Entrepreneurship in music

1. Introduction

2. Uses, functions and meanings of music

3. ‘Musicking’ individuals

4. Music in the world of high culture

(Van Aart et al., 2017)

9

Audiences: by habit – by choice – by surprise

10

Relations with audiences:

2. Uses, functions and

meanings of music

Is music an object?

Ideas

Behavior

Sound

administrating broadcasting collecting composing contesting counterfacting crying dancing dj-ing doing exchange games leading making instruments meeting like-minded organising pageturning performing playbacking playing mediated music playing mediated music - background playing instruments playing instruments together producing rap

reading staff notation recording singing singing together talking teaching visiting concerts visiting dance performances watching audience watching musicians writing teaching materials

16

Musical Meaning Making:

Not an input-output process

17

A biographical process

18

The meaning of music resides in

the meeting of the individual with the music (‘affordances’)

Impulses from outside Biograficity = Inner logic of processing; Personal codes of experience

Meaning

19

The meeting where meaning is being made

Impulses from outside Biograficity = Inner logic of processing; Personal codes of experience

Meaning

making

4. Music in the world of

high culture

Music as an Art

‘Music as Art’ paradigm: “music essentially is a

combination of craftsmanship and expressivity leading to

Works of Art”

Origins: western early modernity

Still dominant – but more and more under pressure

5. The musician and the

market place?

54 35 113 41 54 0 20 40 60 80 100 120

klassiek jazz pop/rock wereldmuziek overig

aa n ta l con ce rten 12 -25/4/2010

7,64 1,11 3,19 3,52 _2,93 3,68 13,57 7,8 12,03 7,23 7,87 10,61 0 2 4 6 8 10 12 14 16

klassiek jazz pop/rock wereldmuziek overig gemiddeld

ge m idd elde e n tre e (€) 12 -25/4/2010

Gemiddelde entree (€) - genre

(stad Groningen) Alle concerten

Betaalde concerten

34

Two models that do not help us to think about the future

Producer

Customer

Supplier

Consumer

35

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’???)

36

Three models to help us think about the future

Producer

Customer

Supplier

Consumer

Musician

dialogue/

co-creation

Audience

37

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 after graduation and how their ‘careers’ take shape.

3. Any conservatoire needs intimate experience with forms of ‘musicking’ outside the formerly dominant paradigm of ‘Music-as-Art’.

4. We should study which new conservatoire models are currently being developed within higher music education internationally.

5. We have to realize that traditional conservatoire organizational structures, concrete teaching practices, human resource management decisions, decisions about the allocation of finances etc. etc. form implicitly a very powerful cultural system governed by the ‘Music-as-Art’ paradigm.

6. Most students we educate will have (very) differerent career paths than our own.