natgillin/translations-raw huggingface dataset:
It includes an overview of the management plan for reports and evaluations. 
Rutinene er nummerert for å korrespondere med underkapitler i systembeskrivelsen.
The routines are numbered and allocated to correspond with the chapters in the main description of the system. 
Den inneholder også en oversikt over behandlingsplanen for de ulike rapportene.
It is important to note that key agents that are not explicitly mentioned in the system may be involved in different processes regarding evaluations and decision-making. 
Det er viktig å understreke at aktører som ikke er nevnt eksplisitt i systembeskrivelsen også vil kunne bli involvert i ulike prosesser fram mot vurderinger og beslutninger.
Read the full description of the Norwegian Academy of music’s quality assurance system [link]. 
Les full beskrivelse av Norges musikkhøgskoles kvalitetssystem (PDF)
Roles and responsibilities 
Ansvar og roller
The Board has the overall responsibility for securing and developing the Academy’s quality of education. 
Styret har det overordnede ansvaret for NMHs arbeid med sikring og utvikling av utdanningskvalitet.
The Academy’s accreditation as a Specialized University depends on systematic and well documented work with quality assurance. 
Musikkhøgskolens akkreditering som vitenskapelig høgskole avhenger av et systematisk og dokumentert arbeid med kvalitet i utdanningene.
The board oversees this work through the annual report for quality assurance that is represented and processed by the Board in December each year. 
Styret fører tilsyn med dette arbeidet gjennom den årlige rapporten for kvalitetssikringsarbeidet som behandles i styret i desember hvert år.
The Academic Affairs Committee’s main purpose is to take care of educational activities in all study programmes including master level programmes. 
Studieutvalget skal ta vare på helheten og kvaliteten i høgskolens utdanningsvirksomhet i alle utdanninger opp til og med masternivå.
The committee has the ongoing responsibility for evaluations and implementation of measures according to the different parts of the quality assurance system. 
Utvalget har det løpende ansvaret for vurderinger og iverksetting av tiltak i henhold til de ulike områdene i systembeskrivelsen.
The director of academic affairs and the quality coordinator have administrative responsibility for the preparation of reports, reviews and evaluations. 
Studiesjefen v/kvalitetskoordinator har administrativt ansvar for at det utarbeides grunnlagsmateriale for rapporter og vurderinger i henhold til de ulike områdene i systembeskrivelsen.
The Research and Development Committee has the same responsibilities as the Academic Affairs Committee in terms of ensuring good quality of education at the doctoral level. 
FoU-utvalget har samme ansvar som studieutvalget når det gjelder sikring av god kvalitet i Musikkhøgskolens utdanningsprogram på doktorgradsnivå.
The Programme Committees are responsible for developing and monitoring studies, with particular emphasis on educational quality. 
Programutvalgene har ansvar for utvikling og oppfølging av studiene, med særlig vekt på utdanningskvalitet.
They are also an advisory body to the Academic Affairs Committee in all matters concerning the studies they are in charge of. 
De er også rådgivende organ for studieutvalget i alle saker som angår de studieprogrammene det enkelte programutvalg har ansvaret for.
The programme committees contribute to developing student evaluations and evaluate other factors that concern quality assurance like results from student evaluations, admissions and applicant numbers and examination results for the studies they are responsible for. 
Programutvalgene skal bidra ved utformingen av studentevalueringer og har også i oppgave å vurdere andre forhold som inngår i kvalitetsarbeidet, som resultater fra studentevalueringer, søker- og opptakstall, studiegjennomføring, eksamensresultater med mer i de studiene programutvalget har ansvar for.
Based on these evaluations the programme committees may suggest changes in curricula and the organization of studies. 
På grunnlag av resultatene skal programutvalgene eventuelt foreslå endringer i studieplaner og studieorganisering.
The TUP-Committee (talent development programme) has the same responsibility as the programme committees on matters concerning the Academy’s talent development programme. 
TUP-utvalget har samme rolle som programutvalgene i saker som gjelder Musikkhøgskolens talentutviklingsprogram.
Ph.D. Committee (DRU) and the Committee for the Artistic Research Programme (KUST) have the same role as the programme committees in matters relating to postgraduate courses at a doctoral level. 
Doktorgradsutvalget (DRU) og Utvalget for kunstnerisk stipendiatprogram (KUST) har samme rolle som programutvalgene i saker som gjelder utdanningstilbudene på doktorgradsnivå.
DRU and KUST are advisory bodies to the Research and Development Committee. 
DRU og KUST er rådgivende organ for FoU-utvalget.
The departments are responsible for giving education at a high academic level in all study programmes. 
Fagseksjonene har ansvar for å levere undervisning på høyt faglig nivå til studieprogrammene.
The academic staff are organized in 7 departments according to discipline. 
Alle faglig ansatte er organisert i fagseksjoner.
The departments promote cooperation and communication between teachers and facilitate conversations regarding teaching and evaluation. 
Fagseksjonene skal fremme samarbeid og kommunikasjon mellom lærerne og legge til rette for samtaler rundt undervisning og evaluering.
The head of department is responsible for developing and ensuring the quality of teaching topics and shall, on behalf of the department assess all issues related to the topics they are responsible for. 
Fagseksjonslederne har ansvaret for å videreutvikle og sikre kvaliteten i fagseksjonens undervisningsemner og skal på vegne av seksjonen avgi vurderinger i alle spørsmål knyttet til emnene de har ansvar for i forbindelse med prosessene i kvalitetssystemet.
The students are part of the formal governance structure and are represented by at least two representatives on the board, in the academic affairs committee and the programme committees. 
Studentene er i den formelle styringsstrukturen representert med minst to representanter i styret, studieutvalget, programutvalgene og læringsmiljøutvalget.
PhD candidates are represented in the Research and Development Committee, DRU and KUST. 
Stipendiatene er representert i FoU-utvalget, DRU og KUST.
All students at the Academy are assigned to an academic advisor. 
Alle studentene ved NMH har en studiekontakt.
The teachers should contribute to quality assurance through active participation in evaluations and surveys. 
Lærere skal bidra i kvalitetsarbeidet gjennom aktiv deltakelse i evalueringer og undersøkelser.
The Council for cooperation with working life concentrates on identifying challenges for the future of music education, with the aim that the Academy should have education that are of high quality, is vocationally relevant and internationally competitive. 
Råd for samarbeid med arbeidslivet skal ha hovedfokus på å identifisere utfordringer for framtidas musikkutdanninger, med sikte på at NMH skal ha et utdanningstilbud som holder høy kvalitet, er yrkesrelevant og internasjonalt konkurransedyktig.
The council is involved in evaluation of the study portfolio. 
Rådet er involvert i arbeidet med evaluering av studieporteføljen.
It is particularly important that the quality assurance work has its roots among the academic staff and students. 
Det er særlig viktig at arbeidet med utdanningskvalitet forankres i fagmiljøene og blant studentene.
Public reports from the work with quality assurance at the Norwegian Academy of Music is continuously added to our website 
Offentlige rapporter fra arbeidet med utdanningskvalitet legges kontinuerlig ut på våre nettsider.
Husband and trusted critic 
Ektemannen som fortrolig kritiker
As a young dancer and choreographer Lerman began to reflect on how she felt there was a lack of systems for giving and receiving constructive feedback on artistic work. 
Som ung danser og koreograf begynte Lerman å reflektere over følelsen av manglende systemer for å gi og motta konstruktive tilbakemeldinger på kunstnerisk arbeid.
- For me as a young artist coming up in the world, I was really craving feedback and I was not happy with what was being used. 
- For me as a young artist coming up in the world, I was really craving feedback and I was not happy with what was being used.
Or what was being abused. 
Or what was being abused.
And what just didn’t exist. 
And what just didn’t exist.
It was around that time that she met the man who would become her husband. 
På den tiden møtte hun ham som skulle bli hennes ektemann.
He was working in theatre. 
Hans bransje var teater.
Lerman smiles as she confides that she rarely talks about this, but they first fell in love before starting to explore each other’s work. 
Lerman sier smilende at hun sjelden forteller dette, men de forelsket seg først, og deretter viste de hverandre sitt faglige arbeid.
- I reflected a lot about how I could hear him. 
- I reflected a lot about how I could hear him.
Why was it that I could hear just anything from him? 
Why was it that I could hear just anything from him?
So I began to contemplate this question. 
So I began to contemplate this question.
Lerman discovered that the trust between the two was crucial in enabling them to give and receive such meaningful and honest feedback. 
Lerman fant ut at fortroligheten mellom de to var helt avgjørende for å kunne gi og motta slike meningsfulle og ærlige tilbakemeldinger.
Turning dance lessons upside down 
Snudde opp-ned på dansetimer
Lerman then began to ponder how dance technique lessons were organised: “One teacher – 40 students. 
Lerman begynte deretter å undre seg over hvordan en dansetime i teknikk er organisert: «One teacher - 40 students.
I know everything – they listen. 
I know everything – they listen.
I show – they do,” she expounds in order to illustrate her point. 
I show – they do», utdyper hun for å illustrere poenget.
Lerman noted how many of the students in the dance lessons were also teachers. 
Det Lerman så var at mange av de som tok dansetimer også var lærere.
They were all talented. 
De var alle dyktige.
So she began letting the students work in pairs. 
Derfor begynte hun å la studentene jobbe i par.
They gave feedback to each other and wrote reports. 
De ga tilbakemeldinger til hverandre, og skrev rapporter.
This was the prelude to what would later evolve into CRP. 
Og slik ble dette opptakten til det som senere skulle bli CRP.
Finding meaning is more important than method 
Å finne mening er viktigere enn metoden
Dance is about something much more. 
Dance is about something much more.
So in Critical Response you practise the steps. 
So in Critical Response you practice the steps.
But it’s not about the steps. 
But it’s not about the steps.
It’s about the underlying values that are inherent in that, and those values are about making art, being creative, making something. 
It’s about the underlying values that are inherent in that, and those values are about making art, being creative, making something.
It’s meaningful. 
It’s meaningful.
There is meaning in it. 
It is meaning in it.
A driving force for own learning 
Drivkraft for egen læring
Lerman is keen that the students drive their own learning process and that CRP does not allow them to become passive participants. 
Lerman er opptatt av at studentene skal drive sin egen læringsprosess fremover, og at CRP ikke lar dem være passive.
The students emphasise the value of there being equality between students and teachers and the self-confidence that the method instils in them, amongst other things. 
Studentene fremhever blant annet verdien av likestilling mellom studenter og lærere, og selvfølelsen metoden gir.
Guro Utne Salvesen and Synnøve Sætre concur: – The method boosts your motivation. 
Guro Utne Salvesen og Synnøve Sætre stemmer i: - Metoden øker motivasjonen.
You find your own approach rather than follow your teacher’s path or whatever is expected of you within the genre. 
Man oppdager sin egen vei, istedenfor å gå lærerens vei, eller det som er forventet i sjangeren.
Expert versus critic 
Å balansere ekspertrolle og kritikerrolle
One challenge of teaching arts in higher education is to strike the right balance between being the expert and being someone who gives constructive feedback. 
En ting som er utfordrende med å være lærer i høyere kunstutdanning er å finne balansen mellom å være ekspert og den som gir konstruktiv kritikk.
Lerman is anxious that expertise is not lost when using CRP, but it must be balanced. 
Lerman er opptatt av at ekspertisen ikke forsvinner ved bruk av CRP, men at den må balanseres.
She says music masterclasses are highly complex in this respect, because they are an obvious mixture of teaching and critique. 
Lerman peker på at mesterklassene i musikkutdanning er meget kompliserte i så måte, fordi de er en tydelig blanding av undervisning og kritikk.
The master is erudite and wants to share their knowledge. 
Mesteren vet så mye, og ønsker å formidle dette.
But when do you tell the student something and when do you ask questions to allow the student to discover the answer for themselves? 
Men når er det man bør fortelle studenten noe, og når stiller du spørsmål slik at de kan oppdage svaret selv?
Discovery creates ownership, Lerman says. 
Oppdagelser skaper eierskap, sier Lerman.
For the faculty here, I think a big part of this is, when do you teach and just tell, and when do you go through this other work. 
- For the faculty here, I think a big part of this is, when do you teach and just tell, and when do you go through this other work.
And I’m advocating that you have to do both. 
And I’m advocating that you have to do both.
“Human” tuition 
Human undervisningsform
Much of the essence of the Critical Response Process appears to be interpersonal and centres around how to best facilitate learning by taking the performer seriously and thinking carefully about how you formulate praise and criticism. 
Mye av essensen i Critical Response Process synes å ligge i det mellommenneskelige, og hvordan man på best måte kan legge til rette for læring ved å ta utøveren på alvor og selv tenke nøye gjennom formuleringen av ros og kritikk.
Lerman is keen for CRP to do away with hierarchy. 
Lerman er svært opptatt av at CRP ikke er det spor hierarkisk.
New projects 
Nye prosjekter
Teachers and students testing out new methods in the CRP workshop 
Lærere og studenter på kurs i CRP prøver ut nye metoder
Improvised music and jazz 
Improvisert musikk og jazz
Traditional folk music 
Folkemusikk
Head of Department: Gunnar Flagstad 
Fagseksjonsleder: Gunnar Flagstad
Includes: 
Inkluderer fagmiljøene:
Accordeon 
Akkordeon
Piano 
Klaver
Guitar 
Gitar
Head of Department: Isabelle Perrin 
Fagseksjonsleder: Isabelle Perrin
Strings and Harp 
Strykere og harpe
Head of Department: Mats Claesson 
Fagseksjonsleder: Mats Claesson
Music Theory and Aural Training 
Musikkteori og gehør
Head of Department: Frank Havrøy 
Fagseksjonsleder: Frank Havrøy
Voice 
Sang
Church Music and Organ 
Kirkemusikk og orgel
Head of Department: Brit Ågot Brøske 
Fagseksjonsleder: Brit Ågot Brøske
Music Education 
Musikkpedagogikk
Music Therapy 
Musikkterapi
Head of Department: Matz Pettersen 
Fagseksjonsleder: Matz Pettersen
You need to have a NMH-username and password to access IT services. 
Få brukernavn og passord
If you don't, you must go to the reception desk on the 3rd floor and get it there. 
Slik henter du brukernavn og passord på nett.
Pay your semester fee 
Betal semesteravgiften
Deadline for semester fee payment: 15 September (autumn semester). 
Frist for betaling av semesteravgift: 15. september (høst).
Register for courses by confirming your programme of study and academic progress plan on studentweb 
Meld deg opp til undervisning og eksamen ved å fullføre semesterregistreringen
Get Student ID 
Få semesterbevis / kvittering
Set up your personal Academy e-mail account 
Sett opp din personlige NMH e-postkonto
Your personal e-mail account at the Academy is where you will receive important information regarding your studies. 
Du vil motta viktig informasjon angående dine studier på din personlige NMH e-postkonto.
In order to access it you must have your username and password registered at the Academy (no 1 on this list). 
For å få tilgang til e-posten, må du ha et brukernavn og passord (se punkt 1).
Please set up forwarding to your preferred email account, or set up your smartphone to receive Academy emails. 
Sett opp en videresending eller sync e-post til smarttelefonen din.
Get your Key Card / Access Card 
Hent ditt studentkort/adgangskort
If possible, you should get your access card before the semester begins. 
Det lønner seg å hente adgangskort før semesteret starter.
You must pick it up at the SiO Centre at Blindern. 
Du må hente det ved SiO-senteret på Blindern.
How to get your Access Card. 
Slik skaffer du studentkort / adgangskort.
Check your timetable (TimeEdit) 
Sjekk timeplanen din (TimeEdit)
In the Quick Links menu on the Current Students webpages you'll find your timetable and schedules. 
I hovedmenyen finner du hurtiglink til TimeEdit, som inneholder din timeplan.
Add your elective courses 
Søk på valgemner
For support or inquiries about registration, contact studweb@nmh.no 
For spørsmål eller veiledning om semesterregistrering, kontakt studweb@nmh.no
Then fill in: 
Deretter fyller du inn:
The username you just received 
Brukernavnet du nettopp har fått
Norwegian National-ID 
Fødselsnummer
The numbers/words that appear in the field at the bottom of the page 
Tallene/ordene du ser i det nederste feltet
Click "Get onetime-password" 
Trykk på "få engangspassord"
When you log in to one of our systems for the first time (f. ex StudentWeb), you should change your password to something personal that is easy to remember. 
Når du har logget deg inn for første gang på ett av systemene (f eks StudentWeb) må du endre passordet til et du selv husker.
Here is more information about your password and NMH Account. 
Les mer om brukernavn og passord her
More information about the Academy's IT Services. 
Mer informasjon om NMHs IT-tjenester på denne siden
Saturday 19 August 
Infostand
13.00-14.00 Lunch break 
12.00–13.00 Lunsj
14.00-15.30 Official Opening of the 2017/18 Academic Year, Lindemansalen 
13.00–14.00 "Om øving" - Guro Gravem Johansen og Johannes Lunde Hatfield, Levinsalen
13.00-14.00 Lunch break 
11.00–14.00 Tid til øving / lunsj
After concert: Social event by SUT, Chateau Neuf 
Etter konserten Sosialt med SUT, Chateuau Neuf
Musicians need competences that are dynamic and adaptable. 
Musicians need competences that are dynamic and adaptable.
Students and staff within conservatoires and university music departments must understand that what they are going to do as musicians will change over time. 
Students and staff within conservatoires and university music departments must understand that what they are going to do as musicians will change over time.
They also need to be equipped to help others in this realisation. 
They also need to be equipped to help others in this realisation.
In contrast, the music profession has trained people through a perfectionist frame, despite the fact that we know that life is full of imperfections. 
In contrast, the music profession has trained people through a perfectionist frame, despite the fact that we know that life is full of imperfections.
Issues of inequality, lack of opportunity and exploitation remain problematic in the music world, but are largely ignored, at best, marginalised and, at worst, covertly echoed in the single-minded discipline of the teaching studio and practice room. 
Issues of inequality, lack of opportunity and exploitation remain problematic in the music world, but are largely ignored, at best, marginalised and, at worst, covertly echoed in the single-minded discipline of the teaching studio and practice room.
How might we go about resolving this situation? 
How might we go about resolving this situation?
How might we establish a paradigm, within the conservatoire and beyond, of the previously posited but largely unrealised ‘Protean Musician’, an individual responsive to change and able not only to thrive personally but also to make a difference to others? 
How might we establish a paradigm, within the conservatoire and beyond, of the previously posited but largely unrealised ‘Protean Musician’, an individual responsive to change and able not only to thrive personally but also to make a difference to others?
Issues addressed 
Issues addressed
Issues which may be addressed under this topic area include: 
Issues which may be addressed under this topic area include:
Identity: Questions around identity are very important because when they encounter the ‘real’ labour market, students are having to do things other than they had previously expected. 
Identity: Questions around identity are very important because when they encounter the ‘real’ labour market, students are having to do things other than they had previously expected.
So, what do musicians say at various stages of their careers when they are asked about identity? 
So, what do musicians say at various stages of their careers when they are asked about identity?
Courage: Do we really have the courage to ask questions of our work in the studio? 
Courage: Do we really have the courage to ask questions of our work in the studio?
Have we really embedded the critical views around music training systems in such a way that challenging questions can be posed, and received, constructively? 
Have we really embedded the critical views around music training systems in such a way that challenging questions can be posed, and received, constructively?
Power Relations: Are we dealing properly with the problematics of the power relations that conservatoires include and create? 
Power Relations: Are we dealing properly with the problematics of the power relations that conservatoires include and create?
Actions: If, through this conference and by other means, we gain a better understanding of the actions that could elicit changes, how might we apply this knowledge in the world of our conservatoire, and in the ‘real’ world’? 
Actions: If, through this conference and by other means, we gain a better understanding of the actions that could elicit changes, how might we apply this knowledge in the world of our conservatoire, and in the ‘real’ world’?
Proposals relevant to the concerns of the Research Centres 
Proposals relevant to the concerns of the Research Centres
The Conference Committee welcomes proposals which address the topic through any of these perspectives and through others relevant to the overall concerns of its Research Centres. 
The Conference Committee welcomes proposals which address the topic through any of these perspectives and through others relevant to the overall concerns of its Research Centres.
Cross-disciplinary proposals relating the ideas of two or more of the NMH Research Centres are encouraged: 
Cross-disciplinary proposals relating the ideas of two or more of the NMH Research Centres are encouraged:
The Arne Nordheim Centre for Artistic Research in Music (NordART): providing a contemporary perspective on the roles of musical artists through its development of projects within the artistic research and performance studies fields; 
The Arne Nordheim Centre for Artistic Research in Music (NordART): providing a contemporary perspective on the roles of musical artists through its development of projects within the artistic research and performance studies fields;
The Centre for Research in Music and Health (CREMAH): expanding knowledge about the relations between music and health, including Music Therapy; 
The Centre for Research in Music and Health (CREMAH): expanding knowledge about the relations between music and health, including Music Therapy;