Internationalization 2.0 September 2015 Marc Ernesti Head of - - PowerPoint PPT Presentation

• 3. Entrepreneurship & Employability:

A view from Career & Professional Development, and Music Business at the Royal Academy of Music, London Internationalization 2.0

September 2015 – Marc Ernesti • Head of Professional Development and academic studies professor in Music Business

Why -:

What -:

• Music Business: teaching and research

Critical understanding of key concepts and processes in the (dramatically changing) music business

• Individual Career Support

Identifying and developing musical and extra-musical talents

• Professional Development clinics and workshops

Supporting and transferable skills needed to harness opportunities the future industry will hold

How -: (Examples)

• Professional Development Days

One day intensives, pick-and-mix style; plus departmental activities

• 1:1 Career Strategy

> Thursday drop-in service until 20:00 – book via m.ernesti@ram.ac.uk > Lunch & Learn Talks

• Resources

AIR > Student Professional Development; E:Newsletter; Noticeboard

• Other

BMus Elective and Postgraduate Pathway; supervision of academic work; industry placements; Alumni; Music Business research event

The small-print -:

• NEW NEW NEW NEW:

Professional Development Portfolio

• -> Everything feeds into it & will be fantastically useful!
• -> Years 1 & 2: Have fun, try out as much as you can... because...
• -> Years 3 & 4 you will spend developing a range of professional and

entrepreneurial skills + it is compulsory if you want to graduate

How (to entrepreneur) -: (Examples)

• Structured 1:1 support

> Business advice; individual feedback

• Peer and industry leading-by-example

> Alumni featured in Professional Development Days > Lunch & Learn Talks: bringing in successful entrepreneurs

• Inspiration

: Deutsche Bank Awards for Creative Enterprises : Santander Intern Programme : Tier 1 Graduate Entrepreneur

Context 1:

World music record sales, total value by country, according to IFPI (2003)

Context 2:

• Cross-over from live and recording intensifying?

Berlin’s digital concert hall (Photo: Peter Adamik) – the interactive concert hall at The New World Center, Miami (Photo: New Yorker)

Context 3:

Emerging markets -:

• China;
• India;
• Middle East
• -> Mobility

Dewan Filharmonik Petronas KM Music Conservatory, Chennai Shanghai Opera

Background -:

• International is the (not so) new ‘normal’;
• 51.35% of Royal Academy of Music students are non-UK (2012-13);
• Perceived issues, or barriers to success;
• Destinations after graduation.

Background -:

51.35% of Royal Academy of Music students are non-UK (2012-13):

• UK

377 48.65%

• European Union

165 21.29%

• America, North of which

35 4.51% USA 26 3.35%

• America, South

6 0.77%

• Far East, of which

131 16.90% China, PRC 57 7.35% Korea, South 32 4.13%

• Rest of World, of which

61 7.87% Australia 14 1.81% Russia 10 1.29%

• TOTAL, of which

775 100.00% Non-UK 398 51.35%

Background -:

Student Groups thought of as being vulnerable to under-achieving in PD and/or career targets -:

• Students from a migration background who desert networks in their home country in favour of an assumed

UK career;

• Students building solely London- or UK-focused career networks who, hence, are vulnerable due to restricted

mobility;

• Young over-achievers who, within their home context, have always excelled and, therefore, have an

unrealistic view of their career prospects;

• The passive passenger who, once accepted at the Academy, assumes that now the music career will

mysteriously take care of itself, without any real input;

• The spread-too-thins who are always somehow involved on all fronts but never make a real impact and then

stagnate, doing the same thing for the next 20 years;

• Excessively self-critical students who, often late starters or very academic in background, find comfort in

escapist scenarios where they don’t ‘have to’ commit to making it in the music business;

• The utilitarian or pleasing students who sacrifice long-term prospects, to please a professor and who confuse

academic excellence in the here and now with having a job tomorrow.

Background -:

Destinations after graduation -:

2011/12 Cohort UG PG Total No. % No. % No. % Employed in Music Profession 16 22.86% 78 39.20% 94 34.94% Teaching 3 4.29% 28 14.07% 31 11.52% Employed elsewhere 1 1.43% 13 6.53% 14 5.20% Unemployed 3 4.29% 7 3.52% 10 3.72% Ill and unable to work 1 1.43% 0.00% 1 0.37% Trave lling 0.00% 1 0.50% 1 0.37% Further study at RAM 14 20.00% 10 5.03% 24 8.92% Further study elsewhere 13 18.57% 10 5.03% 23 8.55% Not kno wn 19 27.14% 52 26.13% 71 26.39% Tota l 70 100.00% 199 100.00% 269 100.00%

Also Background -:

Growing ‘service’ expectation:

• Harmonization of curricula, but:
• Tonsatz ≈ Theory and Analysis ≈ Solfege?
• Ability to work across EU expected from our training!
• Employability expectations!
• Urgent need to qualify careers staff on EU, and synchronize with IRC
• Need for connectivity of careers advice across AEC members
• -> Move from accreditation to networking opportunities?

Case Studies 1 -:

Student Case Studies (2014-15):

• (UK) UG flautist: Zurich Opera orchestra trainee;
• (Brazilian) UG double bassists: Anywhere EU or US;
• (Romanian) PG guitarist: Entrepreneur in Düsseldorf;
• (UK) UG double bassist: Concertgebouw tutti bass;
• (Portuguese) UG cellist: MA then re-integrate into any Ibero

(-American) country alongside own orchestra project;

• (US) PG flautist: staying in UK for 2x entrepreneurial projects.

Case Studies 2 -:

Tier 1 Graduate Entrepreneur:

• Winner, Deutsche Bank Awards for Creative Enterprise 2014,

Royal Academy of Music;

• International Office: visa advice;
• Marc: career advice;
• PD Day training, Professional Study Day training;
• Business Plan 1:1 advising;
• Mentor feedback, further visa advice;
• Short-listed, and endorsed as one of two Tier 1 GE-s, 2014-15.

Case Studies 3 -:

Internationalizing the offering -:

• For example, PD Days:
• Basic financial management - not only The UK tax system!
• Signpost offerings.
• For example, Lunch & Learn Talks -:
• Invite (UK) alumnus now principal timpani of Gewandhaus:

conscious choice of role model

• Invite current Tier 1 Graduate Entrepreneurs: positive examples of what

shapes of talent the Academy values.

• Etc.
• -> FREE !

Discussion -:

Outcomes/actions -:

• AEC-wide network of Careers Services: hotline!

Discussion -:

• If we agree on the term musical entrepreneur to designate someone

who creates opportunities (not only) for her-/himself, within or beyond the conservatoire, inside or outside the country, what are the major institutional barriers we perceive;

• What, then, should be possible through Erasmus – but isn’t at the

moment;

• And what should be standardized or synchronized internationally, but

isn’t at the moment – for example, teaching diplomas (?);

Discussion -:

• What is our institutional leitmotif, in terms of employment – the

virtuoso, the orchestra musician, the music-school teacher...;

• Would the music industry somehow reflect from the curriculum, as

something positive – or is music history still the addition of Haydn + Beethoven = progress;

• How can we stimulate a spirit of entrepreneurship within our own

conservatoire – what can we learn here from other pioneer subjects that were introduced to our curriculum over the past 20 years;

Discussion -:

• For a real culturre change, how can we get the students truly on board;

and

• Where are the models of good practice, for international careers

(entrepreneurship/employability)?

• Other ideas?

Thank You... for hitting the right keys!

Marc Ernesti BA MMus • Head of Professional Development and academic studies professor in Music Business • Royal Academy of Music • Marylebone Road, London NW1 5HT, United Kingdom • m.ernesti@ram.ac.uk