Thematic Sessions > Music, Teaching, Pedagogy, and Didactics

Since the establishment of musicology in French universities, various studies and publications have documented the evolution of musicology education (Bourde & Gribenski, 1975; Delahaye & Pistone, 1982; Weber, 1969, 1980). This field has also been the subject of evaluations and reports on training and research in musicology (HCERES, 2012-2017). Internationally, concerns regarding the development of curricula, research methodologies in musicology, and teaching practices have been widely addressed in recent years (Bonneville-Roussy et al., 2020; Conway, 2020; Cup & Salvador, 2021; Joliat & Terrien, 2021; Mozgalova et al., 2021; Terrien, 2014). In connection with the conference theme on the 3B and the notion of the open work, the conference organizers aim to bring together artists and musicologists who have recently experimented with innovative approaches to teaching or training in this concept. Two broad questions are raised, as various possibilities exist for producing and communicating research findings in these fields:

• What experiments, programs, and innovative teaching approaches are currently being implemented in higher education for music and musicology, and for what purposes? This point should provide an overview of training activities in musicology departments in France and beyond.
• How can teaching and research on the concept of the open work be approached today? What relationships can exist between performing artists, as mediators of their art, and musicologists? How can they collaborate to rethink the training in this concept using contemporary resources? This point should contribute to renewing pedagogical and didactic perspectives on repertoire works based on the notion of the open work.