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

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Designing an Entrepreneurial Learning Project,vering 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.

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Developing Social Skills for Entrepreneurship in the Music Industry, 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.

Condyle

Design Principles to Plan Entrepreneurial Learning in Music Education,iples were developed in accordance with the concepts presented in Kelman’s Emerging Professional Learning Model—Communities of Practice (Wenger), Social capital (Putnam) and Entrepreneurial competencies (Johannisson), highlighting the transferability of such a learning design across the creative industries more generally.

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Book 2020f 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..

過分

Book 2020It uses extensive data from a long-running research project where high school students were invited to start their own business venture, Youth Music Industries. Not only did this act as a business venture, but it also functioned as a learning environment informed by the concepts of Communities of Pr

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