 So, setting the tone. I'm a musician, the democratisation of music rectangularization and the island of Islaith, and beyond. And so, I'm going to be talking with, providing a few case studies, three case studies, I'm going to talk about our approaches to the development of curriculum with applied duty and our commitment to considering inclusion accessibility and I start by talking about various industries as a stock. We are challenged with the greater industries. You can see here that the privilege dominated every creative subsector except with graphs. Music performing and visual arts 60% built in the working class backgrounds are significantly underrepresented in 20% as we're looking over one in four roles in the sector with a filled buy-on to lower social economic backgrounds. this is from their core social ability in the creative economy in 2021 and you would require 250,000 I think is jobs to be able to or to be able to others engaged to be able to address this statistic. So regional educational barriers I'm sure that you will be aware of now after today you know how UHI is a turkey distributed and we're looking at that land mass the size of Belgium but our role with UHI is very much to address some of the barriers that we're going to find, some of these barriers that I just mentioned with creative industries but also what the the geographical location for also migration which in terms of music traditionally people wanting to study music with a power to have left the region and so we're very proud of the fact that we've managed to develop a degree in a practical subject which relies on collaboration to to enable people to stay in the region so various specific to music education most music practice highly it requires critical mass to be viable for studying and investment and so for us our classroom is our community and I want to talk more about that we go and meet with the people students and communities where where they are so two practices identified in the UHI open education framework as we've got open digital and open in the community and obviously they're very very important to us by using and something that we like to think that we're we managed to achieve with applied music is this humanizing the digital and digitizing the community and we're going to see some examples of that so these these open education practices are really pillars upon which my music is a facility to the development of our core operating values as I said degree which we value very much a collaboration over competition and we value community in all its forms student professional online local and ultimately central learning I've got some logos here because we can demonstrate the collaborative award and teaching excellent to receive in 2021 and we've had 400 percent consecutively in the national student survey 2018-22 and we've been a case study for the early creates so we achieved these national student survey 100% even during COVID rate belt yeah so our program features we have a practical and multi-genre degrees that's already adding complexity which if you think about gathering students across our wide geography making it multi-genre also adds a degree of complexity but also absolutely fascinating and interesting and makes it a very creative opportunity it's accessible flexible students select their own mentor that's a dual in the ground for this degree from the professional community so we have connections and I manage connecting every student up with somebody that they are inspired by whether that's somebody like Harold Cain in Los Angeles who did all the base parts for the beach boys recordings or whether it's somebody in France that the student might be inspired by or somebody in their local community so it's very student-centred in that respect why am I got a cruise ship there and that is to demonstrate how accessible we've been we've had a student who was a professional musician in working from the Caribbean and she dialed in and got a degree with us from the Caribbean we have a diverse student profile aged 1770 at the moment and we have school leaders we have professionals it makes it a very very dynamic and rich experience blended delivery you know what that is video conference digital platforms residencies I mentioned our community being our resource and students being engaged with their own community specifically wherever they are as well as online services open approaches ensure students can interpret tasks and repurpose according to their own needs and context but partnership and collaborative work is ummentable to the success of this degree program um oh I had seen to come um from in the wrong direction there we go okay so one of the features of our degree program which is probably the one that we might be best known for is the development of the virtual residence stage um we started working in this way in 2014 so when it came to covid we were all set for kind of online collaboration the the logos that you can see are the sum of the partners that we've worked with what it what it is the virtual residency is it was something that we uh with the course started in 2012 and we were having at residences four times a year in different locations in Scotland in order to be able to get to our students and to all of our communities and it became quite an undertaking and so as a way of embedding the digital embedding um the uh also the the accessibility we said okay we're going to create pods we're going to enable you to to either select one of these locations um and go there or else recently we've actually enabled our students to still work in virtual pods so what we would do is um we would work on a collaborative creative task uh over three days which might be something like um writing music to come up with a film or doing a commission um we're doing a commission with Community Life Scotland celebrating 10 years of their organisation um we've worked with um I'll tell you about who else we've worked with but I want you to try and understand this diagram but you can see from the diagram that you've got a list there of different pods you've got different pods there lots of different groups that are working with others we've even got a group in Switzerland there a group in Sweden um and the how it works so complexity I suppose is a message there um here we have been working with one for one of the virtual residencies with them with universities in Senegal that QR code takes you to a sample of some of the student work this was really um a fascinating experience it was interdisciplinary um we were working with film students our music students were working with film students in Senegal and as part of this we were sharing our knowledge came about because we had developed framework for delivering a virtual residency we were practiced at it and our partners in Senegal had a similar situation to UHR several universities collaborated together or departments and distributed and um this we collaborated with them to develop anyway this residency interdisciplinary cultural exchange and um I thought it was a good one to show because of the student quote I realised that there was so much we knew and we took the granted such as the way our way of working but we also didn't know and the interesting thing from that was the importance of cultural sensitivity and consideration around stereotypes and appropriation I think that's one of the things that we found very very valuable for our students um and ethical considerations around cross-cultural collaboration are key values of considerations in our music credit logic approach um and we move on to another example here so um here we have you recognise the map of Britain and the section in red there are the outer hebrides which is the islands on the west coast of Scotland um there are the Gaelta heartlands so the language is scallic which is spoken by many um and it's the place that I've had the privilege of living for 16 and a half years um and um it's a place where it's culturally rich it's linguistically fragile so um there's a lot of community effort which will be able to support to um to promote the Gaelta language and for the university to be involved in that process so what we would we were asked to do we were commissioned by the council um in 2017 I think it was to to compose music no to arrange music and support music to research original songs from the area and to um to use this is for a gaelic early early years gaelic language learning app so if you I'll show you a QR code I'll finish you be able to click on that and you'll see a bunch of animations and the music that goes there songs the music that goes without this recorded and arranged by our students so it's a pre-open but it's opened on parable which is a community song and digital recording workshops is what we did um to create music for this worldwide accessible gaelic language learning resource so um spirals you can see again we were this was a really um uh rich experience for our students we were involving youngsters in the local community but also um all the people in the community where we were um going and um accessing um from the oral tradition we were accessing um examples of songs that had been almost forgotten so here we've got the community's classroom and research base we've got students engaged with professionals and the local communities and the students themselves and the community are engaged as open content creators and learners a very rich experience and one of the students that was involved in fact you're going to recognise George in the middle later um when we before another of our students Chloe Steele he's also very much involved in that and she's the the gallant singer who's a cute performer later so um the impacts obviously the impact has it's been a very deep learning experience for our students and obviously assisting with things like employability um the gaelic um having the gaelic is part of your repertoire and understanding um is very important for uh for students that are particularly interested in traditional music who's an intergenerational lifelong learning element to this engaging with an investment in place-based local culture and community okay with the development of a new infrastructure the amount of work that we've done on the brand in the western house uh context in particularly in lewis has resulted in partnerships that has even recently um has um resulted in developing a new building a cultural hub which is called proxola in south lewis and that has been um that has been the result of quite a lot of partnership work it's just a partnership between the university and between the other plans we should gallant a partial organisation uh the office so and we have a new resource for the international reach integrated into gallant medium education and obviously this kind of activity provides institutional visibility as well for the university so my third one here is open in a couple of weeks um I will be picking up to store away on the in the edge of heaven days on the isle of lewis to do this um these are our last year's students they are on stage um they're going they're doing concerts a lot of concerts um and they are doing this in two weeks time there'll be 12 concerts from honoured students physical uh maybe you'll be able to attend physically or join um with online live streaming so you're all welcome um there are practices making workshops and talks which are open they are open also to the public student creating and leading concerts and workshops and students also engaging this I've been very um inspired to hear that quite a lot of the things that we are doing people have been talking about today um about and as as rich initiatives and approaches so promotion of place and culture is a real impact through the integration also of relevant best artists and local tradition there it is um so that is an open live experience I've decided so I've added to your ue time um framework um there um so hybrid for inclusion and benchmarking educational values and practices he mentioned earlier on the learning and teaching enhancement strategy um for the university and um one of these uh one of the commitments is the open access open education and another one which this residency that uh will take place in the store in a way is fairly relevant to and actually many of our residences is the idea of authentic assessment and meaningful feedback and harnessing open education approaches so you know we're not um assessing our students in a closed room uh we're raising conventional profile and um we are looking at audience development for sustainability as well so important for musicians so some takeaways from my perspective so uh based on uh what I've been sharing with you uh collaboration being a key feature of open education and as musicians in our discipline this is an authentic practice and a key feature of successful open approaches digital and community not being mutually exclusive as you could see from those examples we've been digitising a community um and and humanising the digital um community as classroom um is an open approach which facilitates that collaboration and co-designing investment communities um so we really need to develop digital and community in all its forms in order to maximise on opportunities for cultural and educational sustainability the next cohort of creators may come from these communities now earlier on it was just mentioned numbers is a majority word in capitalism but it's important to us in the creative industries you can see that music industry contributes significantly to the new economy 5.8 billion uh in 2019 up 11% from 5.2 in 2018 employment in the industry hit an all-time high in 2019 okay and then you've got there some figures from the Highlands and Islands enterprise by the creative industries uh it's it's so 27% growth in the sector between 2017 and 2017 I'm sure that I'm not paid so much about how I'm doing in private um but I want to be able to um to close up by saying there's clearly going to be going to see a little later about um saying that uh you know the applied music experience and the experience of being able to um connect uh to you know to be able to realise your own um musical um desires and um wealth being in your own community is something this means that you know have transformative impact um on on the region and on individuals and on higher education um we find that we are referred to by other institutions we have benchmarked good practice in terms of um that accessibility and the use of effective use of online um and also engaging um in um the place-based approaches and also our international communities our students are very connected uh to one another or to another um I think maybe similarly I think many of you feel very connected to each other even though maybe you almost each other once a year um but um there might be a little bit of a parallel but Chloe um shared this without applied music I would never have had the opportunity to engage with and learn from such a variety of inspirational people without having to read my island so Chloe let us out of the south you know this course and even me to do what I love be where I love and to give back and develop the future community of a community I live and work in Chloe's very very active in her local community she's a galaxy around Iker um um yeah so I hope that you can see from the examples that I've shared that um that there is a degree of and open in in the kind of approaches that we have taken to develop um our curriculum and our student experience in our community a big part of it has been really very responsive to opportunity as well as and when they arrive and maintaining and developing partnerships um in many different forums partnerships so um they're not just little partnerships with one local community and another local community but you know with the professional um professional areas there are so many examples that I've shared um that would really deepen and exemplify some of those plays but um it has this approach has gone somewhere to democratising um music education you know when you've got lots of Chloe being able to reside in her own community and it's something that we are very very proud of having been able to achieve so um I think that's my last line inside except join us in the store in a way at Amalanta the week of the 17th of April it is quite a programme so um thank you very much thank you for the way that that's inspirational and yet a real a real example actually for colleagues I've done what what we're trying to continue to try and what we do to um put a mind to it so thank you very much um we've got plenty of time for questions we've been able to try them even though we didn't start a little bit late so um one of the questions might have been yes thank you Anna Menner that was incredibly inspiring um as a as a musician and as a a phd music I'm really inspired by this but I'm also a manager at a university library so I'm trying now to learn what I can take away from this and apply in a supporting role so my question to you is leaving my the inspiration and the admiration apart purely practical what do you need from university what is to make this work yeah to make this work what's the university's role here yeah so um I think there's two things here so I think I think one of the things is we've been all probably imagined just by looking at that that's just three examples there are was over very like 40 residences that we've done um it's a huge administrative experience which must not be just given to an administrator because it's deep administration and it's it requires an understanding it's quite deep of the music work you know um so if the management that's what that's what you need and I think also um I feel very grateful to the support that I've had from the learning and teaching academy here at your channel who have promoted and encouraged me to be able to share out work a variety of different forums and I just I think that that there's there's no end of opportunity to to be able to to uh have to this you know um it's that that requires investment as well um so I think the investment is to do with administration and um uh program leaderships are very important for this degree sorry it sounds like I'm I'm I'm the program leadership is important for every degree but uh you're dealing I mean music is a very um emotive area anyway so um you're the pastoral elements for uh workable music students is also really significant as well um so there's just a lot of damage and and you've got to be uh sensitive to all of that as well yeah so it's complex so thank you for asking that question because uh I think it's important to also highlight that thanks that was a really inspiring presentation and um you can do that horrible thing with more common than a question but I'm from there to Hebrides and I'm very typical I think of a particular demographic that had to leave the islands to to continue education um I left um Stornoway in 1986 in Glasgow University and I'm still in Glasgow and I know that Aberdeen University about 20 years ago did quite a bit of research um into um pathways from people who had left the islands to go into both further and higher education and of course they discovered that love because people never went back so it's really striking to me that you are enabling people to pursue further and higher education in their own community and I think that must be incredibly powerful for the islands um and well what could prevent some of that brain drain from the community and um so yeah I'm just it's really inspiring that you're doing this for the music domain but I'm wondering are there other subject areas that you're seeing this similar model being used out to enable people to stay on the islands to pursue their education? Definitely um so for instance in US you've got the degree in fine art so um you've thought which is delivered again using a blend and it's delivered across its networked it's delivered across the university again absolutely it is enabling people to stay on the islands but also and this is very important as well an inward attractor um and music has very much done that um it's been an inward attractor um one of the things that I also like to highlight as well though at the same time it's that there's a slight tension with music as well because many of our musicians are training up and we've got a great roster of but of graduates and I'm like very proud of them you know they're appearing at top festivals all around the world not just locally but that mobility means that part of the musical profile means that sometimes it might not be entirely practical for a few years to live on the islands but it's much more dense and complex than that because the thing is whether they're new to they're a new hebridean or whether they're originally from the hebrides and wanting to stay there wanting to be to be able to have a a musical career hey the the music the the island and the place has gotten to their blood and then to their their soul and because we have people absolutely new hebrideans this is one of the terms that people use um who have stayed on the islands and moved as a result of the experience that they had on one of our music forces so if it's very there's lots of nuances it's quite a fascinating to me um the way that all these different connections you can you can interview somebody you can talk somebody in when you once you can have broken it all down you realise if they hadn't you know had a friendship through music that with somebody that told them about this weird wacky course that was running you know they might not be introduced so we've had people that enrolled in applied music and they were living in Glasgow and they had never considered the action everdies and then they moved there in third year another wonderful aspect in case you're thinking of joining our degree for a breath wonderful aspect of it is also you can do it from anywhere but also that anywhere some situation is quite dynamic i mean as a musician travelling is enriching and we get to learn about other cultures so maybe you go okay i'll do first year in the air type of the second year shetland's maybe amazing shetland for me on a fiddler I love so I'm going to shetland's right here if I was doing applied music I'd make a little menu up and I would go roping it you know for each year that's what I would do and then I'd go to Glasgow maybe or I might or I might change somewhere else and we have had quite some quite well-known people on this course who are touring at the same time so they're doing that anyway and so we've had video conference joining some avi taps at the airport for air room on a lot of occasion so um yes uh anyway yes any more questions I have some truth about your creation of the university of Senegal and what you talked about you know the cultural sort of differences and sensitivities did you find that the full science wondering about sensitivities it wasn't just the one being smooth was it or the full science team something about cultural sensitivity for me yes we think so it was a really challenging collaboration um because of uh different degrees of of the of language so what we did with that which we made it even more challenging of course why not um we took a Scottish folktale in Scots um Tamlin and we we sent that off to the Senegalese and they translated it into French um and then they um they then we were in lots of different parts so those different degrees of linguistic uh manipulation people were using different tools and things like Google translate it was it was a fascinating process but yes I we've got a feeling that you know people the students did become aware of different sensitivities um and of uh what's the word I'm trying to think of uh oh the word's gone out of my head but it's about um it's like a kind of like stereotype but not like so um yes and of course we were doing as part of one of the modules music and culture we're doing a lot of focus on you know cultural appropriation um orientalism something like this so it was it was very interesting to see how students suddenly realised uh that there was uh an opportunity for them to kind of consider and deepen their learning through that culture so yeah thank you um hopefully my mom better than yes no no question did you mind just have been a slide back to the join us you are I would recommend like going to the Isle of Lewis in person if you if you can say that again well yeah unfortunately John is usually there and the best host ever um that's a bit early um yeah but you never know there might be some some some early students early arrivers but it's there is there's always good pop sessions yeah yeah it's it's great I would always just feel like I've been at my own wedding but those like the firming experience a bit like a gasta session I think I can say that um any colleagues that were through playing the server um up in Ireland in the store in the other hand these are I think they are again that's with us because we both um but to meet you most years and um John's there he's the best host on the island make sure you leave her and I trust you with that so yeah I think that's probably us on time so we'll try and win this one smaller