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TRANSCRIPT
Entrepreneurship in Music
Evert Bisschop Boele I Research Group Lifelong Learning in Music,
Research Group Arts Education 16-10-2019 PCC Bmus, Groningen
1. Introduction
2. Uses, functions and meanings of music
3. ‘Musicking’ individuals
4. Music in the world of high culture
5. The musician as a provider of …
Entrepreneurship in Music
1. Introduction
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(Van Aart et al., 2017)
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Audiences: by habit – by choice – by surprise
(Bollo et al., 2017)
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Relations with audiences: deepening – widening - diversifying
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The turn towards the ‘audience’
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2. Uses, functions and
meanings of music
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Is music an object?
Ideas
Behavior
Sound
Historicallyrooted
Sociallymaintained
Individuallyexperienced
(Rice, 2017)
(Merriam, 1964)
Entrepreneurship in Music
administratingbroadcastingcollectingcomposingcontestingcounterfactingcryingdancingdj-ing
doingexchangegamesleadingmaking instrumentsmeeting like-mindedorganisingpageturningperformingplaybacking
playing mediated music
playing mediated music - background
playing instrumentsplaying instruments
togetherproducingrapreading staff notationrecordingsinging
singing togethertalkingteachingvisiting concertsvisiting dance
performanceswatching audiencewatching musicianswriting teaching
materials
Uses: what people do with music
Entrepreneurship in Music
Functions: what music does with people
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Musical Meaning Making: Not an input-output process
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A biographical process
Impulses fromoutside
Biograficity= Inner logic of processing;Personal codes of experience
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The meaning of music resides in the meeting of the individual with the music (‘affordances’)
Impulses fromoutside
Biograficity= Inner logic of processing;Personal codes of experience
Meaning
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The meeting where meaning is being made
Impulses fromoutside
Biograficity= Inner logic of processing;Personal codes of experience
Meaningmaking
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3. ‘Musicking’ individuals
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Target groups
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4. Music in the world of
high culture
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Uses: what people do with music
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Music as an Art
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‘Music as Art’ paradigm: “music essentially is a combination of craftsmanshipand expressivity leading to Works of Art”
Origins: western earlymodernity
Still dominant – but more and more under pressure
‘Trombone clubs and other leftist hobbies’
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5. The musician and the
market place?
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54
35
113
41
54
0
20
40
60
80
100
120
klassiek jazz pop/rock wereldmuziek overig
aan
tal c
on
cert
en 1
2-2
5/4
/20
10
Aantal per genre in de stad Groningen
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7,64
1,11
3,19 3,522,93
3,68
13,57
7,8
12,03
7,237,87
10,61
0
2
4
6
8
10
12
14
16
klassiek jazz pop/rock wereldmuziek overig gemiddeld
gem
idd
eld
e en
tree
(€)
12
-25
/4/2
01
0
Gemiddelde entree (€) - genre(stad Groningen)
Alle concerten
Betaaldeconcerten
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Two models that do not help us to think about the future
Producer Customer
Supplier Consumer Artistic
Economic
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Music as a neo-liberal market place?
Thinking of…… music in terms of a ‘product’… yourself in terms of producers/suppliers… your audience in terms of customers/consumers… the music profession in terms of a ‘career’… communication in terms of negotiation
… education in terms of a contracted consumable product… learning in terms of a necessity and an obligation… students in terms of customers… fellow students in terms of rivals… teachers in terms of suppliers
… the world in terms of something to be conquered… yourself in terms of having to become better and better until you are the best (and what if you do not become ‘the best’???)
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Three models to help us think about the future
Producer Customer
Supplier Consumer
Musiciandialogue/
co-creationAudience
Artistic
Economic
Dialogic
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Some remarks addressed to my colleagues
1. Given the waning dominance of the ‘Music-as-Art’ paradigm, traditional conservatoires risk living in a bubble or dancing on the volcano.
2. We should know much more precise what (all!) our alumni are doing aftergraduation and how their ‘careers’ take shape.
3. Any conservatoire needs intimate experience with forms of ‘musicking’ outsidethe formerly dominant paradigm of ‘Music-as-Art’.
4. We should study which new conservatoire models are currently beingdeveloped within higher music education internationally.
5. We have to realize that traditional conservatoire organizational structures, concrete teaching practices, human resource management decisions, decisionsabout the allocation of finances etc. etc. form implicitly a very powerful culturalsystem governed by the ‘Music-as-Art’ paradigm.
6. Most students we educate will have (very) differerent career paths than ourown.
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Entrepreneurship in Music
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