A unique training model: history of the SSPM diploma
The authorization of the Master's degree courses in the Music Department of the Kalaidos University of Applied Sciences marks the end of the former SSPM studies. This is an opportunity to look back over the hundred years of this unique training model.
In 1911, the Swiss Musicians' Association was invited by the International Society for Music Pedagogy to become a national member of this newly-founded association. The ASM felt that it was not competent to do so, and recommended that it join the Association Suisse des Maîtres de Chant et de Musique, which immediately accepted the invitation. It took the opportunity to adopt a new name - Société suisse de pédagogie musicale - and to formulate new, more ambitious statutes, clearly focused on music pedagogy. In particular, the SSPM set itself the goal of "improving music education as a whole, promoting music in public life and improving the status of music teachers." To achieve these aims, the SSPM was to work towards a high standard of musical education in Switzerland. It also decided that the SSPM would in future offer its own diploma examinations. The basic idea was to offer the many Swiss musicians working in their field without any formal training the opportunity to prove their skills in an examination and obtain a diploma. Two meetings were all it took for the Central Committee to draw up and adopt the examination regulations. The first SSPM diploma examinations were held in Zurich on April 26, 1913. Unfortunately, the regulations of the time have been lost, but it seems that the requirements were very dissuasive; of some sixty interested candidates, only five sat the exams. One entry for accordion and drum had to be rejected, as no competent experts could be found. Two piano diplomas, an organ diploma, a violin diploma and a conducting diploma were awarded that day. The examinations included a short recital and sight-reading, an oral and written test in theory (including harmony, musical forms and music history), and a test lesson or conducting demonstration. In practice, the award of the diploma meant that its holders were "recommended [by the SSPM] as music teachers for their respective branches". At first, the title was not officially recognized. It is difficult to form an idea of the instrumental level, but there is every reason to believe that it was at least comparable to that of the conservatories of the time; the central committee underlines this: "We take care (...) to preserve the honorability of our teachers by requiring from candidates for the examinations everything that an ordinary music teacher should know." For those who did not register for the exams, he adds: "We hope that [you] are definitely convinced that you could have saved yourself the cost of ordering, and saved us the cost of postage!" It is clear, then, that right from these first examinations, the SSPM's aim was not to professionalize good amateurs but, in accordance with the new statutes, to improve music teaching both in the private sector and in schools, so that it gradually reached a professional level.
In the years that followed, the regulations were regularly revised and adapted to changing circumstances. At first, only examinations were offered, but gradually SSPM studies proper were developed, with the emphasis on pedagogical skills. Despite the many challenges posed by the decentralized system, the pedagogical orientation remained as important as ever, as evidenced, for example, by the introduction of compulsory methodology courses in 1991, or the separation of practical and pedagogical examinations.
Alongside the teaching diplomas, other titles were introduced over time: the virtuosity diploma offered right up to the end, a theory diploma that was rarely taken, and a solfège diploma. School music diplomas I and II were organized a few times, but later abandoned. An orchestral diploma and even a soloist's diploma were proposed on paper, but rarely, if ever, realized. The idea of creating a diploma in music criticism had been considered in the past, but was eventually discarded, no doubt with good reason.
Teaching diplomas were therefore the SSPM's main offering, and over the years they became an important part of musical training in Switzerland: between 1911 and 1942, 416 diplomas were awarded, between 1943 and 1967 277, and between 1968 and 1991 almost 1000 - since the creation of numerous music schools, the profession of music teacher had become considerably more attractive. On the other hand, the influx of candidates led to an increase in failures, prompting the SSPM to introduce entrance examinations in 1978.
As far as official recognition of diplomas was concerned, the situation was always rather confused. However, while some cantons never officially recognized SSPM titles, this rarely had a negative effect in practice, as diplomas were generally recognized by conservatories. In some cantons (e.g. Basel-Stadt), they were unofficially recognized in practice.
Who were the SSPM graduates? Is there a typical student? Naturally, this question is difficult to answer in any meaningful way. But it seems that the people who took advantage of the opportunity for flexible musical training were very diverse, including in their prior qualifications and motivations. Klaus Wolters distinguished three main categories: students who, for professional or personal reasons, are unable to pursue full-time studies; students whose teachers do not teach at a university; and, finally, exceptionally gifted musicians for whom this model enables them to continue their studies without having to abandon a career already underway, for example as a concert performer or teacher.
There are, of course, many other situations in which the idea of undertaking flexible musical training can mature. This is why the typical "SSPM student" or "SSPM level" has never existed. On the contrary, one of the great advantages of these private studies was that they could be adapted to suit a wide variety of projects and life situations.
But time has not stood still. With the Bologna reform, the requirements (both official and practical) for recognition of SSPM diplomas have changed completely. The SSPM reacted to this new situation by founding the Swiss Academy of Music and Music Pedagogy ASMP in 2005. The ASMP was given the task of completing SSPM studies and creating a Bologna-compatible professional training program. Accreditation of the Bachelor's degree courses and approval of the Master's degree courses - now offered as part of the Music Department of the Kalaidos College of Music - were important milestones on this path. Thanks to these new studies, the future of this unique model of private music training is assured, we hope, for a very long time to come.
Sources:
E. A. Hoffmann, Geschichte des Schweizerischen Musikpädagogischen Verbandes von 1893 bis 1943, in: Antoine-E. Cherbuliez, Geschichte der Musikpädagogik in der Schweiz. SSPM, 1944, p. 410 ff.
Schweizerische Musikpädagogische Blätter, II (1913), nos. 5, 9, 12.
Max Favre et al, Pédagogie musicale en Suisse: Ouvrage commémoratif publié pour le centenaire de la Société suisse de pédagogie musicale, 1893-1993. SSPM, 1993, p. 39 ff.
This text is a revised version of a talk given by the author at the 2013 SSPM Delegates' Meeting.
The authorization of the Master's degree courses in the Music Department of the Kalaidos University of Applied Sciences marks the end of the former SSPM studies. This is an opportunity to look back over the hundred years of this unique training model.
In 1911, the Swiss Musicians' Association was invited by the International Society for Music Pedagogy to become a national member of this newly-founded association. The ASM felt that it was not competent to do so, and recommended that it join the Association Suisse des Maîtres de Chant et de Musique, which immediately accepted the invitation. It took the opportunity to adopt a new name - Société suisse de pédagogie musicale - and to formulate new, more ambitious statutes, clearly focused on music pedagogy. In particular, the SSPM set itself the goal of "improving music education as a whole, promoting music in public life and improving the status of music teachers." To achieve these aims, the SSPM was to work towards a high standard of musical education in Switzerland. It also decided that the SSPM would in future offer its own diploma examinations. The basic idea was to offer the many Swiss musicians working in their field without any formal training the opportunity to prove their skills in an examination and obtain a diploma. Two meetings were all it took for the Central Committee to draw up and adopt the examination regulations. The first SSPM diploma examinations were held in Zurich on April 26, 1913. Unfortunately, the regulations of the time have been lost, but it seems that the requirements were very dissuasive; of some sixty interested candidates, only five sat the exams. One entry for accordion and drum had to be rejected, as no competent experts could be found. Two piano diplomas, an organ diploma, a violin diploma and a conducting diploma were awarded that day. The examinations included a short recital and sight-reading, an oral and written test in theory (including harmony, musical forms and music history), and a test lesson or conducting demonstration. In practice, the award of the diploma meant that its holders were "recommended [by the SSPM] as music teachers for their respective branches". At first, the title was not officially recognized. It is difficult to form an idea of the instrumental level, but there is every reason to believe that it was at least comparable to that of the conservatories of the time; the central committee underlines this: "We take care (...) to preserve the honorability of our teachers by requiring from candidates for the examinations everything that an ordinary music teacher should know." For those who did not register for the exams, he adds: "We hope that [you] are definitely convinced that you could have saved yourself the cost of ordering, and saved us the cost of postage!" It is clear, then, that right from these first examinations, the SSPM's aim was not to professionalize good amateurs but, in accordance with the new statutes, to improve music teaching both in the private sector and in schools, so that it gradually reached a professional level.
In the years that followed, the regulations were regularly revised and adapted to changing circumstances. At first, only examinations were offered, but gradually SSPM studies proper were developed, with the emphasis on pedagogical skills. Despite the many challenges posed by the decentralized system, the pedagogical orientation remained as important as ever, as evidenced, for example, by the introduction of compulsory methodology courses in 1991, or the separation of practical and pedagogical examinations.
Alongside the teaching diplomas, other titles were introduced over time: the virtuosity diploma offered right up to the end, a theory diploma that was rarely taken, and a solfège diploma. School music diplomas I and II were organized a few times, but later abandoned. An orchestral diploma and even a soloist's diploma were proposed on paper, but rarely, if ever, realized. The idea of creating a diploma in music criticism had been considered in the past, but was eventually discarded, no doubt with good reason.
Teaching diplomas were therefore the SSPM's main offering, and over the years they became an important part of musical training in Switzerland: between 1911 and 1942, 416 diplomas were awarded, between 1943 and 1967 277, and between 1968 and 1991 almost 1000 - since the creation of numerous music schools, the profession of music teacher had become considerably more attractive. On the other hand, the influx of candidates led to an increase in failures, prompting the SSPM to introduce entrance examinations in 1978.
As far as official recognition of diplomas was concerned, the situation was always rather confused. However, while some cantons never officially recognized SSPM titles, this rarely had a negative effect in practice, as diplomas were generally recognized by conservatories. In some cantons (e.g. Basel-Stadt), they were unofficially recognized in practice.
Who were the SSPM graduates? Is there a typical student? Naturally, this question is difficult to answer in any meaningful way. But it seems that the people who took advantage of the opportunity for flexible musical training were very diverse, including in their prior qualifications and motivations. Klaus Wolters distinguished three main categories: students who, for professional or personal reasons, are unable to pursue full-time studies; students whose teachers do not teach at a university; and, finally, exceptionally gifted musicians for whom this model enables them to continue their studies without having to abandon a career already underway, for example as a concert performer or teacher.
There are, of course, many other situations in which the idea of undertaking flexible musical training can mature. This is why the typical "SSPM student" or "SSPM level" has never existed. On the contrary, one of the great advantages of these private studies was that they could be adapted to suit a wide variety of projects and life situations.
But time has not stood still. With the Bologna reform, the requirements (both official and practical) for recognition of SSPM diplomas have changed completely. The SSPM reacted to this new situation by founding the Swiss Academy of Music and Music Pedagogy ASMP in 2005. The ASMP was given the task of completing SSPM studies and creating a Bologna-compatible professional training program. Accreditation of the Bachelor's degree courses and approval of the Master's degree courses - now offered as part of the Music Department of the Kalaidos College of Music - were important milestones on this path. Thanks to these new studies, the future of this unique model of private music training is assured, we hope, for a very long time to come.
Sources:
E. A. Hoffmann, Geschichte des Schweizerischen Musikpädagogischen Verbandes von 1893 bis 1943, in: Antoine-E. Cherbuliez, Geschichte der Musikpädagogik in der Schweiz. SSPM, 1944, p. 410 ff.
Schweizerische Musikpädagogische Blätter, II (1913), nos. 5, 9, 12.
Max Favre et al, Pédagogie musicale en Suisse: Ouvrage commémoratif publié pour le centenaire de la Société suisse de pédagogie musicale, 1893-1993. SSPM, 1993, p. 39 ff.
This text is a revised version of a talk given by the author at the 2013 SSPM Delegates' Meeting.
