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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9

Audiences: by habit – by choice – by surprise

(Bollo et al., 2017)

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10

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)

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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

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Functions: what music does with people

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Musical Meaning Making: Not an input-output process

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17

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

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20

40

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100

120

klassiek jazz pop/rock wereldmuziek overig

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Aantal per genre in de stad Groningen

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7,64

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3,19 3,522,93

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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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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 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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e.h.bisschop.boele@pl.hanze.nl

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