CHALLENGES OF TEACHING MUSIC IN HIGHER EDUCATION

Prof. Ass. Adhurim Rasimi

Introduction

Teaching music in higher education is a complex and multidimensional process that profoundly impacts the intellectual, artistic, and personal development of students. This process is not merely a transmission of information but a creative journey that encompasses the development of technical, theoretical, and interpretative skills (Juvonen, Ruismäki, and Lehtonen 2012). Music education plays an extraordinary role in cultivating individuals, empowering them to actively contribute to enriching and advancing musical culture and education at local, regional, and international levels. In this context, teaching music is not only of professional importance but also significantly influences the formation of young artists and educators who have the potential to transform and enhance the reality of musical culture and education. Music education serves as a robust foundation for developing students’ abilities to face the challenges of an increasingly competitive and complex world. It demands a flexible and innovative approach to thrive and excel (Minors et al. 2017). It is, therefore, crucial for teaching to effectively integrate theory and practice. Students must acquire not only profound theoretical and practical knowledge about music but also develop skills to work creatively and address challenges arising from the dynamic nature of contemporary trends. This preparation equips them for successful careers in an ever-changing, digitized, and globalized environment, requiring not only technical skills but also a deep understanding of culture and society (Minors et al. 2017).

Higher education institutions aim to equip students with comprehensive skills and abilities, including flexibility, creativity, and professionalism (Joseph 2015). This is essential to ensure that they can contribute to the development of music and the arts on a global scale while meeting the demands of an increasingly challenging and competitive job market (Juvonen et al. 2012). Through a well-structured and balanced music education, students will be able to develop not only the skills necessary for their professional careers but also those essential for personal and artistic growth. Moreover, music teaching in higher education serves as an important tool for enriching a nation's musical culture. It contributes to the preservation and development of musical traditions while creating opportunities for the integration of new and diverse forms of musical expression, thereby enhancing cultural diversity (Long Long and Chee Luen 2024). Consequently, music education is an integral part of general education, influencing various levels of society—from fostering talented individuals to elevating the cultural standards of communities and nations as a whole.

Ultimately, teaching music in higher education is an endeavor that requires balance, dedication, and a multidimensional approach. It is essential for the development of future students, artists, and educators who are prepared to meet the demands of an increasingly globalized and digitized world (Long Long and Chee Luen 2024). Music teaching should be a transformative process that enables individuals to achieve their highest potential, providing opportunities for personal and professional growth at every stage of their educational journey.

Context

The teaching of music in the higher education system within the Kosovar context faces numerous challenges that impact not only the quality of education but also the professional development of both students and educators. In Kosovo, music education is deeply intertwined with the country’s social and political development, where musical art has served as a powerful tool for preserving national identity and promoting cultural values. However, historical and infrastructural challenges continue to influence the progress and development of this field. Despite a significant number of dedicated professionals, the need for reorganization of study programs, continuous training, and access to contemporary teaching methodologies remains imperative. Additionally, career development opportunities for educators are often limited due to a lack of professional development initiatives and engagement in international projects.

In Kosovo, several public and private institutions (universities and colleges) offer diverse music study programs. These include music pedagogy, music performance/interpretation, music technology and production, as well as various music education courses within faculties of education at the national level (focused on early childhood and primary education).

However, these programs are often not aligned with labor market demands and global trends, creating a gap between academic preparation and practical challenges. The lack of a national strategy for the development of music education represents another significant challenge. Without a clear and well-structured vision, the development of this field remains hindered, often relying on the individual efforts of institutions or dedicated professionals. In an era of globalization, where music education must keep pace with contemporary trends, adapting curricula and integrating technology become essential for preparing professionals capable of meeting future challenges.

Teaching Music in Higher Education

To understand the current state and the challenges faced by music education in higher education in Kosovo, a musical roundtable titled "Challenges of Teaching Music in Higher Education" was organized with professionals in the field. This roundtable was held on June 21, 2024, as part of various activities within the MAGNET project, which is supported by Erasmus+ (aiming to develop a network among universities in the Western Balkans and improve the quality of higher education).

The debate involved 12 participants who are directly or indirectly engaged in university education. For reasons of professional ethics, I will refer to them only by ordinal numbers without mentioning their names or the institutions they represent. The participants in the debate were from the Department of Music Arts at the University of Prishtina, the Faculty of Arts at the "Haxhi Zeka" University in Peja, the Faculty of Musicology at AAB College, the Faculty of Modern Music at UBT College, the Faculty of Education at the University of Prishtina, and representatives from the Kosovo Philharmonic.

Table 1: Participants Involved in the Debate by Gender, Age, Institution, and Engagement in Music Education in Higher Education.

During this debate, various topics related to teaching in higher education were discussed, with a particular focus on the challenges of teaching music in higher education.

Challenges of Teaching Music in Higher Education

During the roundtable, the participants shared different views on the challenges and barriers affecting the teaching and learning process. The discussions had a special focus on identifying the main challenges faced by professors and students in the dynamics of teaching and learning music in higher education. These challenges, in some cases, are linked to the specific characteristics of the institutions where they work, but in many cases, they align with the overall situation at the national level.

Table 2.

The participants identified many challenges and expressed various views regarding the challenges of teaching music in higher education. “By reviewing several important documents that should guide the development of music education in general and in higher education as well, at the European level (according to AEDS), the association for music studies in higher education, it is observed that "unlike artistic performance, which does not depend solely on education or the level of studies, but rather on the level of performance and interpretation, the only regulated profession in the field of music is that of the music teacher." Therefore, if one wants to work as a music teacher at all levels, they must undergo the necessary studies and qualifications. In this context, referring to literature on higher education in various European countries, unlike other professions that have had synchronization, the field of music exhibits pluralism, where each country or institution has organized them in different ways” (P-1).

An essential challenge is also considered the offering of multiple studies at the national level. “Many institutions produce music teachers, but the market (which is saturated) does not absorb these teachers” (P-7). Currently, “there are many music education teachers who are unemployed because the required positions for music teachers are already filled” (P-2). However, referring to current trends, “it is expected that there will be a shortage of students in the near future, as there is a drastic decline in the interest of young people choosing music professions or not wanting to become music teachers. There is a disproportion between "supply and demand," because on one hand, the number of students is decreasing, while on the other hand, there has been an increase in institutions offering music studies” (P-2). This situation is also linked to education faculties,

‘where there is a decline in young people's interest in studying at these faculties. On the other hand, at the national level, there are many universities offering these studies. Five different centers/cities in Kosovo offer study programs for Early Childhood Education (0-6 years) and Primary Education” (P-8). The decline in interest in studying music is also “connected with the "mismatch" between years of commitment and the lack of perspective, as well as the increasingly limited opportunities this profession offers for their well-being (e.g., a music teacher completes primary music school, then secondary, then university, and a Master's degree)” (P-2). “The decline in interest starts earlier, specifically with the decrease in the number of students in pre-university education (primary and secondary music schools), which then reflects in higher education. This is also linked to the fact that there is already a noticeable lack of students in certain fields, especially in wind instruments” (P-3). It is well known that music professionals have a long continuity of studies (including primary music school, lower secondary school, upper secondary school, university, master's degree, and potentially even a PhD in certain fields), preparing them to enter the job market. However, “the challenge remains as to who will employ them” (P-1). The lack of a music scene, where, apart from the capital, which offers employment opportunities in cultural institutions such as the Philharmonic, opera, various festivals, or companies contracting musicians for musical performances, other major cities do not provide these opportunities. This means that the only employment option left for them is teaching, which forces performers to work as music educators in general schools. This is then creating an unrealistic competition or "overlap in each other's competencies." In this context, the lack of perspective for young musicians is concerning, as most graduates, due to “the lack of ensembles and various musical formations in the major centers of the country, do not have opportunities for professional engagement” (P-4). Additionally, problematic issues include the "disregard of legal mechanisms by various educational institutions, especially the Municipal Directorate of Education (DKA). For example, candidates who graduate in musicology end up performing the role of a music teacher. Furthermore, artistic performers (e.g., clarinetists, violinists, or solo singers) work as music educators in general schools instead of specialized music schools in their respective fields, or conversely, music pedagogy graduates teach piano or other professional subjects in music schools instead of working in general education schools" (P-8).[1] Moreover, according to the law regarding higher education in Kosovo, "students who graduate from private colleges do not have the right to be employed as teachers (The Law on Higher Education in the Republic of Kosovo 2011). Thus, they occupy positions meant for those who are specialized in the respective fields" (P-8). Additionally, specialization is considered “an important issue, because, just like solo singers or other performers who work in general schools instead of as music teachers, the same occurs in other institutions, such as RTK (Radio Television of Kosovo), where music teachers work in production instead of those specifically qualified in these fields” (P-5). Thus, there is a mismatch in many institutions, whether they are cultural, media, or educational, and particularly the "lack of professional textbooks in the native language in the vast majority of music courses for students and also for students in music schools" (P-3).

Perspectives of the Participants

Teaching music in higher education faces numerous challenges that impact the quality of music studies. For this reason, the perspectives of participants, including music professionals, are essential to understanding the complexity of these challenges. Each group brings its own experiences and expectations, which shape how they perceive teaching and its influence on the development of musical skills and abilities. Analyzing these perspectives helps identify barriers and opportunities for improvement, providing a comprehensive view of the dynamics of music teaching within the context of higher education.

Table No. 3.

In the following, we present some perspectives of participants from different viewpoints:

"As professionals in the field, we must collaborate to minimize challenges by raising awareness among relevant institutions to promptly revise the curriculum and, alongside this, develop study programs aligned with new trends and the demands of the times" (P-8).In this regard, the study programs in music disciplines in most of our faculties "offer classical music or only European music; therefore, it would be beneficial for these study programs to also expand to include other genres that students enjoy and resonate with in their daily lives. At least until this is achieved, the existing music programs should incorporate aspects from fields such as economics, including marketing, social media, digitalization, budgeting, etc., which would also develop the entrepreneurial spirit. This is crucial because it is not enough for students to simply graduate from university; their entry into the job market, professional growth, and alongside these, their economic independence and well-being are equally important" (P-1).Regarding this matter, "the development of programs in line with current needs must occur as soon as possible, as we witness that, unlike fields such as pedagogy and music performance, students graduating in music technology, such as sound design, are often employed and find their place in the market even before completing their studies. We are living in a different era that has impacted market balances and is threatening the fields and specializations in higher education. For this reason, measures must be taken urgently" (P-4). "Specialization or program development needs to occur much earlier, perhaps as early as high school music education, as this is the primary source for future students" (P-6). In this respect, "there must be continuity in the synchronization of educational levels because higher education depends on the prior levels of music education" (P-7).

In the ongoing discussions regarding study programs, it is emphasized that "there are differences in the curricula of Education Faculties nationwide. We must adapt these curricula to market needs, and in this context, the subject of music and other skill-based subjects should be integrated as much as possible with social sciences and other general subjects. Moreover, this requirement has also been emphasized by accreditation experts, who demand that syllabi of respective courses specify how their integration is planned" (P-8). Additionally, a significant challenge remains: "how capable future teachers will be in implementing these syllabi to integrate different fields effectively. A reorganization of higher education is necessary, and efforts should be made to 'eliminate the duplication of certain programs that are directly or indirectly related to music education'" (P-8). Given that Kosovo is a small country, "there is no need for so many universities. For example, primary school teachers and educators are currently trained by the University of Prishtina, the University of Gjilan, the University of Gjakova, the University of Prizren, and the University of Mitrovica, while music pedagogues for other levels are prepared by the University of Prishtina, the University of Peja, and for some other programs, also by AAB College and UBT."

Furthermore, "education policy makers must fulfill their responsibilities to address the needs and demands of teachers and students in higher education by providing the necessary infrastructure for quality studies. For instance, in some higher education institutions, there is a lack of equipment essential for proper functioning, such as technological tools, smart boards, and sufficient internet access that would enable unrestricted use of various platforms" (P-4).

Proposals for Solutions

In an effort to address the challenges of music teaching in higher education, it is essential to reflect on the ideas of the participants who contribute directly to this process. Participants/music professionals have provided valuable perspectives and proposed suggestions that contribute to improving the quality of the educational process and overcoming the challenges of music teaching in higher education. Based on these proposals/ideas, innovative and effective approaches can be developed to enhance the quality of music education, focusing on the real needs and demands of students and educators (the educational community).

Below, we will present the proposals made by participants for overcoming the challenges in higher education teaching:

• Reorganization and Specialization of Study Programs: Study programs should be adapted to market needs. Music professionals, in collaboration with relevant stakeholders (e.g., the rectorate, faculty management, Ministry of Education, Science and Technology (MASHT), etc.), should reorganize and specialize programs in harmony with market demands. This is necessary because, on one hand, there is duplication of programs that exceed market needs, and on the other, some programs are outdated for the present time.
• Reconfiguration of the Curriculum: In coordination with the accreditation agency and MASHT, faculties should be divided according to profile preparation: music educators/music pedagogy, music performers, and programs related to musicology, music technology, production, etc.
• Increased Support for Students and Professional Music Schools: Greater support should be provided to students and professional music schools to encourage young people to pursue music studies.
• Lobbying for Government Support: It should be lobbied for the government, together with the Ministry of Culture, to develop an action plan to support municipalities/cities at the national level in forming various music ensembles. This would create employment opportunities for music graduates and increase interest and the prospect for young people to study music.
• Respecting Legal Mechanisms in Educational and Cultural Institutions: Our educational and cultural institutions (especially the Directorate of Culture and Arts) should respect legal mechanisms that classify and select personnel according to profiles in line with established norms.
• Organizing Additional Programs for In-Service Teachers: Additional programs should be organized for in-service teachers (especially for those teaching grades 1-5) to develop professionally, enabling them to use innovative and appropriate teaching methods that promote the integration of music with other fields and foster cultural diversity.

At the end of the discussion table, it was proposed that the suggestions and requests arising from the discussions be addressed to the relevant institutions, and the need for similar meetings to be organized in the future was emphasized.

CONCLUSION

Music education in higher education in Kosovo faces a series of deep challenges that impact the quality of music education and the development of new professionals in this field. These challenges are linked to several key factors, including the lack of an appropriate legal framework and regulations for music education, the absence of adequate infrastructure, and the oversaturation of the job market with music educators, which forces many professionals to work in positions that are not suitable for their qualifications. Another problem is the decline in young people's interest in pursuing music studies, as well as the limitations in employment opportunities in the music sector outside of cultural institutions and teaching. On the other hand, the participants in the discussion table have provided various perspectives and proposals for improving the situation. These proposals include the need for a revision of curricula and study programs, the development of opportunities for integrating different music genres, the inclusion of aspects of music management and technology, and strengthening cooperation between educational, cultural, and professional institutions. To improve the situation and address these challenges, it is essential to undertake coordinated and sustainable measures, including improving legal and infrastructural conditions, increasing opportunities for students' involvement in practical activities and music performances, as well as orienting study programs toward the needs of the job market and the overall development of the music sector. Only in this way can sustainable development of music education be achieved and career opportunities for graduates in this field be increased.

References:

Joseph, Dawn. 2015. “‘We Did the How to Teach It’: Music Teaching and Learning in Higher Education in Australia.” Australian Journal of Teacher Education 40(7). doi: https://doi.org/10.14221/ajte.2015v40n7.1.

Juvonen, Antti, Heikki Ruismäki, and Kimmo Lehtonen. 2012. “Music Education Facing New Challenges.” The 5th International Conference of Intercultural Arts Education 2012: Design Learning, University of Helsinki, Finland 45:197–205. doi: 10.1016/j.sbspro.2012.06.556.

Long Long, Chen, and Loy Chee Luen. 2024. “Needs, Challenges and Prospects of Blended Learning in Music Education at the Higher Education Settings.” International Journal of Academic Research in Progressive Education and Development 13(3):2301–8. doi: http://dx.doi.org/10.6007/IJARPED/v13-i3/22396.

Minors, H., P. Burnard, C. Wiffen, Z. Shihabi, and J. van der Walt. 2017. “Mapping Trends and Framing Issues in Higher Music Education: Changing Minds/Changing Practices.” London Review of Education 15(3):457–73. doi: https://doi.org/10.18546/LRE.15.3.09.

The Law on Higher Education in the Republic of Kosovo. 2011. “Only Public Higher Education Institutions Can Offer Study Programs That Lead to the Qualification of a Teacher to Be Employed in a School.”