Titlebook: Entrepreneurial Music Education; Professional Learnin Kristina Kelman Book 2020 The Editor(s) (if applicable) and The Author(s), under excl

昏睡中

Erik Lassner,Wolf-Dieter Schubertf design principles: in this way, a pedagogical approach was developed that can be transferred across the creative industries more broadly. This book will be of interest and value to scholars of music education, as well as those preparing students for the creative industries.

athlete’s-foot

籠子

https://doi.org/10.1007/979-8-8688-0379-6 within music education or preparing students for the music industry. The second part of the chapter highlights the Do It Yourself (DIY) culture prominent in the popular music sector, requiring musicians to develop a broad range of knowledge, skills, and attributes in order to manage their own careers.

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Initial

Tuning, Timbre, Spectrum, Scalevering an annual youth music industry conference. She describes how these events were staged several times over a three-year period, each time growing in size, complexity, and outreach through her design interventions. The students are introduced in this chapter, and information related to how their learning was captured is also discussed.

中古

David E. Westfall,Glenn M. Boyce the students’ skill development. For entrepreneurial learning, the students developed ‘know-who’ and ‘know-how’, competencies vital for the enactment of their vision. In this sense, they were able to mobilise their social capital in order to gain access to new knowledge, and broaden the imaginative potential of their projects.

depreciate

下船

Introduction,f design principles: in this way, a pedagogical approach was developed that can be transferred across the creative industries more broadly. This book will be of interest and value to scholars of music education, as well as those preparing students for the creative industries.

Harass

SSRIS

,Current Approaches to Education—But What About the Music Industry?, within music education or preparing students for the music industry. The second part of the chapter highlights the Do It Yourself (DIY) culture prominent in the popular music sector, requiring musicians to develop a broad range of knowledge, skills, and attributes in order to manage their own careers.