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This may be the author’s version of a work that was submitted/accepted for publication in the following source: Kelman, Kristina & Greig, Adam (2017) Internationalising and entrepreneurialising music curriculum in higher ed- ucation: An India–Australia collaboration. In 2017 MEIEA Educators Summit, 2017-03-31 - 2017-04-01. (Unpublished) This file was downloaded from: https://eprints.qut.edu.au/133969/ c Queensland University of Technology This work is covered by copyright. Unless the document is being made available under a Creative Commons Licence, you must assume that re-use is limited to personal use and that permission from the copyright owner must be obtained for all other uses. If the docu- ment is available under a Creative Commons License (or other specified license) then refer to the Licence for details of permitted re-use. It is a condition of access that users recog- nise and abide by the legal requirements associated with these rights. If you believe that this work infringes copyright please provide details by email to [email protected] Notice: Please note that this document may not be the Version of Record (i.e. published version) of the work. Author manuscript versions (as Sub- mitted for peer review or as Accepted for publication after peer review) can be identified by an absence of publisher branding and/or typeset appear- ance. If there is any doubt, please refer to the published source. Internationalising and entrepreneurialising music curriculum in higher education: An India – Australia collaboration. (K.Kelman & A.Greig) The traditions of music education are quite different between India and Australia. The West has an ostensibly ‘scientific’ approach to education since the turn of the 20th century and tends towards homogeneity, standardisation, and a deeply literate ‘mind’. India retains much of its oral past and is far less standardised and homogenised. While Australia has a strong conservatoire tradition in higher education, there is a comparable master-apprentice tradition that sits outside of mainstream higher education in India, these educational models lack industry engagement and don’t encourage an entrepreneurial approach, often leaving students ill-equipped for their future careers. It is no longer sufficient for music degrees to teach students virtuosity on their chosen instrument. The larger challenge is teaching students how to make their way in the world as professionals. They also need to think globally, connect globally, and be aware of opportunities on a global basis. This conference presentation reports on a project that has been ongoing since 2015, between A.R. Rahman’s KM Music Conservatory (established in Chennai, India in 2008) and the Queensland University of Technology (QUT), Australia. The project aims to assist music students in equipping themselves for the global economy, through a collaborative initiative that aims to internationalise and entrepreneurialise music education, at both institutions. The project is also supported by industry partners, Earthsync (organisers of Chennai’s IndiEarth Xchange, a trade event for independent music, film and media) and QMusic (producers of the music trade event, BIGSOUND, held in Brisbane, Australia every September). The institutions presented the Indian version of QUT’s highly successful Indie100 program at IndiEarth XChange in November 2015 and 2016. The event involved staff and students from KM Music Conservatory and QUT, and high-profile Australian and Indian producers. Twelve bands were recorded and produced throughout the conference and delegates had an open invitation to attend the recording sessions. The final stages of the project involved QUT and KM Music Conservatory students working together online to launch, promote, and distribute the recordings on both local and international platforms using the extensive networks of all project partners. There are significant benefits resulting from this project, including the establishment of an ongoing exchange program that will feature parallel programs running at both QUT and KM Music Conservatory. Both programs are in constant dialogue allowing the programs to evolve, cater to both local and international needs, and facilitate ongoing student and staff exchanges. The project was supported by The Australia-India Council, established on 21 May 1992, to advance Australia's interests by supporting activities, which enhance awareness and understanding between the peoples and institutions of Australia and India. Background to the INDIE 100 project Presently our HE systems, at least in the developed world, undoubtedly perceive themselves to be in the “upperground” category, which in fact is undoubtedly the case for the time being. Our approach to the problems currently facing music pedagogy is tested and annually developed and refined in a “classroom,” which is actually a large- scale event, that takes the production of new art as one end and its global distribution and promotion as the other (Independent Music Project [IMP] 2014). The event, called Indie 100, began life as a research project and annually produces one hundred new songs in one hundred hours over six days. It involves local and national indus- try figures, between three hundred to four hundred local musicians, and around seventy students from music, management, marketing, law, and entertainment industries. As a pedagogical exercise, the aim of the event is to bring students into personal contact with professional producers and local artists, to introduce them into a high stakes production environment, and to showcase their efforts through live events and online distribution globally. The project encompasses all the successes, failures, and challenges of professional musicianship, which offers valuable opportunities to build new relationships, and to better understand student motivations and potential. The Indie 100 recording event is followed by a year-long effort to promote and distribute the material recorded during the event. This work is managed by students in collaboration with staff and industry mentors. Aside from the high energy and public visibility of the recording event itself, it brings together three major functions of the contemporary university—research, teaching, and industry engagement. Most importantly it shows students the links between the production of art and also the steps required for its commercialization. (Key learnings from Indie100 on the following slide) • Indie 100 began in 2011 as a research project to investigate how emerging independent (of major labels and publishers - not a genre based def) artists in SEQ develop sustainable careers in the face of declining revenues at the local level • Aims to connect local artists and labels with national and international industry, business, and audiences • Makes a sharp distinction between industry (making and doing useful things – “use values”) • And business (buying and selling those things to make money - “exchange values) • >650 new works over 7 years • 625 in Brisbane 2011-2015 and 25 in India 2015-16 • Making aspect is heavily compressed • 6 days for 100 new songs in Brisbane • 2 Days for 12 new songs in India • Over 4,000 musicians involved over 7 years, dozens of producers, hundreds of student assistant engineers. • National and international business partners, most notably MGM who distributes for the project • APRA, Mushroom, EMI, Island, Sounds Like Brisbane, Music Sales Australia, Bella Union • Distributed worldwide • Business cycle takes a full year compared to the making of the music • Currently attracting 329,567 streams per quarter across all platforms ($2063.34). Almost no sales. • Over 4 million streams during the life of the project (under 20,000 in revenue) • From – Argentina, Angola, Argentina, Austria, Australia, Belgium, Bangladesh, Bolivia, Brazil, Canada, China, Cook Islands, Chile, Cameroon, Columbia, Costa Rica, Czech Republic, Denmark, Germany, Dominican Republic, Ecuador, Spain, Finland, France, Great Britain, Guatemala, Honk Kong, Honduras, Hungary, Croatia, Indonesia, Ireland, Iraq, Iceland, India, Italy, Jamaica, Japan, Korea (S), Kazakhstan, Sri Lanka, Lithuania, Luxembourg, Latvia, Macau, Moldova, Malta, Mauritius, Mexico, Netherlands, Norway, New Zealand, Panama, Peru, Phillipines, Poland, Portugal, Paraguay, Qatar, Romania, Serbia, Russia, Sweden, Singapore, Slovenia, Slovakia, Senegal, El Salvador, Thailand, Turkey, Taiwan, Ukraine, USA, Uraguay, Veneuzuela, Viet Nam, South Africa • Over 5 Million social media impressions during the life of the project • The event connects generally inexperienced, largely uneducated, young musicians with national and international audiences through an event based research approach (Graham, 2016) • Theorises the event as exposing emerging vernaculars to a global audience using a “spectacle” approach. • Integration of theory, research, engagement, and pedagogy. The event is WIL and Production assessment and staffed by a team of students from Entertainment Industries • Organisers, researchers, and business partners form an Epistemic Community (Haas, 2013; Sunderland, Graham , and Lennette, 2016). • Have jointly developed integrated curriculum, policy, and research agendas and applications, including innovative undergraduate and postgraduate programs Indie100 in India 2015 – 2016 This project builds on the success of a QUT-funded project held in Chennai and Brisbane during 2015. It centres on an Indian version of Indie 100, an intensive music recording program that produces 100 new songs

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