{"id":28858,"date":"2018-12-06T00:00:00","date_gmt":"2018-12-05T23:00:00","guid":{"rendered":"https:\/\/www.revuemusicale.ch\/blog\/2018\/12\/06\/ambivalente-rankings\/"},"modified":"2023-01-19T15:50:23","modified_gmt":"2023-01-19T14:50:23","slug":"ambivalente-rankings","status":"publish","type":"post","link":"https:\/\/www.revuemusicale.ch\/en\/basis\/2018\/12\/ambivalente-rankings","title":{"rendered":"Ambivalent Rankings"},"content":{"rendered":"

\"\"<\/p>\n

Ankn\u00fcpfend an die Ausgabe vom November \u00e4ussern sich weitere Exponenten der Schweizer Musikhochschulszene zum Thema Ranking und Wettbewerb. So erl\u00e4utert Christoph Brenner die Sicht des Tessins, Xavier Bouvier beleuchtet die Zusammenarbeit mit der Association Europ\u00e9enne des Conservatoires, Acad\u00e9mies de Musique et Musikhochschulen (AEC).<\/strong><\/p>\n

\n

Michael Eidenbenz -<\/i> Hochschulrankings brechen in der Regel ungefragt \u00fcber die Institutionen herein. Die jeweils in den Tagesmedien publizierten Resultate nennen nur den Rang und den erfolgten Auf- oder Abstieg der relevanten Schulen, die sich dann gegen\u00fcber \u00d6ffentlichkeit, Politik oder Geldgebern erkl\u00e4ren m\u00fcssen, ohne ernsthaft Ursachen analysieren zu k\u00f6nnen, weil sie die zugrunde liegenden Kriterien und deren Erhebungsmethoden nicht wirklich kennen. Hochschulrankings sind eine Form von Erpressung, man kann sich ihnen nicht entziehen. Musik- und Kunsthochschulen stehen bisher weniger im Fokus des omnipr\u00e4senten Ratings. Zwar herrscht allgemein eine unartikulierte und erstaunlich homogene gef\u00fchlte Meinung dar\u00fcber, welche Institutionen \"einen guten Ruf haben\". Die wenigsten verweisen aber z.B. auf ihren Websites auf hervorragende Listenpl\u00e4tze irgendeiner Agentur. Tun sie es doch, gilt dies - noch - als eher peinlich. Die Skepsis gegen\u00fcber den notorischen Ranglisten ist gross.<\/p>\n

Doch es gibt auch einen breiten Konsens dar\u00fcber, dass dem simplifizierenden Wettbewerb \u00fcber kurz oder lang nicht auszuweichen sei. Der Trend h\u00e4lt an und ist unter anderem auch einer \u00f6konomischen Globalisierung der Bildungslandschaft geschuldet, die Standardisierungen fordert und sich somit externen, global kommunizierbaren Wertungen nicht versperren kann. Wenn etwa asiatische L\u00e4nder die Wahl einer hochbewerteten Uni zur Bedingung f\u00fcr die Gew\u00e4hrung von Auslandstipendien machen, hat dies weltweite Auswirkungen auf die Studienplatznachfrage.<\/p>\n

Wie also dem Druck begegnen? Abwehrend, kritisch, durch Nichtbeachtung und Verweigerung? - oder proaktiv, etwa durch die Etablierung eigener aussagekr\u00e4ftiger Kriterien und Messmethoden? Die Association europ\u00e9enne des conservatoires (AEC) hat Fragebogen und Indikatorenlisten erarbeitet f\u00fcr U-Multirank, eine Organisation, die verspricht, der Komplexit\u00e4t der Institutionen Rechnung zu tragen und anstelle von platten Ranglisten eine differenzierte Suche entlang spezifischer Leistungskategorien zu erm\u00f6glichen. Bisher erscheint die Musik mangels Beteiligung der Hochschulen freilich nicht auf der U-Multirank-Website. Auch die European League of Institutes of the Arts (ELIA) erstellt derzeit Kriterien f\u00fcr eine ad\u00e4quate Bewertung k\u00fcnstlerischer Leistungen in Lehre und Forschung. Ob damit die Handlungshoheit gewahrt und die gef\u00fcrchtete Trivialisierung vermieden wird, muss sich zeigen. Interessant ist immerhin die Ambivalenz der Debatte. Dass ausgerechnet im Kunstbereich, dessen Werte elementar von \u00f6ffentlicher Meinung und Resonanz bestimmt werden, eine so grosse Abwehr gegen\u00fcber institutioneller Fremdbewertung herrscht, m\u00fcsste eigentlich erstaunen. Vielleicht liegt aber genau hierin auch der Grund: Wir kennen selbst die Mittel der Magie und der Inszenierung, mit denen man Bedeutsamkeit erzeugt. Das lassen wir uns nicht nehmen.<\/p>\n

\u00a0<\/p>\n

Michael Eidenbenz <\/b>... ist Direktor des Departement Musik an der Z\u00fcrcher Hochschule der K\u00fcnste.<\/p>\n

MvO -<\/i> Xavier Bouvier reports on the HEM's ranking experience. This is in the context of the HEM's participation in an AEC (Association Europ\u00e9enne des Conservatoires, Acad\u00e9mies de Musique et Musikhoch- schulen) ranking program.<\/p>\n

\u00a0<\/p>\n

Xavier Bouvier, your ranking focuses on AEC specifications or experiments. What exactly do they look like?<\/i><\/strong><\/p>\n

The European Association of Conservatoires took up the issue of ranking back in 2014-2015. A specific working group was set up to evaluate and adapt the U-Multirank system, promoted and funded by the European Community, to the field of music education. The appeal of U-Multirank lies in its multidimensional approach, which focuses more on the specific features and particular \"color\" of institutions, rather than on their classification on a unidimensional scale. To test the validity, viability and feasibility of the \"dimensions\" developed by its working group, a pilot project was conducted by the AEC in 2015-2016. For our part, we participated in the data collection the following year.<\/p>\n

What are the experiences of this ranking and what influence does it have on the perception of your Haute \u00c9cole?<\/i><\/strong><\/p>\n

Data collection showed us the relevance of the \"dimensions\" proposed by the AEC. The project was exploratory, and we didn't pursue it to the point where we could publish the results and see concrete changes in external perceptions of the school. For internal steering, we also have other tools at our disposal, such as our participation in the IBE \"International Benchmark Exercise\" project, which brings together nine schools: Sydney, Helsinki, Boston, etc. This participation provides us with good benchmarking data. This participation provides us with a good basis for international comparisons.<\/p>\n

What do you think of rankings in general, and more specifically in the context of music colleges?<\/i><\/strong><\/p>\n

In a world where information and communication are ubiquitous, institutions need to pay particular attention to ensuring that rankings provide a true picture of their profile. From this point of view, U-Multirank's fine-tuned approach is a welcome development on more conventional rankings. Among the problems that arise, it should be mentioned that most music colleges in Switzerland are part of larger holdings, which are themselves the subject of rankings. This can lead to distortions, as the multi-dimensional image of the holding company does not necessarily correspond to that of its music college component. On the other hand, information circulating on ranking sites should be systematically checked. To take a case that amused us greatly, one of the sites ranked Geneva's Haute \u00e9cole de musique in the world's top 20, but placed it in \"Swaziland\" rather than \"Switzerland\". Music education is becoming increasingly globalized, and students mobile: ranking sites can play an important role in helping applicants identify the school that best matches their expectations, not just in terms of level of excellence, but also in terms of profile, a particular \"color\".<\/p>\n

\u00a0<\/p>\n

Xavier Bouvier <\/b><\/p>\n

... is a full professor, member of the Board of Directors and project manager at the Haute Ecole de Musique de Gen\u00e8ve (HEM).<\/p>\n

> www.aec-music.eu\/projects\/completed-projects\/u-multirank<\/a><\/b><\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

Christoph Brenner -<\/i> Siamo tutti consapevoli che il mondo della musica, internazionale com'\u00e8, sottost\u00e0 a dei fattori di competizione evidenti. Concorsi ed audizioni mettono i concorrenti in una situazione di competizione naturale; lo stesso fenomeno si presenta nel momen- to degli esami di ammissione in una Scuola universitaria di musica. Nessuno mette in dubbio la com- petizione vera e propria, resta invece la questione sull'adeguatezza dei parametri di giudizio che spesso sembrano privilegiare il cosiddetto \"mainstream\".<\/p>\n

Il discorso diventa pi\u00f9 complesso se parliamo di benchmarking, che si basa su un confronto sistematico con strutture analoghe o simili. In un mercato di lavoro (e formativo) internazionale il confronto non \u00e8 soltanto inevitabile, ma addirittura indispensabile se si vuole migliorare continuamente il proprio livello qualitativo. Basato su una struttura di \"best practices\" (intese come prassi effettive ed efficaci e non solo di facciata da \"management speak\") il confronto - con chi fa meglio di te - \u00e8 uno stimolo nel lavoro quotidiano e nell'orientamento strategico di una scuola. Se segue invece un modello anemico di pura analisi di processi staccati dalla realt\u00e0 vissuta da collaboratori e studenti, rischia di diventare un approccio con l'efficacia delle macchine di Jean Tinguely, senza il loro fascino, la loro estetica e la loro ironia.<\/p>\n

Come la mettiamo invece col ranking? Certo, sia la competizione che il benchmarking si basano sul confronto, un ranking \u00e8 quindi una conseguenza naturale. Il problema si pone nel momento in cui cerchiamo di definire una sovrastruttura che crea l'illusione di un'oggettivit\u00e0 scientifica ossia un modello che si basa sui criteri che corrispondono alla nostra valutazione ed alla nostra gerarchia. Il dilemma sta quindi nella scelta dell'approccio: cerchiamo di costruire - o di partecipare - alla costruzione di un modello che riteniamo mediamente oggettivo e rappresentativo, nella speranza che questo s'imponga sugli altri - numerosi - ranking gi\u00e0 esistenti, con il rischio reale che tutto il lavoro svolto sia vano! Ci rassegnamo al fatto che i ranking esistono e vengono diffusi, incuranti della loro pertinenza ed adeguatezza? Oppure, cerchiamo di seguire le regole dei ranking pi\u00f9 importanti, puntando ad una valutazione migliore? O infine: cerchiamo di fare del nostro meglio, consapevoli dei meccanismi che ci circondano, nonch\u00e9 dei loro difetti, fiduciosi che alla fine i sistemi di ranking apprezzeranno, almeno parzialmente, quello che noi consideriamo la qualit\u00e0 del nostro lavoro?<\/p>\n

\u00a0<\/p>\n

Christoph Brenner <\/b><\/p>\n

... \u00e8 direttore del Conservatorio della Svizzera italiana.<\/p>\n

\u00a0<\/p>\n

Die 1992 in Litauen geborene Akvile Sileikaite, die seit 2015 an der Z\u00fcrcher Hochschule der K\u00fcnste ZHdK Klavier (Master Specialized Music Performance) studiert, hat zahlreiche Wettbewerbe gewonnen. Sie glaubt, dass nur eine Handvoll der Wettbewerbe wirklich etwas f\u00fcr ihre Karriere gebracht haben, bei den anderen war es einfach spannend und lehrreich, teilgenommen zu haben. Doch Wettbewerbe werden immer eine grosse Bedeutung haben, vielleicht, so ist Sileikaite \u00fcberzeugt, dienen sie auch dazu, dass bei jungen Musikerinnen und Musikern eine gr\u00f6ssere Motivation zum \u00dcben und Weiterkommen vorhanden ist. Auch zum Ranking hat sie eine klare Meinung: Als Musikerin und Musiker weiss man, welche Musikhochschule f\u00fcr einen richtig ist oder wo das jeweilige Instrument besonders gef\u00f6rdert wird. Am wichtigsten ist nat\u00fcrlich der Umstand, dass man den Professor oder die Professorin kennt - da spielt es fast keine Rolle, wo er oder sie unterrichtet. Ausser im Fall, dass ein Professor oder eine Professorin an verschiedenen Hochschulen unterrichtet, denn genau in diesem Fall k\u00f6nnte das Ranking wichtige Hinweise f\u00fcr die Wahl der Musikhochschule liefern.<\/p>\n<\/p><\/div>","protected":false},"excerpt":{"rendered":"

Ankn\u00fcpfend an die Ausgabe vom November \u00e4ussern sich weitere Exponenten der Schweizer Musikhochschulszene zum Thema Ranking und Wettbewerb. So erl\u00e4utert Christoph Brenner die Sicht des Tessins, Xavier Bouvier beleuchtet die Zusammenarbeit mit der Association Europ\u00e9enne des Conservatoires, Acad\u00e9mies de Musique et Musikhochschulen (AEC). Michael Eidenbenz \u2014 Hochschulrankings brechen in der Regel ungefragt \u00fcber die Institutionen […]<\/p>\n","protected":false},"author":1,"featured_media":28819,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_relevanssi_hide_post":"","_relevanssi_hide_content":"","_relevanssi_pin_for_all":"","_relevanssi_pin_keywords":"","_relevanssi_unpin_keywords":"","_relevanssi_related_keywords":"","_relevanssi_related_include_ids":"","_relevanssi_related_exclude_ids":"","_relevanssi_related_no_append":"","_relevanssi_related_not_related":"","_relevanssi_related_posts":"","_relevanssi_noindex_reason":"","pgc_sgb_lightbox_settings":"","footnotes":""},"categories":[31,1563],"tags":[],"class_list":["post-28858","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basis","category-chems"],"acf":[],"yoast_head":"\nAmbivalente Rankings - Revue Musicale Suisse<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.revuemusicale.ch\/en\/basis\/2018\/12\/ambivalente-rankings\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Ambivalente Rankings - Revue Musicale Suisse\" \/>\n<meta property=\"og:description\" content=\"Ankn\u00fcpfend an die Ausgabe vom November \u00e4ussern sich weitere Exponenten der Schweizer Musikhochschulszene zum Thema Ranking und Wettbewerb. 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