion with the audience. Chairs: Richard Polacek and Sara Primiterra

Beyond ERASMUS - how to help music students prepare for working across

borders as future professionals

Music students studying in Europe are currently relatively well served by schemes that

encourage mobility in their studies. While studying abroad, they often begin to make

contacts and find work in the musical environment where they are staying.

Once they move into the profession, the rich attraction of the diverse musical scene across

Europe will mean that many musicians will wish to seek work across a broad geographical

range – perhaps even returning to take up the contacts made during their studies. The

financial, legal and other challenges they encounter as professionals can make this

experience feel very different from that of their student mobility.

Clearly student and professional mobility activities contain many fundamental differences.

Nevertheless, there is a growing sense, both from the higher education and the professional

sides,that benefits could flow from an improved mutual understanding and exchange of

information and expertise. Perhaps students should be actively prepared, while in study, for

the different challenges they will face as professionals; perhaps there are certain common

issues – finding accommodation, opening bank accounts, etc. – which could be codified

jointly; perhaps there is a role for teachers (who are usually themselves used to the

challenges of travel for the professional musician) in helping to bridge the knowledge gap

between the two worlds of mobility.


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Parallel Sessions

The session will aim to stimulate a sharing of expertise between Practics presenters and International Relations Coordinators. Its aim will be to address the following key questions:

· How can AEC members prepare future professionals for their mobility experiences?

· What is the role of the Practics Infopoints in this?

· How can the Infopoints establish long-lasting and meaningful partnerships with AEC members?

· What concrete tools could the AEC members develop within the follow-up project of Practics to support the mobility of future professionals (and young professionals) and how can the Infopoints help them in this?

Delegates who have signed up for this session are asked to give some thought to these questions beforehand and to be ready to contribute practical comments and suggestions which might provide relevant inputs for the final Practics Handbook

DISCUSSION FORA: questions and discussions on given themes

4 - Intensive Programmes (IP): Question Time (Pav. 2)

The participants have the opportunity to ask questions on the practical and strategic organization of Intensive Programmes in music to fellow IRCs who had successfully coordinated IPs in their institutions. Questions would ideally lead to an open discussion on issues related to IPs. Chairs: Raffaele Longo and Hanneleen Pihlak

5 - Vertical Mobility: internationalization as a strategic tool (Room 208)

Vertical mobility is meant as mobility of students to different countries from one level of education the next one (i.e. Bachelor in country X and Master in country Y). Vertical mobility is somehow connected with the strategic aspects of internationalization. Participants will share their views and experiences on issues related to the implementation of mobility as a strategic tool, This session is suitable for participants dealing with mobility at strategic level. Chairs: Knut Myre and Joan Albert Serra

6 - Horizontal Mobility – dealing with the daily practical organization of mobility (Room 203)

Horizontal mobility is meant as mobility of students to different countries within the same level of education for an exchange period. Horizontal mobility is often linked to issues related to the bureaucratic, administration and financial aspects of the organization of mobility. Participants will share their experience on issues related to the practical implementation of mobility. This session is suitable for participants dealing with the practical aspects of the organization of mobility. Chairs: Tuovi Martinsen and Keld Hosbond.


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Musical Introductions

9th September 16h30-16h40 Ashley Marques, clarinet Mafalda Carvalho, flute Laura Felício, piano Saint-Saëns - Tarantelle for Flute, Clarinet, and Piano, op. 6 10th September 10h00-10h10 Fábio Almeida, sax Ricardo Pinto, piano Diogo Dinis, double bass Nuno Oliveira, drums Fábio Almeida - "Sáfaro" Ricardo Pinto - "Ablépsia" 11h30-11h40 Short presentation of students’ work from the Image Art department 16h30-16h40 Bruno Nogueira, tenor Mariña Fernandes and Sofia Fernandes, baroque violin Ivan Rodriguez, harpsichord Louis-Nicolas Clerambault - Recitative and aria from Orphée “Monarque redouté de ces royaumes sombres” G.F. Handel – Recitative and aria from Alcina “Un momento di contento”

17h30-17h40 Saxophones’ orchestra Henk van Twillert, Rita Pereira, Jorge de Sousa, Tânia Gonçalves, Luis Gonçalves, Sara Martins, José Silva, Menne Smallenbroek, Marcelo Marques, Lúcio Monteiro “Desierto” - Marleen Huizinga – 1967-2008


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Biographies & Abstracts

The Market Perspective – do employers value the mobility

experience? – Plenary Session II Saturday 10:00 – 11:00

Michele Carulli / Dresden Opera Theatre

Biography Michele Carulli started his career as clarinettist in his native province of

Apulia. He got the diploma with honours at the Accademia Chigiana in

Siena and became the solo clarinettist in the orchestra of La Scala in

Milan. At the same time he began to study composition and orchestral

conducting at the Milan Conservatory, and followed several master

classes for young conductors. Carulli’s conducting engagements took

him to Austria, Hungary and the United States, and he was one of the

finalists in the 1991 International Conducting Competition at Berlin.

Up until the beginning of his own conducting career, Carulli worked as an assistant to major

conductors. From 1994 he assisted Giuseppe Sinopoli, and he was engaged in the new

production of the Ring of the Nibelung at the Wagner Festival in Bayreuth conducted by

Sinopoli and directed by Jürgen Flimm in the summer of 2000. Furthermore, Carulli was the

regular assistant conductor of the National Symphony Orchestra of RAI in Turin from 1996

to 1998. From 2002 to 2005, he was the principal conductor and associate general music

director at the State Theatre in Saarbrücken. Since the 2005/2006 season, Michele Carulli

has been the General Music Director of the State Theatre of Saxony in Dresden, with the

responsibility for their opera productions and symphony concerts.

Among the orchestras that Carulli has conducted are the Frankfurt Radio Orchestra, the

Orchestra of Teatro La Fenice of Venice, the Sicilian Symphony Orchestra, the Robert

Schumann Philharmonic Orchestra of Chemnitz, the Ensemble Kanazawa and the Nagoya

Philharmonic Orchestra. He has also conducted operas at the Teatro San Carlo at Naples,

the State Theatre in Prague and the City Theatre in St. Gallen.

Abstract Speaking from my own experiences as a member of youth orchestras, as a teacher, as an

orchestra member and as conductor, I consider “the young”, music, and the possibility to socialize through music as fundamental principles in both my job as a musician and my life in

general. I would like to argue for an adequate formation of “the young”, an increasing

cooperation and integration between didactic and productive activities, and the growth of

working musical institutions in certain areas.

Modern governments are, unfortunately, only focused on economic interests, while it is the

human cultural values that should be promoted. As I see it, orchestras and societies work in

the same way. Communication and interaction are vital concepts for both. It is through

experience within working musical institutions like orchestras (for example with the Erasmus

Project) that young musicians can learn to work with these concepts and develop them. At

the same time, the more experienced musicians benefit from the enthusiasm their young counterparts display. The integration between musical institutions and school training should

therefore be encouraged. In some cases a growth in the number of working musical

institutions is necessary to realise this.


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Rose Bardonnet Lowry / Orchestre de Picardie

Biography Rose Bardonnet Lowry was born in the early fifties in a

teaching family in Normandy (France) and was brought

up in a family who upheld pacifism, environmental issues

as well as a pioneer approach to the European policy.

Most of her secondary school education was carried

out from home. This unconventional education led her

to apply for a scholarship in the United States where

she stayed for over a year and graduated from an

American High School before taking a French Baccalauréat. Then she studied English

Literature at the University of Caen (France) where after a Bachelor and a Master, she

obtained a post-master degree on Virginia Woolf.

In 1987, after some years of teaching, she was given the opportunity of a change of career

and started in the management of performing arts projects. From 1991 to 1994 she was

general manager of Orchestre Français des Jeunes and one of the funding members of the European Association of National Youth Orchestras - EFNYO. In July 1994 she was

appointed general manager of Orchestre de Picardie, a symphony orchestra based in Amiens. It

is a position she still holds. Over the years, Orchestre de Picardie has become known for its

outreaching schemes in schools and community work.

This local and national work left space for foreign tours, but from 1998 a new way of

crossing borders has been initiated through the implementation of European projects. Thus,

in 2004, ONE - an Orchestra Network for Europe was born. To this day, under the

leadership of Orchestre de Picardie, it has received four grants from the European

Commission under the Culture programme. The current multiannual period is called ONE

goes places.

In July 2010, Frédéric Mitterrand the French Minister of Culture, promoted Rose Lowry to the

position of Chevalier dans l’Ordre des Arts et des Lettres.

She is married to Denis Bardonnet, lives in Amiens and has a daughter - Estelle - who works

in Paris

Abstract ONE - An Orchestra Network for Europe® is a distinctive network of permanent classical

symphony orchestras initiated in 2004. Since then it has received support from 4 grants

under the Culture Programme of the European Union. Over the years it has achieved a

durable existence, acquired a real identity, gained advocacy, developed into a new dimension

to go beyond the local interest and broadened its scope. Orchestre de Picardie is the initiator and project leader of this network which to this day is the sole network of its kind

to exist in Europe.


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In the current period of activity planned from 2011 to 2015 and called ONE goes places a

nucleus of 7 co-organisers. Jenaer Phiharmonie (Germany), Štatny Komorny Orchester

(Slovakia), Simfonični Orkester RTV Slovinija (Slovenia), Orchestre de Picardie (France),

Filharmonia Śląska (Poland) and Bohuslav Martinů Philharmonic (Zlίn - Czech Republic) have

concurred to conceive a work programme relevant to the network’s objectives.

ONE is proactive towards implementing activities supporting and promoting the trans-

national mobility of orchestra musicians, chamber music groups, orchestras, soloists,

conductors and composers; the circulation of cultural works through the programming of

traditional and creative repertoire; the transnational mobility of staff, managers and other

professionals; the creation of transnational events such as performances presenting

combined orchestras and the promotion of intercultural dialogue.

ONE believes that networking gives an inclusive sense of belonging to Europe that

complements the regional (sometimes national) identities and enables the members to

extend their artistic and cultural reach across borders, while working within and across

sectors. It sets intercultural dialogue in motion. When artists cross national boundaries and

share performances with colleagues of another culture, they are enriched and subsequently

become cultural campaigners.

In addition to by now long-established activities, ONE is going to concern itself with

educational activities and the pre-professional training of young musicians, their integration in

the professional sector as well as the promotion of the talent and mobility of young

European musicians.

The outlook of ONE is to engage in the mobility challenge of future years through sustained

intercultural dialogue, since, to quote Tennyson, I am a part of all that I have met.

Students and Alumni’s perspective – mobility for its own

sake or as part of a long-term career strategy? – Plenary

Session III Saturday 11.30-12.30

Christian Windfeld / Former student Royal Academy of Music Aarhus


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Biography Christian Windfeld was born on the Baltic sea island of Bornholm in 1983. Growing up,

however, on the west coast of Denmark he picked up drums at the age of 11. At 14 he

started organizing and playing paid gigs around the region. At 17 he attended the three year

pre-conservatory talent-course ”MGK” at Holstebro Music School.

Two years of professional music activities followed the time at MGK, including self-arranged

study-trips to Italy (New School Summer Workshop) and New York. He was accepted with

the highest grades possible at The Royal Academy of Music (DJM) in Aarhus (Denmark) in

2006, specializing in music performance.

In 2009-2010 he went on exchange as a master student to The Royal College of Music

(KMH) in Stockholm (Sweden), further specializing in music performance, and in 2011 he

was accepted, again with the highest grades possible, at the Advanced Post Graduate

Program in music performance at The Royal Academy of Music in Aarhus (Denmark).

Other educational records include private lessons and study trips to among others Italy

(Siena Jazz 2007), USA (New York 2004,08,10,), Latvia (IASJ-meeting Riga 2008) and Berlin

(2009).

In 2008, Christian Windfeld was awarded the Henriette Hoerlück prize for extraordinary

talent in 2008.

Abstract In my presentation the main focus will be put on internationalization as a stimulating

factor for artistic growth and employability.

During the last seven years my international activities have steadily grown to its current

position of about 14-16 weeks of touring abroad each year. It all springs from a very simple

action I took 7 years ago: creating a career plan outlining my goals and values for my future

life with music. I wanted to create a musical life which connected me with musicians from

other cultures. I wanted to explore, I wanted to internationalize. I started to look at

everything I did in an international perspective and from a few pro-active actions things

started to grow building the extensive international network I have today, a network which

is still growing.

In my presentation, I would like to show, by using a graphic, how this network has expanded

over the years and how independent areas of the network tend to overlap each other. I

believe that this network is the cornerstone to build my musical career upon.

If well nurtured, it will provide me with inspiration and jobs for a lifelong inspiring musical

existence.

The inspiration I got from my foreign colleagues and their cultures is invaluable to my artistic

growth. My first musical encounters in other countries astonished me. Even though playing

the same jazz standard, we sounded very different. I sounded different, and over the years it

has given me the self-confidence to stick to my personal sound. It has helped me clarify my

personal musical voice. This I believe creates the most original musicians and raises one’s

employability dramatically. It is in the meeting with other cultures and different ways to

approach music you realize what your own strengths and weaknesses are.


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I would like to clarify this point in my presentation and also dwell on other aspects of the

inspiration and motivation my international network has provided me with so far.

Last but not least, I would like to bust the myth that globalization means “anti-local”. I

believe the modern musician will live a “glocal” life, nurturing both the local and the global

musical environments that he or she is a part of, to the benefits of listeners as well as

performers.

Carlos Pinto da Costa / Former student ESMAE

Biography

Carlos Pinto da Costa was born in Porto

in 1978. From his early age Carlos showed

a special talent for music. Carlos studied

violin in Artave with Augusto Pereira de

Sousa, in ESMAE with Radu Ungureanu

and with Arjen Beintema at the Utrecht

Conservatorium, where in 1998 he studied

supported by an Erasmus scholarship.

After his violin Bachelor’s degree, Carlos also dedicated part of his career to

Cultural Management, violin teaching and to the pedagogical management of a Music School

in Esposende.

During his artistic life, besides solo and chamber music recitals, he was a part of several

portuguese orchestras: Artave Orchestra, ESMAE Sinfonieta, Porto Academic Orchestra,

Musicare Chamber Orchestra Remix Orchestra from Casa da Música and Porto National

Orchestra.

In 2007 he founded the cultural company Engenho das Ideias. Among other projects,

Engenho das Ideias created the Harmos Festival, a record label named Phonedition and the

agency Music Verb.

Tine van den Geest / Former student Conservatory of Amsterdam

Biography Tine Trijntje van den Geest (1988) is a Dutch classical

saxophonist. She finished her bachelor study at the

Conservatory of Amsterdam, The Netherlands, (June 2010)

with Henk van Twillert and Arno Bornkamp and finished her

study in Porto, Portugal, with Henk van Twillert, Fernando

Ramos and Gilberto Bernardes (June 2010) at ESMAE with the

highest mark. Tine won several music prices in The

Netherlands, Portugal and Italy and is regularly invited to play

solo concerts. She played in several saxophone ensembles like

the European Saxophone Ensemble, Vento do Norte and

Orquestra Portuguesa de Saxofones and made several tours

and CD's with these ensembles.


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Tine is a saxophone teacher since 2008 and taught at several music schools in The

Netherlands and Portugal.

Tine is specialised in musical education for children. She presents and plays concerts

especially for children at the Classic Express, a Dutch organization with the objective of

bringing classical music closer to children. In Portugal she also taught music and played

several concert especially for children. The underprivileged children in Portugal took her

special attention as Tine finds it very important to support these children to study music and

learn more about society.

Tine worked as a music store manager (from 2010 to March 2011) in Amsterdam and is

now applying for a master study at ESMAE in Porto, Portugal.

Catarina Oliveira / Former student ESMAE

Biography

Born in Braga, Portugal, in 1988, Catarina studied with Prof. José

Alexandre Reis, with whom she concluded the Conservatory.

She finished her Bachelor in ESMAE (Oporto) with Prof.

Constantin Sandu, achieving very high marks. In 2008/09, she

studied with Einar-Steen Nökleberg in HMT Hannover.

She won several prizes, among them the 2nd prize (1st not

given) in Paços de Brandão and the 4th Prize in the International

Competition PRO-PIANO in Romania.

She entered Master classes with several pianists: Sequeira Costa,

Paul Badura-Skoda, Solomon Mikowsky, Boris Berman, Vitaly Margulis, Eri Nakagawa, Daniel

Vaiman, Robert Palmer, Rozsa Yoder and Dina Yoffe.

She was admitted to the Master of Music degree in the Hochschule für Musik Karlsruhe,

where she will be studying with Dr. h.c. Kalle Randalu, starting in October this year.


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Concert Programme Saturday 10 September 2011

19h00-19h45 FEDERICO DE FREITAS – Nocturno FERNANDO LOPES-GRAÇA – Página Esquecida Jed Barahal, cello Constantin Sandu, piano TELMO MARQUES – 4 Case Studies for Clarinet, Bassoon & Piano Nuno Pinto, clarinet Hugues Kesteman, bassoon Constantin Sandu, piano JAZZ TEACHERS’ ENSEMBLE Nuno Ferreira, guitar Pedro Guedes, piano Michael Lauren, drums Tba, double-bass


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Practical Arrangements Location of Venues

CONFERENCE VENUE

Escola Superior de Música e das Artes

do Espectáculo do Porto (ESMAE)

Rua da Alegria No. 503

Hotel Tryp Porto Centro

Rua da Alegria No. 685

Hotel Porto Trindade

Rua de Camões No. 129/131

Hotel Dom Henrique

Rua Guedes de Azevedo No. 179

D Hotel Infante Sagres

Praça D. Filipa de Lencastre No. 62

Grande Hotel Do Porto (Location Saturday’s lunch)

Rua de Santa Catarina No. 197

Quality Inn Batalha Porto

Praça da Batalha No. 127-130

Pestana Porto Hotel

Praça da Ribera No. 1

Meeting Point Networking Activity Sunday

Largo Miguel Bombarda, Vila Nova de Gaia (in front of

Sandeman wine cellars)

B

A

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D E

F

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Practical Arrangements List of Restaurants

A COZINHA DO MANEL RESTAURANT

Rua do Heroísmo 215

4300-259 PORTO District: Oporto

Parish: Bonfim Tel: (+351) 225363388

Oporto traditional restaurant, with good cooking, on Wednesdays serves tripe with white beans,

'tripas à moda do Porto', on Thursdays 'cozido' and on Friday the roast kid should not be missed.

Both classical and caricatural, with stone walls, brick walls, glass tiles and pottery, it’s a definitely

traditional and typical spot, the whole matching the menu.

MORE INFORMATION

Responsible: Srº Manuel e José António

Parking: Yes

Closing times: 22:00

Closing days: Sundays, Holidays

Capacity: 60

Recommended for groups: Yes

Methods of payment: Credit Cards, Cashpoint

Average price: 25.00

Type of restaurant: Portuguese

Open on Sundays: No

Smoking area: non-smokers

Baked Goat

Grilled fish

Hake Fillets

Rockets

Tripe Porto


Page | 22


BAR CASA AGRÍCOLA RESTAURANT

Rua do Bom Sucesso 241/243

4150-150 PORTO

Tel: (+351) 226053350

E-mail: [email protected]

Bar-restaurant regarded as a place of good taste and elegance, which has earned a status as a

reference point in the city, offering many specialties. Supporting the restaurant, there is a bar where

you can sip an aperitif before dinner or quietly have a drink afterwards.

www.casa-agricola.com

Responsible: Mário Henrique

Parking: Yes

Necessary to book: Advisable


Closing days: Sundays




Bar/waiting room: Bar

Type of restaurant: Portuguese, Regional

Open on Sundays: No

Style of restaurant: Good portions

Bacalhau à Brás

Bacalhau com Natas

Baked Cod

Grilled fish

Octopus Rice

Sausage

mailto:[email protected]

http://www.casa-agricola.com/


Page | 23


BULL & BEAR RESTAURANT

Avenida da Boavista 3431 r/c

4149-017 PORTO

Tel: (+351) 226107669


It is considered one of the best restaurants in the country, having already won international fame. It

promotes the Portuguese cuisine with the creative skills of chef Miguel Castro e Silva. Refurbished in

late 2005, it has now a new area with counter and tables where they serve light meals and wine by

the glass. Thus, there are two different areas: the restaurant room itself and the room for snacks and

wines. The menu is renewed frequently, in accordance with seasons and their products.

Responsible: Jorge Santos

Parking: Yes


Capacity: 90

Recommended for groups: No



Bar/waiting room: Bar and lounge

Type of restaurant: Mediterranean

Open on Sundays: No


Access for physical disability: Easy accessibility


Açorda Fish

Clams

Migas

D. TONHO RESTAURANT Cais da Ribeira 14/15

4050-509 PORTO

Tel: (+351) 222004307





Page | 24


D. Tonho is a reference in Oporto as far as the cooking art is concerned. National recipes comprise all

regions of the country and the same is true for the wine list. But to please the eyes, then old

warehouse of codfish by the river was restored and the cozy interiors have a granite coating. The

panoramic windows take us to the Douro, right there in front of us: A double satisfaction.

www.dtonho.com

Responsible: Rui Veloso e José Pereira

Parking: Yes

Closing days: Does not close

Capacity: 90


Methods of payment: Credit Cards


Type of restaurant: Regional

Open on Sundays: Yes


Smoking area: smoking room

Bacalhau à Zé do Pipo

Baked Goat

Cod Oil

Duck Rice

Fish with Salt

Posta Mirandesa

GÓSHÒ RESTAURANT

Avenida da Boavista 1277 piso -1

4100-130 PORTO

Tel: 226086708


Opened in summer 2007, located in a former car parking area of the Hotel Port Palace, this different

restaurant is devoted to Eastern and fusion cuisine. The architectural concept design was developed

by Japanese Haruo Morishima and the aNC-architects. The kitchen is under the responsibility of chef

Paulo Morais, with Manuel Moreira de Sommelier. An interesting detail: the uniforms have the

signature of the designer Katty Xiomara. The table is tempting: Tepanyaki or Asian tapas,

accompanied by a sake or tea. Creative dishes to enjoy in a sophisticated atmosphere, where

http://www.dtonho.com/



Page | 25

Practical Arrangements the contrast between black and white punctuates the rhythm of the room. Black nets hang around

the tables, delineating the various environments and creating an irreverent transparency that allows

to see all corners of the room, yet without unveiling all the details. Welcome to Porto version of the

"Imperial Palace", the literal meaning for góshó.

www.gosho.pt

Parking: Yes




Methods of payment: Cashpoint, Credit Cards



Confirmation of your registration to the IRC Meeting in Porto 2011

Type of restaurant: Japanese

Open on Sundays: No


Restaurante Mal Cozinhado (FADO Restaurant)

Rua do Outeirinho 11 (In front of São Francisco Church and near Palácio da Bolsa)

4050-450 PORTO

Tel: (+351) 222081319

more info at www.malcozinhado.planetaclix.pt

Responsible: Luís Miguel


Days with Fado and artists: from Monday till Saturday: Rosinda Maria, João Cruz and Valdemar

Vigário.

Specialties Portuguese food

Parking No


Closing times: 02:00am

Capacity 150



PAPARICO RESTAURANT

Rua Costa Cabral 2343

4200-232 PORTO

Tel: (+351) 225400548

With a quiet and welcoming atmosphere, it serves regional cuisine specialties very well prepared.

Open for dinner only.

http://www.gosho.pt/

http://www.lifecooler.com/Portugal/Tarde%20e%20Noite/RestauranteMalCozinhado

http://malcozinhado.planetaclix.pt/


Page | 26



Closing days: Sundays, Mondays

Capacity: 38



Type of restaurant: Portuguese

Open on Sundays: No


PRAIA DA LUZ RESTAURANT

Overlooking the beach and, in addition to a spacious dining room overlooking the sea, it has two

terraces. In addition to this exceptional location, it offers attentive service and tasty cuisine.

www.praiadaluz.pt

Avenida Brasil Praia da Luz

4150- PORTO

Tel: (+351) 226173234


Responsible: Rui Couceiro da Costa e Pedro Queiroz Mesquita


Closing days: Does not close

Capacity: 80





Type of restaurant: Portuguese, After hours

Open on Sundays: Yes


Baked Cod

Fish with Salt

Hake Fillets

http://www.praiadaluz.pt/



Page | 27


SOLAR MOINHO DE VENTO RESTAURANT

Rua Sá de Noronha 81

4050-527 PORTO

Tel: (+351) 222051158


With a very central location, it is a pleasant restaurant with quality regional cooking.

www.solarmoinhodevento.com

Parking: Yes

Necessary to book: Not necessary


Closing days: Sundays, Holidays

Capacity: 75


Methods of payment: Cashpoint



Open on Sundays: No


Boiled Portuguese

Grilled fish

Rice Cabidela

Roasted Pork Loin

Rockets

Sausage

Tripe Porto

FILHA DA MÃE PRETA

Cais da Ribeira 39/40

4050-510 PORTO

Tel: (+351) 222086066







http://www.solarmoinhodevento.com/


Page | 28

Practical Arrangements You may consult a bigger list of restaurant at

http://en.lifecooler.com/lifecooleren/pesquisa.aspx?tipo=5

List of Bars

CASA DO LIVRO

Rua Galeria de Paris 85

Porto

4050-284 PORTO

Tel: (+351) 222025101

more info at www.casadolivro.pt


Working times: Monday till Thursday 9pm- 3am; Friday and Saturday 9pm-4am;

Music genre: Jazz and rock

PLANO B

Rua Cândido dos Reis 30

Porto

4050-151 PORTO

Tel: (+351) 222012500

More info at www.planobporto.com

Music Genre: Alternative, Dance Music, Electronic, Rock

Closing days: Monday

Working times: from Tuesday to Thursday 2.30pm-8pm and 11pm-2am week-ends till 4am

http://en.lifecooler.com/lifecooleren/pesquisa.aspx?tipo=5

http://www.lifecooler.com/Portugal/Tarde%20e%20Noite/CasadoLivro

http://www.lifecooler.com/Portugal/Tarde%20e%20Noite/CasadoLivro

http://www.planobporto.com/


Page | 29


TRIBECA

Rua 31 de Janeiro 147

4000-543 PORTO

Tel: (+351) 222014406

more info at www.tribecacafebar.com

Live music from Wednesday till Saturday (Jazz, funk, fusion,…)

TWINS FOZ

Rua do Passeio Alegre 1000

Foz do Douro

Porto

4150-574 Porto

Tel: (+351) 932256711

more info at www.twins.pt

Responsible: Diogo Aranha

Live music: yes

Closing days: Sundays and Mondays

Methods of payment: Credit cards

Working times: from Tuesday to Thursday 10pm – 3.30am; Fridays and Saturdays 10pm – 6am;

Capacity: 600

Tipo de Música: House, Dance Music

Room for smokers

TRIPLEX

Avenida da Boavista 911

4100-128 PORTO

Tel: (+351) 226098968

www.triplex.com.pt

Responsible: Pedro Trepa

Room for smokers

Location: near Casa da Música



Working times: 10pm- 4am

http://www.lifecooler.com/Portugal/Tarde%20e%20Noite/Tribeca

http://www.lifecooler.com/Portugal/Tarde%20e%20Noite/Tribeca

http://www.lifecooler.com/Portugal/Tarde%20e%20Noite/TwinsFoz

http://www.twins.pt/

http://www.triplex.com.pt/


Page | 30

Practical Arrangements Capacity: 250

Food/snacks: yes

Music Genre: Dance Music, Commercial, Alternative

Also Restaurant with terrace

TWINS BAIXA

Rua Cândido dos Reis 12

4050-151 PORTO

Tel: (+351) 226165000

www.twins.pt

Working times: from Monday to Friday, 6.30pm – 3am; Fridays and Saturdays 6.30pm – 4am


http://www.twins.pt/


Page | 31


Information on local transportation Airport – ESMAE

By Metro

Line: Purple (E, direction Estádio do Dragão) to Bolhão Duration: 25 minutes + 10 minutes walking

Costs: Andante card €0,50 to be rechargeable with a €1,50 (Z4 ticket)

From: 06:00 a.m. until 01:00 a.m.

Departures: Every 20 minutes

More information: www.metrodoporto.pt

By taxi

Costs: about €15

Duration: about 20 minutes

Important addresses and numbers

Emergency: 112

Police: (+351) 22 200 68 21

Fire department: (+351) 22 507 37 00

ESMAE/THSC (Teatro Helena Sá e Costa – Conference Venue)

Rua da Alegria, 503

4000-045 Porto

Phone: (+351) 22 519 57 60

Grande Hotel do Porto (Saturday’s lunch – 10th September, 12h30-14h30)

Rua de Santa Catarina, 197

4000-450 Porto

Phone: (+351) 22 2076690

Meeting Point Networking Activity Sunday (11th September, 10:00)

Largo Miguel Bombarda, Vila Nova de Gaia (in front of Sandeman wine cellars)

Internet

Wifi connection Concert Hall and rooms 208 and 209

ssid: AEC

password: AEC-2011

Participants can also use the desktop computers in the library.

username: guest

password: AEC-2011

ATM

There is and ATM at approximately 5 minutes walking distance from the ESMAE building.

Down the street, turn first left, then first right. You will find two banks.

http://www.metrodoporto.pt/


Page | 32


TAXIS Porto

Táxis Invicta Porto

Phone: (+351) 22 507 64 00

Mobile: (+351) 91 230 12 51

Raditáxis Porto

Phone: (+351) 22 507 39 00

Mobile: (+351) 96 966 16 66

Transconor

Phone: (+351) 22 589 83 90


Page | 33



EU requirements for Life Long Learning Programme (LLP) Points to be aware of in guidelines issued and practices employed by

National Agencies (NAs)

Additional features of good practice for exchange programmes in the field

of Music

GENERAL REMARKS GENERAL REMARKS

ERASMUS student mobility for studies is carried out within the framework of prior Inter-Institutional Agreements, formerly called Bilateral Agreements, between the home and host institutions, both of which must be holders of an ERASMUS University Charter (EUC).

Institutions are encouraged to use the standardised Inter-Institutional Agreement Form developed by the AEC, and to update the institution’s data on the DoReMiFaSOCRATES.org website (institution’s title, Erasmus ID code, EUC number, institutional coordinator’s contact details) whenever any of this information changes

Students can study abroad within the ERASMUS scheme for between 3 and 12 months or at least for one full academic trimester/term.

National Agencies might want to allow for ERASMUS study stays that are not realised within one academic year only.

The student’s home institution applies for the ERASMUS mobility grant to its national agency while the student applies to his/her home institution for the payment of the monthly grant.

National Agencies might wish to pay out the ERASMUS mobility grant directly to the ERASMUS students who have been nominated their home institutions.

NEW CODE OF GOOD PRACTICE

ERASMUS Student Mobility for Studies (SMS)


Page | 35




of Music

Students: The student must be registered in a Higher Education Institution (HEI) and be enrolled in higher education studies leading to a recognised degree or other recognised tertiary level qualification up to and including the level of Doctorate.

Students must be registered in higher education studies leading to one of the recognised degrees, or other tertiary level qualifications, in music.

The student must be enrolled in at least the second year of higher education (HE) studies.

Institutions are recommended to facilitate student exchange by creating ‘open windows’ in the curriculum – the most flexible study year for exchange, for example, in a four-year 1

st-cycle

programme is usually the 3rd

year

The student must be either a national of a country participating in the LLP or a national of an other country employed or living in a participating country, under the conditions fixed by each of the participating countries, taking into account the nature of the programme

National Agencies might want to include or exclude third country citizens from the participation of the ERASMUS programme.

At least one of the two institutions involved must be located in an EU Member State.

APPLICATION PROCEDURE APPLICATION PROCEDURE

A student interested in Mobility for Studies should apply to the international office and/or ERASMUS office of his/her home HEI. The office will inform him/her of the possibilities of studying abroad as well as the modalities of how to apply for and receive an ERASMUS grant.

All ERASMUS activities should be directed through the International Relations Coordinator (IRC) or International Officer (IO) of the institution; if there is a central office in the University, the IRC/IO for Music should still manage the connection with this office.


Page | 36




of Music

Normally, an Erasmus student application file includes the Erasmus Application and a Learning Agreement (LA).

The application file must be approved by the international office of the home institution and sent to the international office of host the institution.

Institutions are strongly encouraged to use the AEC ECTS Student Exchange Application and ECTS Learning Agreement forms.

Because individual music teachers need to be prepared to receive incoming exchanges, it helps if an ERASMUS candidate in music applies to up to three institutions, listed in order of preference.

A CD/DVD/digital/audio/internet media recording should usually satisfy application requirements in terms of musical ability; some institutions might require the student’s CV and letter(s) of recommendation.

ERASMUS students are selected by their home HEI in a fair and transparent way. Internal pre-selection of candidates at higher music education institutions is feasible and, in many ways, desirable, but the final acceptance is at the discretion of the host institution.

Students with special needs may apply for a specific grant after they have been selected for a mobility period.


Page | 37




of Music

PRIOR TO DEPARTURE PRIOR TO DEPARTURE

Outgoing students are provided with:

- A Study Agreement (grant agreement) covering the mobility period, to be made between the student and his/her home HEI and signed by both.

- A Learning Agreement setting out the programme of studies to be followed, as approved by the student, the home and the host institution.

- A copy of the "ERASMUS Student Charter" setting out the student’s rights and obligations with respect to his/her period of study abroad.

National Agencies might want to set a figure for the ECTS credit points to be accomplished by the mobile student during his/her ERASMUS studies abroad, respecting the principle of no loss of progress.

Music studies are highly individualized and study organization takes longer than at other universities. Therefore, the host institution should inform the home institution and student a.s.a.p. about acceptance or rejection of the student’s application.

If the host institution cannot offer individual studies with the preferred professor, it may be recommended that the student studies with another professor at the host institution.

Once negotiated, the Learning Agreement should be signed by host and home institution, and by the Erasmus student.

An official Letter of Acceptance should be sent to the IRC (and cc’d to the student applying for SMS).

AT THE END OF THE PERIOD ABROAD AT THE END OF THE PERIOD ABROAD

The host institution must provide the ERASMUS student and his/her home institution with a Transcript of Records, confirming that the agreed programme has been completed and confirming the results, and a Confirmation of the actual study period.

National Agencies might want to make use of their own documents.

Music institutions are advised to use the ECTS Transcript of Records form developed by the AEC.

http://ec.europa.eu/education/erasmus/doc1057_en.htm


Page | 38




of Music

The home institution must give full academic recognition to satisfactorily completed activities during the ERASMUS mobility period as agreed in the Learning Agreement.

Exchange students should be considered eligible to undertake assessment (including practical examinations) at the host institution if these would be part of the regular pattern of study there. However it is strongly advised that students should undertake important final examinations once back at their home institution.

All exams passed, credits and grades gained at the host institution must be recognized by home institution as per the EU requirements.

An ERASMUS student should provide his/her home institution with a completed Erasmus Student Report.

National Agencies might want the student involved in Mobility for Studies to make use of their specific database and to fill in information in the national language of the sending institution.

The International Coordinator at the host institution should stay in contact with his/her counterpart at the home institution about the progress and achievements of the exchange student. They should contact their colleague immediately if a serious problem occurs.

The ERASMUS mobility period should also be recorded in the Diploma Supplement issued at the completion of the student’s programme.


Page | 39




of Music

GRANTS AND FEES GRANTS AND FEES

Students may be awarded an ERASMUS grant to help cover the travel and subsistence costs (including insurance and visa costs) incurred in connection with their study period abroad.

ERASMUS students - whether or not they receive an ERASMUS grant - are exempted (at destination) from paying fees for tuition, registration, examinations and access to laboratory and library facilities at the host institution.

Distribution of grants, amounts and payment methods might differ from country to country;

Generally speaking the payments is made in two instalments (80% before/during the ERASMUS study stay, 20% after its successful completion); zero grant Erasmus students are eligible.

The payment of any national grant or loan to outgoing students should be maintained during the ERASMUS study period abroad.

Students may only receive two ERASMUS grants: one for a study period (SMS) and one for a placement period (SMP).

Students enrolled on an Erasmus Mundus Course, who do not get an Erasmus Mundus grant, may qualify for an ERASMUS grant under the general ERASMUS conditions.


Page | 40

ERASMUS Student Mobility for Placements (SMP)




of Music


Students must be registered at an HEI holding an Extended ERASMUS University Charter (EUCX).

The receiving enterprise or organisation does not need such a Charter.

At least the sending or the receiving country must be an EU Member State.

In cases where the placement is organised by a consortium, the placement consortium must hold an ERASMUS consortium placement certificate.

Student mobility for placements enables students at HEIs to spend a placement (traineeship/internship) period of between 3 months and 12 months in an enterprise or organisation in another participating country.

Host organisations for student placements may be enterprises, training centres, research centres and other organisations.

For Music, host organizations might include: HEIs, music festivals, concert organizations, cultural organisations, professional associations and even International Offices of conservatoires or the AEC Office.

Excluded organisations are European Union institutions and other EU bodies including specialised agencies, organisations managing EU programmes (in order to avoid possible conflict of interests and/or double funding) and national diplomatic representations (embassy and consulate) of the home country of the student.

A placement can be done from the 1st

year of HE studies.




http://europa.eu/institutions/index_en.htm

http://europa.eu/institutions/index_en.htm


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of Music


ERASMUS students must be selected in a fair and transparent way by their home HEI.

A student interested in Mobility for Placement has to contact the international office and/or ERASMUS office of his/her HEI. The office will inform him/her of the modalities for getting an ERASMUS student placement and receiving an ERASMUS grant for it.


Outgoing students are provided with:

- A Placement Agreement (grant agreement) covering the mobility period and signed between the student and his/her home HEI.

- A Training Agreement regarding his/her specific programme for the placement period; this agreement must be endorsed by the home HEI and the host organisation.

- A Quality Commitment setting out the rights and obligations of all the parties specifically for placements abroad.

- A copy of the ERASMUS Student Charter setting out the student's rights and obligations with respect to his/her period abroad.


The host institution must provide the ERASMUS student and his/her home institution with a Confirmation of the actual training period and training results.

The use of Europass mobility documents is encouraged.


http://ec.europa.eu/education/lifelong-learning-policy/doc46_en.htm


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of Music

Full recognition must be given by the home HEI for the period spent abroad as agreed in the Training Agreement, preferably by using ECTS credits. Recognition shall be based on the training agreement approved by all parties before the period of mobility started.

In the particular case of a period of placement that is not part of the curriculum of the student, the sending institution shall provide recognition at least by the recording of this period in the Diploma Supplement or, if not possible, in the student's transcript of records.

An ERASMUS student should provide his/her home institution with a completed Erasmus Student Report.




Page | 43

ERASMUS Staff Mobility - Teaching Assignments by Higher Education Institutions Teaching Staff and by Invited Staff from Enterprises (STA)




of Music


Teaching staff mobility (STA) enables staff to spend a teaching period of between 1 day - or at least 5 teaching hours – and 6 weeks at a HEI in another participating country.

A minimum duration of 5 working days is strongly recommended to provide a meaningful contribution to the teaching programme and the international life of the host HEI.

Teaching assignments may be carried out by teaching staff of HEIs and by invited staff from other kinds of enterprises.

Teaching assignment mobility is based on Inter-Institutional Agreements between the sending and receiving HEIs, where each holds an ERASMUS University Charter (EUC), or on an agreement between the HEI and the enterprise concerned.

It follows that teaching staff employed by a HEI must be from a HEI holding an ERASMUS University Charter.

It is recommended that the minimum duration of STA visits to other music institutions is 5 days. However, music teachers often favour shorter visits. An STA visit may also include a recital performed by incoming teacher.

At least the sending or the receiving country must be an EU Member State.




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of Music

The institution sending teaching staff or inviting enterprise staff to teach applies for ERASMUS mobility grants to its national agency (NA) while the staff member applies to his/her home HEI, or to the inviting institution in case of enterprise staff.

In the case of staff mobility from an enterprise to a HEI, the mobility period is arranged by an invitation sent from the HEI to the staff member of the enterprise.

The grant provided to contribute to subsistence costs and to cover travel costs is always managed by the HEI.

In all cases, the activities of staff undertaking a teaching assignment should be integrated into the curricula of the host institution.

The teaching staff member must be either a national of a country participating in the LLP or a national of an other country employed or living in a participating country, under the conditions fixed by each of the participating countries, taking into account the nature of the programme.



A member of teaching staff interested in Teaching Staff Mobility should contact the international office and/or the ERASMUS office of the home HEI - or the host HEI in case of enterprise staff - or the NA.

Teaching staff of HEIs are selected by the sending institution. Music studies are highly individualized and their study organization is often more complicated and needs more, and lengthier, negotiations than is the case in other disciplines. Hence partners should be prepared for the reality that not all proposed teaching exchanges are going to be realized.


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of Music

Staff from non-HEI enterprises are selected by the host institution.


The partner HEI/enterprise must have agreed in advance on the programme of activities to be delivered by the visiting teachers (Teaching Programme).

The Teaching Programme must consist of at least:

The content of the teaching programme

The objectives of the mobility

The expected results

The added value of the mobility (both for the host institution and for the teacher)

The Teaching Programme must be endorsed by the home HEI and the host organization.

The Grant agreement covering the teaching mobility period is signed between the teacher and his/her home HEI. The grant is provided to cover travel costs and to contribute to subsistence costs.

An Erasmus STA grant does not cover all costs. Normally it covers travel, accommodation and subsistence costs. The financial resources available at the institution for STA grants should be carefully considered and explained to the teacher before making the final agreements.


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of Music


The host institution must provide the ERASMUS teacher and his/her home institution with a Confirmation of the actual teaching period carried out.

It is recommended that the Confirmation of the actual teaching period includes actual teaching hours, and additional activities (concerts performed, participation in examinations or student competitions, etc.), if any.

An Erasmus teacher may be asked by his/her home institution to complete a financial and an Erasmus Teacher’s Report.


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ERASMUS Staff Mobility - Training for higher education institution staff at enterprises and at higher education institutions (STT)




of Music


Staff mobility for training (STT) enables teaching and other staff of HEIs to spend a period of training of between 5 working days and 6 weeks in an enterprise or organisation such as HEI in another participating country.

Shorter stays than 5 working days are allowed in cases when the absence of staff for the normal minimum period is difficult or in the case of attendance at conferences, seminars and workshops.

Forms and Titles of Training: The stay in the partner enterprise, organisation or institution can be called a variety of names: short secondment period, job-shadowing scheme, study visit, workshop, conference etc.

The staff member (academic or administrative) must be either a national of a country participating in the Lifelong Learning Programme or a national of an other country employed or living in a participating country, under the conditions fixed by each of the participating countries, taking into account the nature of the programme.


Staff must be employed by a HEI holding an ERASMUS University Charter. It is recommended that the minimum duration of STA visits to other music institutions is 5 days. However, music teachers often favour shorter visits. STA visit may also include a recital performed by incoming teacher.

Whenever the host organisation is a HEI, it must also hold an ERASMUS University Charter.


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of Music

At least the sending or the receiving institution must be located in an EU Member State.


A member of staff interested in Mobility for Training should contact the international office and/or the ERASMUS office.

Staff members are selected by the sending HEI. Music performance is highly individualized, and training opportunities need longer negotiations. Partners should be prepared for not all STT visits to be realized.


Staff members shall submit to their institution a Work Plan agreed by the receiving enterprise/institution.

The Work Plan must consist of at least:

The overall aims and objectives,

The expected results from the training or learning activities to be carried out

The agenda of the mobility period

The Work Plan of the visiting staff member must be agreed in advance by all parties.


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of Music

A Grant Agreement covering the training period should be signed between the staff member and his/her home HEI. The grant provided to contribute to subsistence costs and to cover travel costs is always managed by the HEI.

An Erasmus STT grant does not cover all costs. Normally it covers travel, accommodation and subsistence. The financial resources available at the institution for STT grants should be carefully considered and explained before making the agreements.


The host institution must provide the staff member and his/her home institution with a Confirmation of training period and training activities implemented.

The staff member may be asked by his/her home institution to complete a financial and Erasmus Staff Training Report.

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