Research in the context of Sound Links, funded by the European Commission programme Socrates, shows that in Europe alone, over 50 institutions for higher music education have already found viable approaches to this new force in the world of music. Like all new developments, this has not been realised without obstacles of a various nature.

There is no absolute, unambiguous recipe for success. But there are lessons to be learned in terms of general planning. Below, we have outlined ten crucial issues that institutions have addressed in setting up successful programmes involving world music. They deal with three basic questions:

- why an institute for higher music education should include cultural diversity,

- how it can be positioned within the organisation and wider educational/social/artistic context, and

- what organisational conditions are necessary or desirable.

In this way, this document can be used as a discussion document within institutions, as the basis for policies, or to support project plans and grant proposals. Below, you will find a summary of the ten points that form the basis of the ‘manual’ overleaf.

WHAT TO DO IN CASE OF CULTURAL DIVERSITY ENTERING YOUR INSTITUTE?

1. Open all doors and windows: receive the new influences in the same spirit of curiosity and receptiveness that have been at the core of most major developments in the history of music across the globe.

2. Set realistic, tangible aims and targets for pilot projects or long-term initiatives, and relate them to the key motivation for including these activities in terms of artistic, personal and organisational outcomes.

3. Be aware that cultural diversity does not only refer to many musical sounds and structures, but also to a wealth of approaches to teaching and learning that can benefit the entire institution.

4. Quality criteria are complicated within traditional conservatoire subjects; activities in cultural diversity call for an even more flexible set of criteria, with fitness for purpose and relevance to context.

5. The success of cultural diversity in higher music education also depends on its position in the structure, ranging from optional workshops to credited parts of the core curriculum.

6. Cultural diversity has been high on the cultural and political agenda for some time. Placing it carefully in the political and funding climate will benefit the activities and the institution at large.

7. As a new area of development, cultural diversity lends itself very well for making connections: in the community surrounding the institute, the national arts world, and international networks.

8. Experience shows that successful initiatives in cultural diversity centre around inspired people, well supported in the hierarchy. This has implications for leadership, organisation and management.

9. Cultural diversity may lead to the formation of isolated islands within the institution. Constantly involving staff and students in planning, process and results will help to avert this danger.

10. It is relatively easy to realise a single, successful initiative. The greater challenge lies in ensuring sustainability by creating a climate that will contribute to an open and inspiring learning environment.