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 [email protected] > 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 0.00% 1 0.37% Trave lli ng 0 0.00% 1 0.50% 1 0.37% Further study at RA M 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 • [email protected] .