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n Tydskrif vir Geesteswetenskappe - Musiekentrepreneurskap : 'n onmisbare element van die tersiêre musiekkurrikulum - : navorsings- en oorsigartikel

Volume 52, Issue 2
  • ISSN : 0041-4751

Abstract

Slegs 0,065 persent van die totale bevolking van die VSA en die Europese Unie is werksaam in poste wat vir musikante gestruktureer is. Daar is lank reeds 'n ooraanbod van musici wat met onvoldoende vaardighede toegerus is vir professionele oorlewing in die hedendaagse samelewing. Bogenoemde situasie is deels die gevolg van onderriginstellings wat krampagtig vasklou aan 19de-eeuse onderrigpraktyke in die hoop dat dit genoegsaam sou wees vir die voorbereiding van 21ste-eeuse kunstenaars. Die realiteit is dat alternatiewe kunsbeoefening buite die tradisionele werksomgewing van die onderwys en die simfonieorkes ondersoek moet word; een alternatief is die sogenaamde kuns- of musiekentrepreneurskap. Hierdie artikel, gebaseer op 'n MBA-veldstudie asook uitgebreide Fulbright postdoktorale navorsing, poog om die ontwikkeling van kunsentrepreneurskapsonderrig te belig aan die hand van ontwikkelinge in die kreatiewe industrieë oor die laaste dekade. Die potensiaal van kunsentrepreneurskapskurrikula om nuwe professionele geleenthede vir musikante te skep, word ondersoek. Verskillende onderrigmodelle word uitgelig, en daar word tot die gevolgtrekking gekom dat nie te veel professionele musikante werksaam is nie, maar wel dié met die verkeerde vaardighede.


After decades of continual growth in the performing arts industries between 1960 and 1980 many performing arts organizations now find themselves facing crises on various fronts. Initially the ruptured dot com bubble of 2000 brought a halt to this growth. However, more recently the American sub-prime crises (2008-2009), as well as the current economical woes of Europe, have created an environment that is not conducive to supporting the arts financially. This article poses the pertinent and somewhat awkward question as to the relevance of 21st-century conservatory (tertiary) music education in its existing formats and its applicability to the contemporary market place.
The study followed a two pronged approach. Firstly, an MBA field study was conducted using input from practising musicians (locally and overseas), as well as established South African music entrepreneurs, in a mixed methods approach. Secondly, a six month post-doctoral Fulbright research project was conducted at the School of Music at the University of South Carolina (USA) where the findings from the first phase of the study were compared to teaching practices at the South Carolina Institute of Arts Entrepreneurship. The results of the first two phases of the study culminated in the findings presented here.
Arts entrepreneurship is defined and its position within the creative economy highlighted whilst recent developments in arts entrepreneurship education, with specific reference to two main curricular approaches, are discussed. The role that music entrepreneurship plays in correctly positioning students for the modern workplace is emphasised. A list of critical skills is discussed as well as personality traits that successful music entrepreneurs possess. The five ecologies model, as part of a suggested music curriculum, is also presented.
The conclusion drawn from the findings of the research firstly indicate that music entrepreneurship is not only an age-old concept, but also a very relevant proficiency to be mastered by musicians of the 21st century. Secondly, certain critical skills and proficiencies as well as personality traits are conducive to the future success of prospective music entrepreneurs. Finally, tertiary music departments owe it to their students to expose them to entrepreneurship in the arts in order to prepare them properly for life as professional musicians.

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/content/akgees/52/2/EJC121969
2012-06-01
2019-08-24

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