ECMA Next Step is a strategic partnership funded under the European Union’s Erasmus+ programme. The project aims to develop new content for the ECMA training programme in terms of curriculum, mobility and recognition and to further develop existing chamber music expertise. Particular focus is given to the pedagogical knowledge and skills of chamber music instructors with a view to strengthening chamber music’s position on regular training programmes. One of the main goals of this three-year strategic partnership has been to ensure the utmost quality of chamber music training and proactively meet the challenges and opportunities that the increasing demand for chamber music entails. The new beginning of the theatre came in 1818 with the arrival of a German man named Ulbrich. A forest trade company allowed him to use one wooden temporary building where he equipped a hall with 200 seats and opened a theatre. A shareholders company established with initiative of tradesmen Rupelis and Voitkovičius purchased the land, and in 1818 a new masonry building was built in the place where Klaipėda Drama Theatre is situated now. It was a two-storey classical building with an attic. In 1854 the theatre was destroyed in a fire. Tradesman Masonas purchased the ruins and from his own funds built a new building in 1857. At least three facades remain until this day. The theatre was closed with the beginning of the First World War.
Source: “The Oldest Theatre Building in Lithuania in the Wetlands of Danė” by Gerda Prancūzevičienė. Almanachas “Teatras”, 2000, No. 2.
ECMA Next Step has had two working groups made up of members from the project partners working on two separate outcomes. One working group has developed a Joint Master Programme in Chamber Music (ECMAster) which is offered at all the partner higher education institutions. The other working group has developed this manual, which contains case studies on teaching and learning chamber music, different approaches to organising chamber music at a higher education institution, views on assessing chamber music and involving external evaluators, and suggested further reading on the topic.