Preparing the next Ludwig, Miles, & Taylor for careers in music

This thesis on how Dutch higher music education prepares the next generation of early-career musicians for a sustainable music career answers the main research question: “How do Dutch higher music education institutions approach music entrepreneurship education, and how does this vary between distinct music ecologies, namely pop, jazz, and classical music”. Worldwide, higher music education institutions (HMEIs) have steadily increased their music course to include a widening scope of music genres, such as classical music, jazz, pop, rock music, and electronic music. At the same time, music entrepreneurship course have grown in number and significance within HMEIs (Fayolle et al, 2016), due to the entrepreneurial needs that come with building a portfolio career, certainly for self-employed musicians (Bennett, 2016b; Breivik et al., 2015). Recent studies have examined the curricular efforts (e.g., Beckman, 2007), the similarities and synergies of entrepreneurs and artists (e.g., Gangi, 2015), and differences in attitude towards arts entrepreneurship (Schediwy et al, 2018). However, music ecologies capture both the material and intangible aspects of music genres. They encompass ecology-specific music industry organizations, varying specific career identities, and different career opportunities. This research focuses on how these differences may impact the design and effectiveness of music entrepreneurship (ME) courses. In the present study, I develop a conceptual framework to address and integrate foundational principles for music entrepreneurship education (MEE), while differentiating between three music ecologies. I found that music ecological and work field differences within Dutch HME affect students’ career and entrepreneurial identity formation, attitudes towards ME, and entrepreneurial development. These differences could impact ME course design and teaching approaches in Dutch HME and possibly worldwide. Therefore, this thesis concludes with promising areas and questions for future research as well as implications and advice for music entrepreneurship educators in higher music education.