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Entrepreneurship in Music – Between Artistic Autonomy and Economic Reality

A collaboration between University of Oslo, Department of Musicology, BI Norwegian Business School, Department of Communication and Culture, and Norwegian Academy of Music including Centre of Excellence in Music Performance Education (CEMPE).

Norwegian Academy of Music 27–28 April 2017

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It is a great pleasure to welcome you to our conference Entrepreneurship in Music – Between Artistic Autonomy and Economic Reality. The conference will address discours-es of entrepreneurship in music and the arts, more specifically how they are related to general tendencies in society and are manifested within higher education. We will explore the apparent dichotomy between music as art and music with a commercial purpose by questioning some of the assumptions that underlie such debates. We will discuss the consequences of growing emphasis on entrepreneurial skills to the profession of musician. We will debate how higher music education institutions today are searching for new ways of meeting the increasing demands for relevance in curriculum and employability and simultaneously strive to keep and maintain an independent position. The conservatory education aims to match the rapidly changing labour market, leading us to the question of how we can calibrate our educational practices with future musicianship.

We are proud to present, and eager to listen to our two keynotes, Nick Wilson: Entrepreneur ship in Music: “Highway to hell” or “Together Forever?” and Angela Myles Beeching: The Psychology of Success: The Entrepreneurial Mindset – How well does it fit within Music Education Institutions? We are also looking forward to presentations and papers from nine European countries, from China and the USA. Following the presentatio n of the ambitious European Erasmus+ project, RENEW, we are all invited to take part in dis-cussions on Boot Camp and Portfolio as Tools for Embedding an Entrepreneurial Mindset.

We will listen carefully to the many participating students, to their thoughts, experienc-es and expectations for how they wish to prepare, and be prepared, for careers as 21st century performing musicians. Preceding the conference, twenty-five students from Dutch, Icelandic, American, Danish and Norwegian institutions will participate in a three day boot camp, The musician´s footprint. We expect them to leave their footprints in the conference.

Welcome to the conference,

Entrepreneurship in Music – Between Artistic Autonomy and Economic Reality

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We hope the conference will contribute to further development of knowledge in the field, and that central themes will be brought to new conferences such as The Protean Musician: The Musician in Future Society at NMH November 1-3 2017 and to AEC´s new Platform for Learning and Teaching, starting up in August 2017.

Finally, we want to thank our collaborators, the University of Oslo, Department of Musico-logy and BI Norwegian Business School, Department of Communication and Culture.

We hope you will have some stimulating days in Oslo, with time for discussion, reflection, networking and social gatherings. We wish you a warm welcome.

Eirik Birkeland and Tanja Orning, on behalf of the Conference Project Team

Cathrine Dorg Nymoen Sigrid Røyseng Åshild Watne Kristian Nymoen Morten Halle Kjetil MyklebustIngrid Holst Sollie Anders EggenOtto Christian Pay

Tanja Orning. Photo: Kimm Saatvedt/NMH Eirik Birkeland. Photo: Kimm Saatvedt/NMH

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CEMPE

Entrepreneurship in Music – Between the Market and the Cathedral

The Centre of Excellence in Music Performance Education (CEMPE) at the Norwegian Academy of Music is appointed for the time period 2014-2018. The vision of the centre is to educate excellent music performers in a rapidly changing globalised music community. CEMPE will concentrate on three interrelated objec-tives: 1. To enhance music performance teaching and learning by incorporating a wide range of individual and group experiences for the students. 2. To enhance the quality of the students’ instrumental practice through a combination of individual and group teaching approaches, and by looking for transfer of practice knowledge between students in different genres. 3. To prepare the students for proactive action in a diverse and rapidly changing globalised music community.

www.cempe.no

About Entrepreneurship in Music – Between the Market and the Cathedral is a collaborative project between the University of Oslo, Department of Musicology, BI Norwegian Business School, Department of Communication and Culture and the Norwegian Academy of Music. The project has received a three-year funding from the Agency for Digital Learning in Higher Education (2014-2017). The project aims at developing a stronger integration between innovation- and entrepreneurial thinking in higher music education. The ambition is to raise the competence between the three parties involved in this project, and the goal is that innovation and entrepreneurial thinking will be “interwoven” into all programs rather than taught as separate subjects. In this way, we raise thinking about entrepreneurship in music to a new level and challenge the built-in contradictions between artistic processes and goals, and the more commercial considerations that most students will encounter in their professional life.

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Programme27 April 2017

When What Who Where

08:00-10:00 Registration – Coffee and tea

Foyer

09:30 Doors open Levinsalen

10:00 Plenary Session Welcome

Peter Tornquist, Principal Norwegian Academy of Music

Levinsalen

Musical opening Musicians from Edvard Munch Ensemble: Eir Inderhaug (guest), Victoria Puttman and Thormod Rønning Kvam

10:15 Welcome Eirik Birkeland, CEMPE/Norwe-gian Academy of Music

10:30-11:30 KEYNOTE I: Entrepreneurship in Music: “Highway to Hell” or “Together Forever”?

Nick Wilson, Kings College, London

Levinsalen

11:30-11:45 Break – coffee and tea Foyer

11:45-12:45 Parallel Sessions: 4 papers/presentations

Overarching questions Chair: Kristian Nymoen

11:45-12:15 The Role of the Artist in the Creative Industries

Sigrid Røyseng, BI Norwegian Business School

Levinsalen

12:15-12:45 Enterprise and business within the classical music museum: Is there room for innovation?

Emmanuel Vass, Leeds Col-lege of Music

Developing Entrepreneurship Curriculum within higher Education Chair: Åshild Watne

11:45-12:15 Understanding Career Goals & Expectations of Undergraduate Music Majors

Karen Munnelly, College of Fine Arts, University of Texas at Austin

Seminar room 01015

12:15-12:45 Comparing Entrepreneurial Atti-tudes of Undergraduate Arts and Business students

Sylvia Jen, School of Music, University of Leeds

12:45-13:45 Lunch Rooms 139/140

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When What Who Where

13:45-14:45 Plenary Session Chair: Eirik Birkeland

Facilitated by Renee Jonker, The Royal Conservatoire The Hague

Levinsalen

7 students at 7 different pro-grams: How well are we prepared for a professional life in an open and changing music market? Which dilemmas do we have?

Participants from «A musician’s footprint» – a three day bootcamp in Oslo on Project Management & Artistic Entrepreneurship

14:50-15:50 Parallel Sessions: 4 papers/ presentations

Performers and Entrepreneurship Chair: Keld Hosbond

14:50-15:20 But, is it Entrepreneurship? Contemporary Musicians Creat-ing their own Projects through Passion and Curiosity

Ellen Ugelvik, Norwegian Academy of Music

Levinsalen

15:20-15:50 Politics, Rhetorics and Potentiality within Entrepreneurship in Music

Tanja Orning, CEMPE/Norwe-gian Academy of Music

Tools and skills within Entrepreneurship (practices) Chair: Lisbeth Wathne Svinø

14:50-15:20 How Internet-mediated Crowd-funding Platforms Help Musicians Developing Their Entrepreneur-ship While Establishing Their Artistic Careers

Joseph Wong, Open University of Hong Kong

Rooms 139/140

15:20-15:50 Concert Dramaturgy as Tool for Creative Entrepreneurship

Andreas Sønning, Norwegian Academy of Music

15:50-16:20 Break – coffee, tea, water, fruit Foyer

16:20-16:40 Plenary Session Chair: Tanja Orning Average Jonas – combining social media and classical music

Jonas Nyløy Navarsete, Nor-wegian Academy of Music

Levinsalen

16:40-17:10 Concert/ Creative Work

17:10-17:30 Summing up the day Students, Sigrid Røyseng, BI Norwegian Business School

Levinsalen

19:30 Conference Dinner at Det norske teatret

Music: Helga Myhr – hardanger fiddle

Kristian IVs gate 8 (downtown Oslo)

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Programme28 April 2017

When What Who Where

08:45-09:00 Coffee and tea Foyer

08:30 Doors open Levinsalen

09:00 Plenary Session Music

Past Present: Alexander Hoholm and Simen Kiil Halvorsen

Levinsalen

09:15-10:15 KEYNOTE II: The Psychology of Success: The Entrepreneurial Mindset – How well does it fit within Music Edu-cation Institutions?

Angela Myles Beeching, New York

10:25-11:25 Parallel Sessions: 4 papers/presentations

Entrepreneurship Curriculum within Higher Education in Norway Chair: Andreas Sønning

10:25-10:55 Entrepreneurship in Higher Music Education in Norway

Åshild Watne and Kristian Nymoen, University of Oslo, Department of Musicology

Levinsalen

10:55-11:25 How do we develop an Entrepre-neurial Mindset?

Lisbeth Wathne Svinø, CEMPE/Norwegian Academy of Music

Entrepreneurship Curriculum within Higher Education Chair: Tanja Orning

10:25-10:55 Professionalization Strategies for Music in Discussion

Carsten Winter and Alexander Schories, Hanover University of Music, Drama and Media

Lindeman-salen

10:55-11:25 Step Back and I Will Act Davy de Wit, ArtEz University of the Arts, ArtEz School of Music, Head ArtEz Academy of Pop Music, Enschede, The Netherlands Peter Leutscher, Head ArtEz Academy of Media Music, Enschede, The Netherlands

11:25-11:45 Break – coffee and tea Foyer

11:45-12:30 Plenary Session Chair: Jon Helge Sætre Reflective EntrepreneurshipMusic Education Worldclass

RENEW: Bootcamp and Portfolio as Tools for Embedding an Entre-preneurial Mindset

Presenters: Astrid Elbek, Keld Hosbond, The Royal Academy of Music Aarhus/Aalborg

Levinsalen

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When What Who Where

12:30-13:30 Lunch Rooms 139/140

13:30-14:30 Parallel Sessions: 4 papers/presentations

Entrepreneurship curriculum within higher education Chair: Cecilie Krill

13:30-14:00 Can we find entrepreneurial ele-ments at the core of the Master’s Program? A presentation of the Master of Music in Performance at The Norwegian Academy of Music with examples of content and artistic output.

Kjell Tore Innervik and stu-dents, CEMPE/Norwegian Academy of Music

Levinsalen

14:00-14:30 What can music education at HE level learn from the entrepre-neurial mind-set of Historically Informed Performance (HIP) professionals?

Fiona Stevens, University of Southampton, United King-dom

Developing identities through entrepreneurship Chair: Sigrid Røyseng

13:30-14:00 The Role of Entrepreneurial Training in the Development of Music Students’ Multiple Identities

Anna-Maria Ranczakowska,Estonian Academy of Music and Theatre, Kristina Kuznetso-va- Bogdanovits, Sibelius Academy, University of the Arts Helsinki/Estonian Acade-my of Music and Theatre

Lindeman-salen

14:00-14:30 Entrepreneurship as Unifier: Rethinking the Art vs. Commerce Dichotomy

Jeffrey Nytch, University of Colorado-Boulder, USA

14:40-15:30 Plenary Session Summing up

Closing words of thanks and farewell

Students, Tanja Orning, Jon Helge Sætre, CEMPE/Norwegian Academy of Music, Stefan Gies, Association Européenne des Conserva-toires, Académies de Musique et Musikhochschulen (AEC) Eirik Birkeland, CEMPE/ Norwegian Academy of Music

Lindeman-salen

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Nick Wilson read music at Clare College, Cambridge, going on to complete his postgraduate studies in singing at the Royal College of Music, London, and the Hochschule der Künste, Berlin, where he took lessons from Dietrich Fischer-Dieskau. In 2000 he joined the Small Business Research Centre, Kingston University, where he founded the MA in Creative Industries and Creative Economy. He joined the Department of Culture, Media & Creative Industries (CMCI), King’s College London in 2009, where he is the found-ing director of the MA in Arts & Cultural Management.

Nick has published widely on creativity, entrepreneurship, and music. His book The Art of Re-enchantment: Making Early Music in the Modern Age, published by Oxford University Press (2014), provides the first comprehensive history and analysis of the British early music movement. He is cur-rently writing a book About Art: Aesthetic Critical Realism, and researching cultural capability and cultural democracy.

Entrepreneurship in Music:“Highway to Hell” or “Together Forever ”?

Dr Nick Wilson, King’s College London

Keynote I

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Author of Beyond Talent: Creating a Successful Career in Music, Angela Myles Beeching is dedicated to helping musicians live the life they desire. She has directed the career and entre-preneurship programs at Manhattan School of Music, New England Con-servatory, and the Indiana University Jacobs School of Music. Ms. Beeching is a contributing author to several volumes: Embracing Entrepreneurship Across Disciplines, Life in the Real World: How to Make Music Graduates Employable, and Disciplining the Arts: Teaching Entrepreneurship in Con-text. Fascinated by career paths and life choices, Ms. Beeching coaches musicians to chart their own paths to success. A Fulbright Scholar and Har-riet Hale Woolley grant recipient, Ms. Beeching holds a doctorate in music from Stony Brook University. She main-tains a thriving consulting practice, working with individuals, ensembles, and institutions to facilitate change.

The Psychology of Success: The Entrepreneurial Mindset – How well does it fit within Music Education Institutions?Angela Beeching

Keynote II

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Edvard Munch EnsemblePerformers on 27th April:Eir Inderhaug, soprano and guest artistVictoria Putterman, violinist and artistic directorThormod Rønning Kvam, pianist and managing director

BioSince their debut in 2015, five of Norway’s foremost young performers have joined forces to create a new concert experience presenting a meaningful blend of both celebrated and less known chamber music in combination with other art forms such as poetry, visual art and scenography. Each of the ensemble’s projects is based on a specific theme, and utilizes a visual profile for stage elements and programme booklets as well as the musicians’ theatrical presence on stage to shed a fresh and personal perspective on classical music that a broad range of audiences can appre-ciate. The ensemble has appeared at venues including Stormen Konserthus in Bodø, The Norwegian National Opera & Ballet, Bærum kulturhus, Drammens Teater, and has already had collaborations with both KODE (the art museums of Bergen) and the University of Oslo. Dextra Musica is the ensemble’s main partner in its commitment to youth outreach, and they have recently become selected to participate in one of Talent Norway’s newest and major initiatives, ArtEx. This coming fall, the ensemble will present their fourth project, The Blue Room, on tour with a guest artist for the first time, the renowned soprano Eir Inderhaug.

Eir Inderhaug

Photo: Trond Gudevold

Thormod Rønning Kvam Victoria Putterman

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The Role of the Artist in the Creative Industries

Sigrid Røyseng, BI Norwegian Business School

AbstractSince the beginning of the 2000s, artists have increasingly been associated with the more or less overlapping concepts of the experience economy, creative indus-tries and cultural industries in Norwegian cultural policy as well as in many other countries. More and more often these concepts are introduced as answers to some urgent questions: How are the careers of the ever growing number of artists to be financed? And what shall Norwegians live by when the gas and oil resources in the North Sea are emptied? The aim of this paper is to analyse the growing emphasis on the creative indus-tries in Norwegian cultural policy as a way in which the social contract of artists is negotiated. What expectations are directed towards the artistic profession and how is the contribution of artists to society and their work conditions con-structed by this tendency in cultural policy? The paper applies the concept of social contract from the sociology of professions which enables a focus on the artistic profession not only in an inter-nal arts world perspective, but also in a broader societal frame. The paper builds on and is a further development of the results from a study that was conducted with 28 applied research reports from the Norwegian context as the empirical basis (author 2016). This study will focus on the political discourse on the economic

potential of the arts and the creative in-dustries that have developed since 2000. Document analysis will be the main meth-od also in this paper. The empirical basis will be documents on the topic published by the government (white papers etc). In addition, media coverage for the period 2000-2016 on the political discourse will be analysed.

BioSigrid Røyseng is Professor of Arts Man-agement at BI Norwegian Business School and Adjunct Professor of Cultural Policy and Cultural Analysis at the Norwegian Academy of Music. Currently Røyseng is Associate Dean for BI’s bachelor program in Creative Industries Management. She is trained as a sociologist from the Uni-versity of Oslo. She has her doctorate in Organization and Administration Theory at the University of Bergen. Røyseng has been a researcher at Telemark Research Institute (1999-2008) and Senior Advi-sor for research at Arts Council Norway (2008-2010). For three years (2014-2016) Røyseng was the Editor-in-Chief of the Nordic Journal of Cultural Policy. She is a member of the editorial boards of the International Journal of Cultural Policy and the Norwegian Journal of Sociology. She has published books and articles on cultural policy, cultural entrepreneur-ship, cultural leadership and freedom of speech in work life.

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Enterprise and business within the classical music museum: is there room for innovation?

Emmanuel Vass, Leeds College of Music

AbstractSince the beginning of the 2000s, artists

Research questions/topic: Marketing to a mobile, global audience has never been cheaper or easier, yet the classical genre appears to be slow in its uptake of innovative marketing strategies, and new methods of dissemination. Will classical music’s chief aim always be to conserve; preserve, and maintain the metaphorical museum in which it resides? This panel session will explore the under-lying reasons for this slow uptake, and also cite examples that subvert this trend.

Aims: 1) To establish how and why classical mu-sic, as a genre, is traditionally perceived as regressive and preservative, especially

with regards to marketing to larger-scale audiences. 2) Demonstrate and draw inspiration from contemporary classical artists who are subverting this trend. 3) Explore the methods by which musicians achieve this subversion, to challenge and enthuse young, classical musicians.

Significance: This session will explore a highly polemic topic within classical music; the discur-sive possibilities of which are endless. It will attempt to unravel entrenched classi-cal music thinking.

BioA mixed race son of a carpenter, Emma-nuel crowd funded his latest album to #1 in the UK classical charts, following a campaign that hit its target in under

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Foto: Paal Audestad

5 days. It subsequently spent 1 month within the top 10. The Mail on Sunday described him as, “one of the most charismatic talents on the contempo-rary scene”; Attitude magazine com-mented that he is, “the new classic”. He has broadcast frequently on ClassicFM; BBC radios 2, 3, 6music, Scotland, Look North, and World Service, ViaSat Explore (Scandinavia), and France 2. A lecturer at Leeds College of Music, Emmanuel lectures music business; strategy, e-com-merce, and marketing, in order to aid musicians of all genres fulfill their creative ambitions through the power of entrepre-neurialism. Here, he has been nominated for 3 student-led teaching awards: “Most inspirational”, “Best feedback”, and “Most innovative”. For more information, visit his website, www.emmanuelvass.co.uk

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Understanding Career Goals & Expectations of Undergraduate Music Majors

Karen P Munnelly, Director of Professional Programs, College of Fine Arts, The University of Texas at Austin

AbstractThis presentation will focus on career goals and expectations of undergradu-ate music majors utilizing original data collected from over 200 undergraduate music majors in 2016. In recent years, there have been a number of studies focused on portfolio careers and the entrepreneurial skills musicians need in the 21st century. Many of these arti-cles state that music majors associate full-time performance positions such as orchestral musician, opera singer and soloist with the most successful careers in music.

While this claim is made, it is often not presented with data to substantiate it. It does not appear that there has been sig-nificant research focusing on the career goals and expectations of music majors. The goal of this study was to gain an understanding into the career goals and expectations of music majors, so that this data can be used to inform program-ming decisions in career and entrepre-

neurship centers. The data collected in this study reveals that music majors have a large variety of career goals and the majority does not expect to work fulltime as an orchestral musician, opera singer or soloist. The majority of respondents in this study expect to hold multiple jobs and engage in project based work. Re-spondents also expect to teach in some capacity as part of their careers.

There is often an assumption made that if students see specific jobs as success-ful then those are the jobs students want and expect to hold. The data collected in this study reveal that there are signifi-cant differences between the jobs music majors associate with success, the jobs they would ideally like to hold and the jobs that they expect to hold after grad-uation. Many previous studies on musi-cian careers utilize data from alumni. A goal of this study is to bring the voices of current undergraduate music majors into the conversation.

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BioKaren Munnelly is the Director of Profes-sional Programs for the College of Fine Arts at the University of Texas at Austin. Prior to her appointment at UT Austin, Karen served as the Director of Under-graduate Studies in Arts Administration at the University of Kentucky. Before going into higher education, Karen en-joyed a successful career in arts admin-istration. She served as the Director of Operations for the Aspen Music Festival & School, the Artistic & Operations Direc-tor for the National Repertory Orchestra, and the Artistic Assistant for the National Symphony Orchestra at the John F. Ken-nedy Center for the Performing Arts. Karen will receive her Ph.D. in Arts Ad-ministration, Education & Policy at The Ohio State University this spring. She re-ceived a Master of Arts in Arts Adminis-tration from Florida State University and a Bachelor of Music in Flute Performance from the University of South Florida.

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Comparing Entrepreneurial Attitudes of Undergraduate Arts and Business students

Sylvia Jen, School of Music, University of Leeds

Abstract Artists have been found to veer natu-rally towards being entrepreneurial, or are much more prone to adapting to entrepreneurial ways due to the often uncertain and risky nature of their work. Literature provides evidence of artists be-having in entrepreneurial ways, although it is largely qualitative testimonies (e.g. Beckman, 2011; Pollard & Wilson, 2013). To date, only one quantitative study has measured the entrepreneurial capacities of artists or arts students, which was carried out by Gibson and Gibson (2010). They had compared the entrepreneurial attitudes of arts students with those of business students at a university in the USA.

This paper will present a new quantita-tive study conducted, which attempted to replicate Gibson and Gibson’s (2010)

study by comparing the entrepreneuri-al attitudes of undergraduate arts and business students at a UK university. The main aim is to contribute towards a larger quantitative overview of the entrepre-neurial capacities of arts students. It also seeks to inform or enhance arts entre-preneurship education by understanding (1) which entrepreneurial attitudes are most likely to be lacking or present in arts students; and (2) which demographic and exposure factors relate to or influence entrepreneurial attitudes. The measure-ment tool used in this study was the En-trepreneurial Attitudes Orientation scale by Robinson, Stimpson, Huefner, & Hunt (1991). A total of 125 students responded to the survey.

Similar to Gibson and Gibson’s study, it was found that business students were more achievement-driven than arts

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students, and that the entrepreneurial at-titudes of arts students decreased as they progressed through university. New find-ings suggest that music students may be the most entrepreneurial, while students with industry or overseas experience have higher entrepreneurial attitudes than those without. The results point to a need to re-examine and determine which arts education practices may be hindering entrepreneurial development, while pro-viding endorsement for experience-based learning.

BioBorn in Taiwan, and raised in South Africa, Sylvia is currently a PhD student in Music Psychology at the University of Leeds under the tutelage of Dr. Karen Burland and Dr. Luke Windsor. Previously she had studies MSc Performance Sci-

ence at the Royal College of Music in London, MMus in Piano Performance at the Royal Conservatoire of Scotland in Glasgow, and BMus in Piano Performance at the University of Pretoria, South Africa. Currently, her research centres on under-standing how to improve entrepreneur-ship education for music students in the higher education sector. In particular, she is delving into the perspectives of under-graduate music students to understand what deters or contributes to their inter-est in entrepreneurship, an how it could ultimately inform best practice. Sylvia’s PhD is being funded by Leeds Internation-al Research Scholarship (LIRS), and her attendance at this conference has kindly been sponsored by the Society for Edu-cation, Music and Psycholgy Research (SEMPRE).

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Renee Jonker studied percussion with Frans van der Kraan at the Royal Con-servatoire in The Hague. He has been playing with Slagwerk Den Haag, the Asko & Schönberg Ensemble, Ensemble Modern and has worked with compos-ers such as Karlheinz Stockhausen and György Kurtág over a longer period of time. He has been on advisory boards for various funds and was member of the Dutch Arts Council from 2003-2006. After a period of twenty-five years performing contemporary music, he focused on promoting music for ra-dio and television and in an education-al setting. He is Director of the Société Gavigniès, a private fund supporting performing arts and head of the Music Master for New Audiences & Innovative Practice at the Royal Conservatoire. As producer for this school he is oversee-ing Aus LICHT, a large scale presenta-tion of Stockhausens opera cycle in a co-production with the Holland Festival and the Dutch National Opera in 2019.

7 students at 7 different programs: How well are we prepared for a professional life in an open and changing music market? Which dilemmas do we have?Renee Jonker, Director of the Société Gavigniès

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But, is it entrepreneurship? Contemporary Musicians Creating their own Projects through Passion and Curiosity

Ellen Ugelvik, Norwegian Academy of Music

Abstract Rather than a natural extension of the classical music heritage, contemporary music is often viewed as a distinctive genre with its own aesthetics. In the course of the classical music education, students are primarily aiming to become performers of what is mainly old music – the so-called standard repertoire of Western music from the early 18th to the early 20th centuries. Contemporary mu-sic is also consigned to the margins of the repertoires of the major concert venues and in the major symphony orchestras’ monthly subscription concerts.

How does this view effect the develop-ment of our roles and performance prac-tice (and the possibilities to create indi-vidual careers) as performers of classical music?

In my opinion, this view creates a lopsid-ed form of creativity and awareness of roles because the approach to making music remains more or less the same on every occasion, with the same music be-ing recycled ad infinitum. By playing old music, the same musicians role is repro-duced and reiterated again and again, reconfirming, in turn, the essential nature of this sphere of activity.

I will discuss how performers of contem-porary music naturally are developing a progressive mind-set towards the possi-bilities implicit in their roles and careers in approaching new compositions. Each new composition carries a potential unique set of challenges and possibilities for the performer to explore.

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The paper will cover some of my findings in my research project, The soloist in con-temporary piano concerti, which I recent-ly completed at the Norwegian Academy of Music. In the project, I looked at the commissioned compositions as performer specific works, searching for a wider po-tential in my role as a classically trained pianist. By changing the way of thinking, I explored and inhabited an expanded work- and performance space.

BioEllen Ugelvik is a pianist and an artist researcher who concentrates on perform-ing new works by contemporary com-posers. Ugelvik works as a soloist and chamber musician in Europe, USA, and Asia. She has been invited to festivals such as Donaueschinger Musiktage, In-ternationalen Ferienkurse für Neue Musik Darmstadt, Tasten – Berliner Klaviertage,

Huddersfield Festival, Ultraschall, ppIA-NISSIMO, Other Minds, Monday Evening Concerts and Risør Kammermusikkfest.

Her commitment to contemporary music is widely recognized. In 2008 and 2017, she received a state grant for performing artists, one of the most coveted awards in Norway. In 2016 she was acclaimed Performer of the year by the Norwegian Society of Composers. She has won three Norwegian Grammy’s.

Ugelvik has performed as a soloist with the most prominent orchestras in Norway such as Oslo-Filharmonien, Bergen Fil-harmoniske Orkester, Kringkastningsork-esteret, Oslo Sinfonietta, Risør Chamber Orchestra and Ensemble Allegria. She is a member of the ensembles asamisimasa and Jagerflygel.

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Politics, Rhetorics and Potentiality within Entrepreneurship in Music

Tanja Orning, CEMPE/Norwegian Academy of Music

Abstract Today, the music field bustles with in-dependent musicians who have built their own careers outside the institutions through developing their own unique ideas and projects. These musicians can be said to have an entrepreneurial mind-set in that they see opportunities and act upon them. Despite this, very few musi-cians identify themselves with the con-cept or role as an entrepreneur, several even express a distrust towards the term and do not want to be associated with it.

In this paper, I will analyse the discourse around entrepreneurship within art mu-sic. Through semi-structured interviews with professional musicians who have succeeded as independent musicians in the free field, I will examine the deeper

causes of the strong opposition towards the concept of entrepreneurship. Why do musicians not want to call themselves entrepreneurs?

The question will be explored along two lines, firstly, the political, ideological and rhetorical side of entrepreneurship as a concept rooted in the realm of business and economics. I will question who bene-fits when this concept is imported into the realm of art, and what comes with the term if one uncritically adopts it from one area in society with its functions and values, to a fundamentally different one. Secondly, I will look at the idea of art as autonomous, freed of relevance and instrumental thinking, and the aesthetic perspectives that follows this ideology. The plethora of interpretations of the term

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entrepreneurship in the literature, sug-gest that the concept has not settled with a common definition. I will examine the potential of the concept of entrepreneur-ship within music if we bring it back to its original meaning: “a person who is active and achieves something” (Dictionnaire de la langue française, 1437), and mould it and knead it in artistic terms.

BioTanja Orning is a cellist and musicolo-gist active in the fields of contemporary and experimental music. After studies in Oslo, in London with William Pleeth and at Indiana University with János Starker (as a Fulbright Research Fellow), she held the position as a co-principal cellist in the Stavanger Symphony Orchestra for

5 years until she left for Oslo in order to realise a number of projects as a performer, improviser and composer. She performs with groups such as asami-simasa, BOA trio, Dr.Ox as well as her solo-project Cellotronics. She has pre-miered approx. 80 chamber music and solo works, and has performed at festi-vals such as Darmstadt, Donaueschingen, Huddersfield, Ultima, Ultraschall, Wien Modern, Taktlos (Zürich), Other Minds (San Fransisco) and Portland Jazzfestival. Since earning her PhD at the Norwegian Academy of Music in contemporary performance practice (2014), Orning works as a post-doctoral researcher at the Academy, besides being an active performer.

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How Internet-mediated Crowdfunding Platforms Help Musicians Developing Their Entrepreneurship While Establishing Their Artistic Careers

Dr Joseph Wong, Open University of Hong Kong

Abstract Although the practice of crowdfunding has a long history before the birth of the Internet, it is actually being widely used as a means of fundraising for music in the past 10 years. With the help of the internet-mediated crowdfunding plat-forms like Kickstarter and Indiegogo, more and more musicians are setting up fundraising campaigns to support their music projects. In 2016, it is estimated that there are over 2000 crowdfunding websites; and according to the statistics of Kickstarter, over 24,000 music-related projects have successfully got funded (with a total amount of over 186 million US dollars being raised) since the launch the platform.

Nowadays, crowdfunding has become an alternative way for musicians to finance the production of their album or live per-

formance projects. Through these online platforms, musicians can get enough financial support from the communities all over the world for starting up their projects, even if they have not signed with any record company. In creating a crowd-funding project on an online platform, musicians not only have to ensure the artistic qualities of the music are the best, but also have to take care of the budget, marketability, delivery logistics, etc. So, musicians are actually acting as an en-trepreneur when putting the project on a crowdfunding platform. Furthermore, as there are different types of crowdfunding options being offered by different plat-forms (from subscription to a single music video to supporting a physical full album), choosing the right crowdfunding option and setting an attainable goal for the pro-ject would definitely help the musicians build up their career.

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This paper analyses the advantages and disadvantages main types of internet-me-diated crowdfunding platforms for music entrepreneurs and explores the possibilities of incorporating the knowledge and prac-tice of using the internet-mediated crowd-funding platforms as part of the curricular for equipping musicians as entrepreneurs.

BioJoseph Wong studied music at the Chinese University of Hong Kong and the University of York, where he obtained his MMus and PhD respectively. His music has been performed in Hong Kong, United Kingdom, Israel and South Korea. His Duo for percussion was awarded the Nicola LeFanu Composition Prize by the University of York in 2009.

Wong’s research interests include composition theory, music technolo-

gy, popular music culture, and music industry. His research papers have been selected and presented in various inter-national conferences including the East Asian Regional Association of the Inter-national Musicological Society (IMS-EA) 3rd Biennial Conference, and the Music and Cultural Studies Conference ’15 (MUSICULT).

Wong is currently a lecturer at the Open University of Hong Kong, where he teaches courses on popular music culture and music industry.

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Concert dramaturgy as tool for creative entrepreneurship

Andreas Sønning, Norwegian Academy of Music

Abstract

Background:Internationally, there is a high number of highly educated musicians – but unfor-tunately, few permanent jobs. My main interest, both in education and as an artistic program director for more than 20 years, has been the use of music for communication purposes beyond musi-cal artistry, and also, to study how musi-cians, through cultural entrepreneurship, can establish themselves in value chains across various sectors of society. While music students develop instrumental excellence and performance skills, it takes a number of added skills (such as team-building, cross-cultural communica-tion, and dramaturgical skills) to develop programs for demanding customers not only in the cultural life, but also in busi-ness, the public sector, and non-govern-mental organizations – locally, nationally, and internationally.

Research topics:I focus here on three main problem areas: 1) No musical entrepreneur can possess alone all the skills and competences needed to build advanced programs. Teamwork, built on interdisciplinarity, an-chored in diversified competence teams, is therefore mandatory. The teams need to include both “soft skills” – related to musical performance and dramaturgy, and “hard skills” – related to manage-rial and business challenges (such as networking, marketing and team lead-ership). Putting together, and working in such teams, is therefore a very important challenge – and opportunity. 2) No such program is equal to another, and there is a strong competition for being ahead of the crowd. There is also, increasingly, a demand for music to bridge cultural and political divides and serve international commercial ends. Innovation is therefore highly prized, requiring both individual

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“champions” and creative teams. The link between entrepreneurship, diversified competence teams, and program innova-tion therefore needs to be studied. Finally, 3) there is a need to study the quite sensi-tive (and sometimes fragile) relationship between commercial success and artistic integrity.

Aims and significance: A key potential for cultural entrepreneurs is utilizing their communication skills and artistic skills in conveying value based messages, in different social, cultural, political and commercial contexts. They therefore need to have a strong footing in their own artistic and ethical values. I will draw on real cases from personal experi-ence to illustrate all three challenges. My presentation will also nurture and identify key research issues for further under-standing and development regarding entrepreneurship in Music.

BioAndreas Sønning is associate professor at the Norwegian Academy of music, (1987–) and teaches courses on Music Performance and Communication Skills, Concert Dramaturgy and Creative en-trepreneurship. He has since 2010 been partner in EU networks for Creative Entrepreneurship and visiting professor to several universities and conservatoires in Europe.

Andreas Sønning has from 1987 toured as a flute soloist, chamber musician and artistic director in several countries. He has been in charge of festivals in Norway and France and developed cultural programs for Norwegian authorities and multi national companies like Telenor, Nordea, Total E&P Norway and Hydro, – in 25 countries over the last 22 years.

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Average Jonas Norwegian Academy of Music

BioJonas Navarsete was born and raised in Sogndal, Norway (1989) and lives in Oslo. Ever since early childhood he was very influenced by the music he heard around him. For several years he played bass and sang in a rock band. As a master student at the Nation-al Sports Academy, he began to sing in a choir that led to the start of the YouTube channel “Average Jonas” and participation on tour and television productions as “Julelutt”, “Gullsnutten” and “musi-cal concert with SOFORK”. Jonas has also arranged and managed several concert tours in Sogn og Fjordane and received in 2015 Alla Nova Culture Prize for his efforts in spreading joy and developing cul-tural life in the country. The same year he started a bachelor in classi-cal music at the Norwegian Acade-my of Music. He has been a soloist with several symphony orchestras, and during spring 2017 Jonas was a backup singer for Andrea Bocelli in a packed Telenor Arena. Coming autumn, he will play the role of “Guttorm” in the new opera Sildegapet in Nordfjord Opera. He is in vocal training with Svein Bjørkøy.

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Helga Myhr

BioHelga Myhr is a hardangerfiddler from Hallingdal in Norway. She is now studying folk music at the Norwegian Academy of Music. She likes to explore the different ways of improvisation; in the traditional solistic music, but also togheter with other musician from different backgrounds. Helga participates in different groups and bands, such as the folkmusic trio Morgonrode, and the vocal group Kvedarkvintetten that realised their debut album last spring.

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Past Present Simen Kiil Halvorsen, trumpetAlexander Hoholm, double bass

The Norwegian duo Past Present propel themselves and their instruments beyond the status quo and the space beyond. Driving. Raw. Music filled with contrasts and large sounds. Insert inspiration from classical composers, a nod to the jazz tradition, then blow it up through creative expression unrestrained by the laws of the past. Organic. Engaged. Past Present challenge themselves, their instruments, and creative music’s idiomatic roles. Both musicians were born and bred in Norway ultimately establishing their connection in Oslo at the Norwegian Academy of Music.

Photo: Paal Audestad

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Entrepreneurship in Higher Music Education in Norway

Kristian Nymoen, University of Oslo, Department of MusicologyÅshild Watne, University of Oslo, Department of Musicology

Abstract Recently, in Norway, increased attention has been given to the importance of teaching entrepreneurship in higher edu-cation. Research projects initiated by Nor-wegian authorities have mapped out the status of education in entrepreneurship in Norwegian universities and university colleges. The higher music educations in Norway have also been investigated, but only under the umbrella of “humanities and aesthetics”. Thus, previous research has not shed light on whether music education institutions prioritize entrepre-neurship.

We have conducted a small, focused survey on entrepreneurship in higher music education in Norway. The leaders of all the Norwegian institutions for higher music education were invited to respond to a questionnaire on the music educa-tion at their institution. 15 of 23 accepted the invitation. The survey suggests that entrepreneurship in music education is of

a higher priority than what surveys from Nordic Institute for Studies in Innovation, Research and Education (NIFU) indicate for aesthetic disciplines as a whole. Almost all participants report that more than one of their employees have the required competence to teach entrepre-neurship. There is, however, a consensus among the respondents that the teaching of entrepreneurship at their institutions has a potential for improvement. Balanc-ing of “pure” music subjects on the one hand, and entrepreneurial subjects on the other is given as one of the challenges faced. One possible solution could be to increase knowledge and awareness of entrepreneurship among teachers, and incorporate entrepreneurial thinking in all music subjects, rather than teaching music entrepreneurship as an isolated subject.

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BioKristian Nymoen completed his PhD in Informatics in 2013, where the applicabil-ity of motion capture technologies and machine learning to music cognition re-search was the main focus. He now holds a joint position as Associate Professor at the Department of Musicology and the Department of Informatics at the Univer-sity of Oslo. Nymoen is active in research on new interfaces for musical expression, and teaches music technology, music cognition, and interactive music.

Åshild Watne is a singer, composer and music researcher.

She works as a senior lecturer at the University of Oslo, Department of Musicol-ogy, and at the Norwegian Academy of Music. She is in particular interested in the research fields of intonation and absolute pitch, and teaches aural training and vo-cal ensemble. She has been a part of the organizing group of this conference.

Åshild Watne has performed and com-posed music within a wide range of gen-res. She sings traditional songs and plays Norwegian harps and lyres on the album Julefred (1997).

She wrote the songs for the children’s jazz album Maneten Medusa (2010). She was awarded a composer’s prize in Witten-berg, Germany (2017), in The European Reformation Song Contest, celebrating 500 years since the reformation. She has written several melodies in Scandinavi-an hymnals and liturgical music for The Church of Norway.

Her classical choir experience includes the St. Olaf Choir, Minnesota, USA, and The Norwegian Soloist Choir.

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How do we develop an entrepreneurial mindset?

Lisbeth Wathne Svinø, CEMPE/Norwegian Academy of Music

Abstract An important starting point for today’s understanding of entrepreneurship is J.A. Schumpeter’s classical work: “The theory of economic development” (1934) in which he defines entrepreneurship as a process of developing a business: from identifying an opportunity through the organizational work of setting up a new business. The Government’s “Action plan for Entrepre-neurship in Education 2009 - 2014” intro-duces a wider understanding of entre-preneurship and defines it as “the ability to see opportunities and act upon them”. Johansen and Støren (2014) interpret-ed this as three approaches; education about, for and through entrepreneurship. Education about entrepreneurship regard it as a social phenomenon, for implicates activities that are needed to start a com-pany, and through includes activities and processes that stimulate the development of students’ personal skills/attitudes; their ability to take initiative and risks, build confidence, ability to cooperate, etc. The purpose is to give students experiences through participating in entrepreneurial working processes, with an intention to develop an entrepreneurial mindset.

By pursuing this line of reasoning, developing a practice where the students include business tools and the use of personal and artistic skills/attitudes, is an example of cultivating an entrepreneurial mindset for music students.

The Norwegian Academy of Music has offered the postgraduate course “Cul-tural Entrepreneurship” since 2011. The course which is module based attracts students from the entire country. The first applicants were primarily musicians whereas in recent years, the students’ backgrounds have been more multidis-ciplinary. In addition to a business focus, the course includes a strong focus on personal communication.

The aim of the paper is to discuss educa-tional methods in developing an entre-preneurial mindset. I will use the post-graduate students’ evaluations coupled with my own experience as a teacher in this discussion. A relevant question is: What characterizes applicable teaching in order to achieve an entrepreneurial mindset?

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BioLisbeth Wathne Svinø got her degrees in Classical Percussion and Pedagogy at Universities in Norway, Denmark, Germany and Japan. She is also educated in Economics, Management and Coaching.

In her work, she combines her former performing background with manage-rial business experience and expertise in communication. Lisbeth is a versatile person who orchestrates opportunities for individuals, teams and organizations.

At the Norwegian Academy of Music, Lisbeth teaches Entrepreneurship and Project Management. She is also teaching at the Norwegian College of Musical Theatre and Kristiania University College, in addition to classes at the Oslo National Academy of the Arts and Bergen Academy of Art and Design.

In addition to assignments in career and leadership development, guidance of entrepreneurs and coaching, Lisbeth works with the Norwegian Council for Culture Schools in National Programs.

One example is KULTUR, a programme where the bank Nordea and The Council collaborate. During spring 2017 the Programme also contains a pilot in entrepreneurship training for young talents.

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Professionalization strategies for music in discussion

Carsten Winter, Hanover University of Music, Drama and MediaAlexander Schories, Hanover University of Music, Drama and Media

Abstract

1. Research / topic Our presentation will discuss profession-alization strategies and actions of leading music institutions preparing students for their professional activities. These meas-ures have been analyzed and discussed in the context of research before they were discussed with 29 different stakeholders of our university. The presentation ends with an outlook for the foreseeable future actions for developing professionalization strategies.

2. Background According to international research the central problem of professional orienta-tion of students is that they are taught that they will work permanently in existing organizations. Particularly for young art-ists the opposite is documented. There-fore we start with a short presentation of own research related to job requirements in the professional fields of music and media management (2004-2008 with N = 3823 and n = 920, and 2008-2010 with N = 3528 and n = 603, and 2010-2014 with N = 8254 and n = 1094). The studies consist-ently show the increase of the demand for management and language skills, as well as “flexibility” and especially for “PC and

IT knowledge” and since 2011 more and more frequently for specific digital liter-acy. Secondly we present own research regarding new requirements in the pro-fessional fields of music and concerning new players’ roles in the music industry, mainly musicians as “artepreneurs” or “mediapreneurs” and regarding new financing possibilities operating with-out established banks or public funding strongly expanding the scope of music-preneurs as a study on success factors of music crowdfunding shows.

3. What measures should be taken to develop professional activities? Against this background we have ana-lyzed the websites of 40 institutions from 20 countries, selected because of their prominence, international reputation, Google ranking and English-speaking offers. The results confirmed that, firstly, more and more measures are taken and that, secondly, a trend towards the inte-gration of these measures in disciplinary research and teaching is foreseeable. We show, how most institutions are now beginning with more strategic and profil-ing research, teaching and services with new interdisciplinary and international centers, entrepreneurship initiatives and MOOCs to increasingly prepare students

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for challenges of networked media and international self-organized portfolio careers and how 29 HMTMH stakehold-ers (board, senate, professors, lecturers, students, the spokesmen of the University Council and of the University Foundation) evaluate these strategies and activities with regard to our university.

BioUniv.-Prof. Dr. phil. habil. Carsten Winter is Full Professor of Media and Music Management at the Hanover University of Music, Drama and Media (Germa-ny). He is one of the founders and editors of the International Journal of Music Business Research (IJMBR) and founding President of the german Ge-sellschaft für Musikwirtschafts- und Musikkultur forschung e.V. (GMM –Soci-ety for Musicbusiness and Musicculture Research).

His more than twenty books include Cultural Studies (with R. Bromley and U. Göttlich, 1999), Grundlagen des Medien-managements (with M. Karmasin; Basics of Media Management, 1999 f.), Kultur-wandel und Globalisierung (with C. Robertson; Cultural Change and Globalization, 2000); Globalisierung der

Medienkommunikation (with A. Hepp – Globalization of Media Communication, 2005), Konvergenz und Medienwirtschaft (with M. Karmasin – Convergence and Media Economy, 2006), Connectivity, Network and Flows. Conceptualizing Contemporary Communications (– with A. Hepp, F. Krotz and Sh. Moores, 2008). His publications also include more than 75 journal articles and book chapters. His interests are strategic media and music management, creative cities, cultural studies, media history and strategic media development.

Alexander Schories, M.A. studied at the Hanover University of Music, Drama and Media in the subjects piano pedago-gy (Diploma) and Master of Media and Music. Currently, he holds a part time position at the International Relations Office at the same institution. Besides of that he has had the chance to work in different fields of the cultural sector (Fes-tival, Artist Agency, Ministry for Science and Culture). Currently he is working for his PhD in the field of Internationalization of Music Related Higher Education Institu-tions, as well as their Professionalization Strategies.

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Step Back and I will Act

Davy de Wit, ArtEz University of the Arts, ArtEz School of Music, Head ArtEz Academy of Pop Music, Enschede, The Netherlands

Peter Leutscher, Head ArtEz Academy of Media Music, Enschede, The Netherlands

Abstract Traditional music training has gone through many changes over the past decades. Nowadays, a musician needs to have both skills as a musician and as an entrepreneur. Music training programmes need to provide training in both domains.With over 800 students and 250 lecturers, the ArtEZ School of Music is one of the largest conservatories in the Netherlands.

In 2011, at the ArtEZ Academy of Pop Music and Media Music a new education-al programme was developed, to enablecrossover collaboration between music departments, teachers and students. The main focus was to stimulate entrepre-neurship, to stimulate the artistic identity and to equip the young professional with adequate skills for his professional ca-reer. Throughout the whole programme students learn professional skills from nationally and internationally renowned experts and coaches. Graduate pro-files are in line with the modern market demand. Students work together in band-projects, videoclips, the development of apps or the release of albums. They can start a company, such as a music

label or a music school. Marketing, sales and distribution are part of the projects, including the graduation project.

Working from the unique talents of the students themselves, they are enabled to shape their own learning pathway: step Back and I will act. In the introduction of this approach students, staff and teach-ers where consulted. A good balance was found between the product oriented demand of the creative industry and the artistic authenticity of the students. The results are there: students go on interna-tional trainee ships, take more initiative, cooperate and start projects that we couldn’t have started ourselves. 87% of our alumni has a job in the creative indus-try, 80% based on a creative idea of their own (alumni survey, 2015). We are proud of this result and would like to share our experiences with others.

Topics:How to develop a learning programme that fits the present generation of students and prepares them for present and future demands.

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Aims:- More free learningspace for the student,

step back and I will act.- The student as the leader (confidence)- Realistic assignments- Cooperation- Students design their own professional

practice

Significance/relevance:- Stimulating entrepreneurship and

artistic qualities in the student

BioDavy de Wit (1968) is Head ArtEZ Academy of Pop Music. Management team of the ArtEZ School of Music, teacher theory lab and metrology, tutor. Coach time management / informa-tionmanagement, Bassplayer (7-string)

Peter Leutscher Educational Manag-er, Innovator, Composition & Music Production My main goal is to innovate and develop art & technology education so as to offer the best possible higher education to

young and ambitious people. My focus is music production and composition with new media. I am Head of the Department ArtEZ MediaMusic in The Netherlands. This is a higher education music production program for producers, composers & el.artists. Alumni are working in the top of the industry, such as making compo-sitions for Hollywood blockbusters. And beside that I am educational counsellor for national and international projects. In the past I did many various things beside teaching, such as performing classical-, avantgarde-, jazz-, pop- and electronic music. I released the first interactive CD with own compositions and productions in the Netherlands. And published also music books. And so on.

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Reflective Entrepreneurship Music Education Wordclass

Astrid Elbek, The Royal Academy of Music Aarhus/Aalborg Keld Hosbond, The Royal Academy of Music Aarhus/Aalborg

Abstract The Erasmus + project for Strategic part-nership, RENEW aims to establish entre-preneurship as a catalyst for curricular innovation in Europe and to contribute to improving the employability of future mu-sic graduates through the artistic, peda-gogical and entrepreneurial development of higher music education studies.

RENEW: Reflective Entrepreneurship Music Education Wordclass is a new and inno-vative project funded under the European Commission programme Erasmus+ for Strategic Partnerships.

The project aims to promote entrepre-neurship as an important component of higher music education (HME) pro-grammes; to establish entrepreneurship as a catalyst for curricular innovation in European HME in general and particularly in the partner institutions involved in the project.

The project will bring together interna-tional experts to design staff development sessions aimed at teaching staff members involved in promoting an entrepreneur-ial mind-set within institutions and also ‘Bootcamps’ for students in each partner institution, including master-class ses-

sions, ‘webinars’ and workshops. The bootcamps in RENEW will be innovative as they will be delivered continuously by each institution to the same cohort of students; distance learning will ensure contact and mentoring for each student in between bootcamps; and they will be-come sustainable after the project period by being embedded as electives in the programmes of individual conservatoires.

The project will develop two main out-comes:• Methods and tools to support these

learning and training activities: A Reflective Portfolio will be elaborated to stimulate students’ entrepreneurial thinking and to suggest ways of har-nessing the professional experiences of graduates and alumni as a means of convincing both students and staff of the need to think about the realities of the world of work during their studies

• A transnational joint module in entrepre-neurship as a new event in the higher music education sector. Apart from creat-ing institutional attention to the topic it will secure an innovative approach based on blended mobility, with the use of new technology, thereby giving easy access to internationalisation and entrepreneurial mindset development.

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BioAstrid Elbek was born in 1956 in Copen-hagen. She is a pianist/composer (Shit & Chanel, Anne Linnet, Ed Jones and many others). She graduated from Royal Academy of Music (RAMA), Aarhus, Music Pedagogy (majoring in jazz piano and en-semble leading) 1981. She was a member of the Danish National Music Council 1987 – 1995. Teaching at RAMA since 1982, she became Ass. Professor at Royal Academy of Music (RAMA), Aarhus/Aalborg in 1991 with the responsibility of building up the new program in Rhythmic Music. Since 1996 in the leadership of RAMA (Head of Education, Vice principal). Since 2010 she has been Head of Development at RAMA, building up the new programs for Entrepreneurship and Songwriting. She has been active in several international committees, recently as a member of the NOKUT expert panel, (The Centres for Excellence in Education Initiative (SFU), Norway) and currently as leader of work-ing group, Strategic partnership, RENEW (Guildhall School of Music (London), Roy-al Conservatory of The Hague, Sibelius Academy (Helsinki), Norwegian Academy of Music (Oslo), RAMA (Aarhus) and AEC) and as a member of the panel of judges for the Global Teaching Excellence Award (HEA Academy, London).

Keld Hosbond, b.1967 (Vice principal and Head of International Relations, RAMA DK) holds degrees in Political Science from Aarhus University (Master Thesis: Globalization and Democracy in Africa) and in rhythmic music and trombone from Royal Academy of Music, Aarhus/Aalborg, RAMA.

Appointed Head of International Re-lations at RAMA in 2004, he has been initiating and managing major projects within internationalization of the Higher Music Education sector in Europe and globally (e.g GLOMUS – Global Network for Music Academies (partners in Europe, Africa, Middle East, Americas), ACTinART – Nordic Network for Entrepreneurial Thinking in Arts Education, EU project Polifonia – chairman of committee on mo-bility, joint study programs and recogni-tion, NordPULS Nordic Network for Music Academies – Chairman.

He has been a key figure in implementing curricular innovations at RAMA within the areas of Entrepreneurship, Distance Learn-ing, Joint Study Programmes (e.g. the Joint Programmes NOMAZZ – Nordic Master in Jazz and GLOMAS, Global Music Master) and in internationalization in general.

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Can we find entrepreneurial elements at the core of the Master’s Program?

Kjell Tore Innervik, Norwegian Academy of Music

Abstract A presentation of the Master of Music in Performance at The Norwegian Academy of Music with examples of content and artistic output.

During a four-year period, we have been developing the MA curriculum with activi-ties that possibly can stimulate to a more entrepreneurial mindset. Our concern have been to nourish the instrumental development as well as looking at the possibilities that a more creative ap-proach to training students will boost the intrinsic motivation to widen the horizon and include their thoughts about artistic identity, soon going into the society as professional artists.

What do we do?To stimulate to a wider search of possible topics with the aim of including the com-munity of musicians, we have tried to gen-erate a “learning-by-doing” environment. We program activities such as: The Labs, The Dialogues, The Modules, The Social Responsive Musicians, The Inter-discipli-nary meeting points, The Artistic master’s project forums, and The Artistic master’s project.

Our ambitions have been to stimulate to an environment of openness, sharing, reflection and doing! Innervik will show

examples of content in the curriculum and students MA-projects, and he will reflect upon the challenges these represent.

BioKjell Tore Innervik, associate professor at NMH, has attracted attention both in Nor-way and abroad as an individual artist who is not afraid to explore new music and new ways of communicating through music. In-nervik studied percussion at the Norwegian Academy of Music, completing his Diploma in advanced solo performance in 2003. Innervik was enrolled in the Norwegian Artistic Research Fellowship Programme 2004-2008 with the Quartertone ma-rimba project and subsequently became post doctor in the focus area: Creation and Renewal leading the NIME project: New Instruments for Musical Exploration. In 2017 he completed the senior artistic research project Radical Interpretation of Iconic Musical works for Percussion around the music of Morton Feldman and Iannis Xenakis He has won several competitions, and was selected to take part in the Norwegian Concert Institutes prestigious young artists’ program, INTRO Classics from 2004-2007. From 2009 to 2013, Innervik was Vice Rector of outreach at the Norwegian Academy of Music and is currently Head of the Master Programme in Musical performance at NMH.

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What can music education at HE level learn from the entrepreneurial mind-set of Historically Informed Performance (HIP) professionals?

Fiona Stevens, University of Southampton, United Kingdom

Abstract As part of my PhD exploring which val-ues people involved in an arts process attribute to that process, I carried out one research project asking freelance HIP musicians about their socioeconomic status and their reasons for choosing HIP. The project ran from January to April 2012 in the context of an internationally ac-claimed HIP orchestra based in Germany. My analysis of the data collected suggest-ed that the musicians had a particularly entrepreneurial mind-set, with creative freedom, high personal responsibility, and innovation playing an important role in their decision to work as freelancers in HIP.

One significant aspect they did not share with “classic” entrepreneurs was that they were not primarily interested in acquiring economic wealth, and therefore can be considered “cultural entrepreneurs” as defined by Swedberg: “the carrying out of a novel combination that results in some-thing new and appreciated in the cultural sphere.” (2006:260).

A BA performance course in Germany currently prepares students for auditions in salaried orchestras, but the reality of their probable future employment oppor-

tunities lies in free-lancing (Das Orchester, 9/2016). HE music education therefore needs to consider how to prepare stu-dents for a reality that is likely to be free-lance, and my research results suggest how it might do this.

In this presentation, I will introduce a 2- semester module which simulates freelance reality within a supported environment, so that students can be guided through the steps they will later likely confront as freelance professionals. Within this module they are required to actively test what it means to develop their entrepreneurial skills not only in terms of cultural value, but also to transfer them to the environment of the “classic” entrepre-neur: networking to obtain sponsorship and income opportunities, innovation with regard to planning concerts and market-ing, passion in bringing their concept on to the stage.

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The Role of Entrepreneurial Training in the Development of Music Students’Multiple Identities

Anna-Maria Ranczakowska, Estonian Academy of Music and TheatreKristina Kuznetsova-Bogdanovits, Sibelius Academy, University of the Arts Helsinki/Estonian Academy of Music and Theatre

Abstract As education developers researchers and entrepreneurial facilitators in an arts university context - we are well acquaint-ed with the challenges as well as oppor-tunities that owning multiple intersecting identities can have on a creative person. We observe that merging several iden-tities can be a challenge for a student if the learning process is oriented toward skills, knowledge and mindset from differ-ent paradigmatic backgrounds - e.g. arts and business; creation and interpretation, pedagogics and performing.

We suggest that supporting the devel-opment of holistic and unique profes-sional identities could be the key focus of entrepreneurial training offered. The skills and knowledge required for main-taining intended lifestyle that matches the identity and attitude are in constant change and often learned by doing spon-taneously during the studies and practice of a young professional. We believe that identity is co-constructed in the societal and co operative context. However, hands on critical skills applied in the coopera-tion projects, through team work methods and in practice oriented tasks should not necess arily be the core of entrepreneur-

ship education. The question posed for the educators could rather be: “How do Ifacilitate the development of my students’ identities so that they can live the (future) lifestyle they choose for themselves?” By asking this question we lean on O. Scharmer’ s U theory and “future per-spective” as well as social constructionistapproach in education in general.

We explore the data from two cases: Sibelius Academy, University of the Arts Helsinki and Estonian Academy of Music and Theatre. We analyze student reflec-tions, attitudes and expressed opinions on their identity development, futureprojections and current needs within the context of entrepreneurial training. We want to contribute to the discussion on the concept of entrepreneurial identities of arts students/artists and engage into dialogue with entrepreneurial as well artseducators from higher education institu-tions.

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BioAnna Maria Ranczakowska is an ad-ministrative and academic designer and coordinator of the International Cultural Management MA programme at EAMT, facilitator of the entrepreneurial mindset at the Center for Cultural Management and coordinator of ActinArt Network for entrepreneurial mindset and skills in Nordic artistic academies. She is a doctoral student of Cultural Anthropology in Tallinn University School of Humani-ties. Her research interest focuses on the creation and analysis of new perspectives on the artists entrepreneurial mindset and development of a novel approach towards understanding and interpre-tation of conflicts to counter current widely used methodological nationalism. Ranczakowska holds a degree in Cultural Management, Religion Philosophy and Tourism Management and is a member of Curricula Advisory Board to CM pro-gramme, Estonian Cultural House and Culture Action Europe. She cooperates with the European Association for Quality Assurance in Higher Education as an ex-ternal program evaluator. Ranczakowska runs her own consulting company in the field of the sustainable cultural develop-ment. She is also dedicated beekeeper

and business planning facilitator at the School for Professional Beekeeping in Sweden.

Kristina Kuznetsova-Bogdanovitsh is a doctoral student-research assistant in Arts Management at the Sibelius Acade-my, University of the Arts Helsinki. Kris-tina holds a Master’s degree in Cultural Management from the Estonian Academy of Music and Theatre. She works as an entrepreneurial mindset facilitator for music students and with international R&D projects in the field of education, all of which shows that societal context is becoming key for arts universities. This led her to explore educational and man-agement practices in contemporary arts universities, focusing on entrepreneurial education provided. The research looks for student-initiated definitions of be-ing entrepreneurial as a complex phe-nomenon and brings a new perspective on working as an artist. Main research questions posed to the work are: “How is the concept of entrepreneurial education co-constructed between the students, educators and university management?” “How does entrepreneurial education re-late to the societal engagement practices of arts universities?”

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Entrepreneurship as Unifier: Rethinking the Art vs. Commerce Dichotomy

Jeffrey Nytch, University of Colorado at Boulder, USA

Abstract As noted in the Call for Presentations, the tension between notions of “pure art” and “art for commercial purpose” is deeply embedded in music academia. The emer-gence of entrepreneurship as a pursuit relevant to the fine arts has increased this tension, driven by the assumption that entrepreneurship belongs firmly on the “art for commercial purpose” side of the equation. This positioning is unfortunate, and results from a limited view of how principles of entrepreneurial thought and action can be applied. While the purpose of entrepreneurship is to create value for a product (or service), the ways in which the product-value dyad is realized varies greatly, and can include unique products of great value and aesthetic worth just as much as purely utilitarian ones.

By examining our biases concerning artis-tic “products” and offering some examples of entrepreneurial principles played out in artistic settings, this paper will provide a more nuanced understanding of how entrepreneurship operates in the fine arts realm. Entrepreneurship will be recast as a tool for the realization of artistic expres-sion and for the empowerment of individu-al artist-practitioners. Rather than viewing entrepreneurship as a distinct entity in

and of itself (and intrinsically incompa-tible with artistic “purity”), we can view it as unifying force, a vehicle for facilitating marketplace value for artistic products. Such a view presents entrepreneurship in a fundamentally different light than is the norm, and could help overcome resist-ance to, and misunderstanding of, entre-preneurship within a conservatory setting.

BioJeffrey Nytch enjoys a diverse career as a composer, educator, and consultant. Since joining the faculty of The University of Colorado-Boulder as Director of the Entre-preneurship Center for Music (in 2009), he has expanded the curriculum, launched a weekly professional development series, and partnered with the Leeds School of Business to create an 18-credit Certificate in Music Entrepreneurship. Nytch is in wide demand as a speaker and scholar, and is a frequent guest clinician at schools and conservatories throughout the U.S. He uses principles of entrepreneurship to inform his strategic planning consulting, as well as his ongoing work as a composer. His book, The Entrepreneurial Muse: Creating a Thriving Career in Music (Oxford University Press) will be released later this year.

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Joint Research Centres Conference November 1 – 3, 2017:

The Protean Musician

What does the future look like for the musician in society? The four Research Centres of the Norwegian Academy of Music invite colleagues from Norway and abroad to address this question by sending proposals for their joint conference The Protean Musician: the musician in future society.

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The Protean Musician: the musician in future society

BackgroundMusicians 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. They also need to be equipped to help others in this realisation.This conference aims to explore aspects of the micro-experience of students in the conservatoire, and how these might relate, at the macro-level, to what the artistic/professional career experiences of these people may be in future.

We are aware that there are numerous human frailties involved in the music ‘pro-fession’, and the idea that obstacles must be overcome in life through some form of self-realisation is as true for the musician as for any individual.

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 ex-ploitation remain problematic in the music world, but are largely ignored, at best, marginalised and, at worst, covertly ech-oed in the single-minded discipline of the teaching studio and practice room.

How might we go about resolving this situa tion? 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 addressedIssues which may be addressed under this topic area include:• Identity: Questions around identity are

very important because when they en-counter 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?

• Courage: Do we really have the cour-age 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?

• Power Relations: Are we dealing prop-erly 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 conserva-toire, and in the ‘real’ world’?

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The Norwegian Academy of Music

The Norwegian Academy of Music is a leading artistic and academic university college with over 600 students. It offers music education founded on research and artistic developmental work. The faculty is composed of leading performers, music pedagogues, conductors, church musicians, music therapists and composers.

The Academy runs projects and activities through the research centres the Arne Nordheim Centre, Centre for Research in Music and Health and Centre for Educational Research in Music. The Academy hosts the Centre of Excellence in Music Performance Education (CEMPE).

The Norwegian Academy of Music Slemdalsveien 11PB 5190, MajorstuaNO-0302 OSLO+ 47 23 36 70 00nmh.no nmh.no