In this post, you can read the thoughts of the students from the CMUS Profesional in Vigo who, during the 2025–26 academic year, took part in the mobility programmes offered by our school’s Erasmus+ KA121 scheme. In their own words:

Key features of the institution to which the exchange took place:

The most striking feature of the school we visited is its almost family-like atmosphere. The close relationship between teachers and pupils, which is due to the small number of pupils at the centre, makes it much easier to balance music or dance studies with their compulsory schoolwork. They make it easier for all families to choose a timetable, and they support pupils with special needs (by adapting assessment criteria, extending deadlines, etc.). Furthermore, they offer a variety of educational models such as: the flexible option (where the student chooses the subjects to study, as if it were an extracurricular activity), the supplementary option (equivalent to conservatoire studies in Spain: the secondary school and the conservatoire operate separately), and the integrated programme (music studies are linked to the secondary school; secondary school subjects are recognised to allow attendance at the conservatoire in the mornings, with courses at both institutions always taken in parallel; aimed primarily at students who wish take their musical studies more seriously from an earlier age; they might be similar to students at an arts-focused sixth-form college). The conservatoire’s location, right opposite other educational institutions, makes it easy for students to move from one place to another.

Description of notable aspects of the classes visited:

On the first day, we had a short analysis lesson where the teacher set us a couple of exercises to assess our level, as the pupils had taken their exams the previous week. Afterwards, we attended a children’s choir class where they were rehearsing the pieces they were going to sing at the spring concert.

On the second day, we sat in on a few instrument lessons. First, we watched a cello lesson, the pupil was very young, about eight years old. Afterwards, we attended a violin lesson where Nerea played a piece with a pupil and the teacher gave them a couple of tips. Finally, we had a lesson with a violin teacher who listened to Nerea and Iris play a few pieces and gave them a couple of recommendations. We also took part at the orchestra rehearsal to prepare the pieces for the spring concert. At the end of the rehearsal, the children from the choir came along to sing a few pieces.

On the third day, we had a rehearsal and a concert with the orchestra in the afternoon. Everything went well.

On the last day, we had a rehearsal with the violin teacher, who gave us some advice on the pieces we were going to play at the concert that afternoon. Our concert was held alongside a piano recital by the pupils of one of the teachers, which was lovely to watch, as the pupils were of a very high standard. For our part, we played the pieces we had prepared, and that brought our visit to the Faro Conservatoire to a close.

An account of how mobility has influenced or transformed our musical lives and professional careers:

The Erasmus+ mobility programme had a very positive impact on both our musical lives and our professional development, as it enabled us to discover different ways of teaching, learning and experiencing music in an international context. Through taking part in classes, rehearsals, auditions and activities with students and staff from another country, we were able to broaden our perspective on musical performance, placing particular emphasis on the importance of listening, expressiveness and working in group.

This experience helped us to develop a more open and flexible approach to music, as well as to appreciate different teaching methods and ways of organising arts centres. At the same time, it strengthened our motivation to continue our musical training, giving us a better understanding of the importance of discipline, responsibility and cooperation in a professional environment.

Ultimately, this mobility brought about a significant shift in the way we understand music, making it more mindful, collaborative and enriching, and contributed to our personal and professional growth.

Stories from your stay both at our centre and in the country:

One of the most intriguing anecdotes from the trip took place on the first day at the conservatoire, during a music theory class. During that session, the teacher explained a fascinating connection between the history of music and the harmonic series.

He told us that the evolution of music acts almost as a mirror to this series: if we take one note as a reference, other notes can be perceived simultaneously—first the octave, then the fifth, the fourth, the major third and the minor third, and so on, with increasingly smaller intervals. The professor linked this to the evolution of music throughout history, since, for example, in the Middle Ages the intervals of the octave and the fifth predominated primarily the octave and fifth intervals; later, fourths and thirds were incorporated, and the tonal system gradually emerged. Over time, smaller intervals were added, leading to contemporary music, where virtually all of them coexist without a clearly defined hierarchy.

Other matters of interest to the educational community:

The teaching techniques used by the school’s staff were particularly striking to us as students. Rather than teaching theory in isolation, most of the staff, particularly in the lower years, opted for a highly active approach with the children. Notable examples include participatory exercises in rhythm, intonation and solfège; but also practical exercises in subjects such as analysis, in which the teachers were actively involved in the students’ work for example, by setting analysis or harmony exercises for the whole class, which required them to work together as a group and engage with the subject in a genuinely interested way. Whilst it is true that this type of teaching can limit pupils’ independence, it can be very effective in fostering their interest in the subject.

The management of spaces was also a matter of interest to us. Whilst it is true that staff-only areas, such as offices or meeting rooms, were used exclusively by staff—as is only to be expected—the rest of the classrooms and communal areas were not organised along hierarchical lines at all. In other words, a student has the same right as a teacher to use a particular space provided it is not reserved for lessons; consequently, the segregation in the use of rooms is almost entirely eliminated. We found this striking, as our centre has a limited number of study booths, which are the only spaces that are actually designated for student use. The problem of a shortage of practice rooms has been resolved at the Faro Conservatoire, as any room that is usually set aside for lessons but happens to be empty can be used for practice.

The following photographs illustrate our students’ experience:

Here are some notable quotes from our students:

“On a personal level, this exchange enabled me to become more independent and improve my ability to adapt to new environments and ways of working. It also helped to improve my listening comprehension in Portuguese and gain experience in public speaking, such as during theconcert we gave.The Erasmus+ experience was, on the whole, a positive one, particularly from a cultural and personal perspective. The activities we took part in, the trips and the concert all helped to make the exchange a rewarding experience. What’s more, this experience allowed me to get to know my Erasmus classmates better, as we spent a lot of time together during the trip. ” Brezo Verea.


“This training helped me to understand a different educational system; to learn new methodologies, how to adapt orchestral works for a smaller ensemble, and the role of instruments such as the saxophone and piano within the orchestra.This training helped me to understand a different educational system; to learn new methodologies, how to adapt orchestral works for a smaller ensemble, and the role of instruments such as the saxophone and piano within the orchestra. On a personal level, it broadened my horizons in the field of music and taught me the value of working alongside my fellow students, who I can say went on to become my friends. I particularly enjoyed the exchange programme because of the close bond I formed with my peers and the students at the school in. Both the teaching staff and the students were friendly at all times; the teachers were always willing to help us with whatever we needed. The students were also always on hand to answer our question” María González.

“If I had to pick one special moment from this experience, it would be the fact that I shared it with my classmates. Beyond the academic training, the most special thing was sharing every concert, visit… with the group, creating a shared experience that strengthened our bond and improved the mobility experience. In short, this Erasmus+ mobility programme was a unique opportunity for me to grow musically and personally… It helped me improve my playing, reflect on new musical aspects and, at the same time, allowed me to enjoy an unforgettable experience with the people who were with me. Without a doubt, I’ve taken away some very valuable musical lessons, but above all memories, emotions and bonds that make this exchange programme truly special” Nerea Fernández.

“Culturally and personally, it was an incredibly enriching experience. Visiting cultures that, whilst closely related, are nonetheless different, helped me gain a fresh and new perspective on Portugal. Learning about the history of Lisbon through the Free Tour, and getting to know the city from an artistic and cultural perspective, was, quite frankly, a tremendous privilege and a valuable lesson that I’ll carry with me from this exchange programme.” Antonio Ramón Martínez

“I had a brilliant time; it was a very enriching week in many ways, and I feel that our group of students really bonded. I learnt a lot about Portuguese culture, especially in Lisbon and watching the fado show, and having a whole week where the main focus was music was brilliant; it motivated me to focus more on my instrument, the viola, even though that specialism wasn’t offered at the centre itself” Iris Nogueira.