The concept of entrepreneurship in research and society has been firmly rooted in the realm of economics and business. This narrow focus excludes a large number of entrepreneurial acts that occur outside of economic contexts. The discipline of high art music performance is rich with innovative acts that challenge the boundaries of conventional practices. However, these acts largely go unnoticed because of the strength of the bond between entrepreneurship and economics. In this research paper, a literature review will be used to examine how entrepreneurship can best be conceptualized in the discipline of high art music performance. It is argued here that a project-based view of entrepreneurship (Lindgren & Packendorff 2003) provides a valuable conceptualization to understand entrepreneurship in high art music performance. This conceptualization is then applied to three case studies of Canadian high art music performers. The case study uses the musicians' narrative accounts to provide illustrations of the project-based nature of entrepreneurship in music performance. It is hoped that the findings from this investigation provides further support for a project-based view of entrepreneurship and a starting ground to develop more effective tools to support and develop entrepreneurship in music through education and policy development.

Art Music for the acoustic piano has changed tremendously during the twentieth century. Some of the techniques and skills pianists need to master in order to be able to perform successfully twentieth-century art piano music include: a refined ability to discriminate varied layers of sonorities; sophisticated pedal combinations; a sometimes percussive technique; and superior control of complex metric and rhythmic passages. New combinations of patterns that require specific technical preparation pose substantial pianistic challenges. Todays pianist needs to master a variety of glissandi, chords, or single melody textures played directly on the strings inside the piano and to combine such techniques with sounds beyond the traditional piano sonorities. Besides technical preparation, pianists must also acquire sufficient knowledge of twentieth-century compositional techniques and analytical methods, as well as composers individual styles and their contributions to new ways of using the acoustic piano. This document focuses on selected twentieth-century piano compositions by Ravel, Debussy, Prokofiev, Bartk, Cowell, Cage, Holliger, Crumb, Corigliano, and Louie. These composers and their works are discussed with an emphasis on the new expressive, technical, artistic, pedagogical, and performance elements they introduce. The original technical exercises in Appendix A employ twentieth-century scales, harmonies, and progressions. These exercises will facilitate the development of technical skills related to the pieces considered here and to other twentieth-century piano repertoire. The interviews with John Corigliano and Alexina Louie provide uniquely insightful and provocative glimpses of the creative and technical issues involved with two remarkably original artistic conceptions in this repertoire. It is almost a truism to observe that much of the piano music of the twentieth century eschews convention and invents its own vocabulary and syntax. At the beginning of a new century, we are able to gain an historic perspective upon this body of repertoire. This document will lead to an increased awareness and understanding of selected twentieth-century piano repertoire. It suggests that twentieth-century piano compositions should assume an important and equal place with the more traditional music in the pianists repertoire and in the university and conservatoire curricula.

The present paper discusses the two concepts 'music as art' and 'music as function', put in a historical context but also based on my own experiences and development throughout the Nordic Master in Folk Music. Special regard is given to how my changing relationship to these two concepts have affected my own development. The paper also describes several different methods for artistic development as well as some ideas about what (folk) music can be and how we can think about it. / <p>Bilaga: 1 DVD</p>

Through an innate desire to present works with an underlying musical philosophy and a mastery of technical phenomena, this folio of compositions and critical commentary is an attempt to present a progressive collection of my original music with an accompanying philosophical and analytical examination. Within the folio, there is experimentation, use of many external and seemingly unrelated sources, and the employment of specific modern techniques when the underlying philosophy demands it. The folio demonstrates a willingness to utilise a wealth of sources, extramusical content, and to experiment and collaborate on project outcomes. Inspiration in part is drawn from composer Geörgy Ligeti, who sees the compositional process as a series of problems that emerge and need to be resolved. Thus, each musical form, though complete in itself, is conceptually in a constant state of flux and renewal. Some more recent concepts within this folio include the creating of a time-space (that is, prolonging the inevitable outcome of a musical idea); exploring apparent spectral and microtonal harmonies; severely constricting musical material; being inspired by extramusical content; producing information-saturated works and using jazz-inspired improvisatory techniques; borrowing from seemingly unrelated sources; and using electronic and recorded music in conjunction with live acoustic musicians. This folio of works and critical commentary presents eight compositions with a detailed analysis of my approach to each work and aesthetic viewpoint. It includes two works for orchestra, Ordynov and Creatures of Ezekiel (for large orchestra), a work for sextet entitled Descent, four chamber works (ein...atmen, generator, Wireless and re.saturate.d), and one work for solo violin and electronics, 101010001012(1012).

Through an innate desire to present works with an underlying musical philosophy and a mastery of technical phenomena, this folio of compositions and critical commentary is an attempt to present a progressive collection of my original music with an accompanying philosophical and analytical examination. Within the folio, there is experimentation, use of many external and seemingly unrelated sources, and the employment of specific modern techniques when the underlying philosophy demands it. The folio demonstrates a willingness to utilise a wealth of sources, extramusical content, and to experiment and collaborate on project outcomes. Inspiration in part is drawn from composer Geörgy Ligeti, who sees the compositional process as a series of problems that emerge and need to be resolved. Thus, each musical form, though complete in itself, is conceptually in a constant state of flux and renewal. Some more recent concepts within this folio include the creating of a time-space (that is, prolonging the inevitable outcome of a musical idea); exploring apparent spectral and microtonal harmonies; severely constricting musical material; being inspired by extramusical content; producing information-saturated works and using jazz-inspired improvisatory techniques; borrowing from seemingly unrelated sources; and using electronic and recorded music in conjunction with live acoustic musicians. This folio of works and critical commentary presents eight compositions with a detailed analysis of my approach to each work and aesthetic viewpoint. It includes two works for orchestra, Ordynov and Creatures of Ezekiel (for large orchestra), a work for sextet entitled Descent, four chamber works (ein...atmen, generator, Wireless and re.saturate.d), and one work for solo violin and electronics, 101010001012(1012).

Thesis (M.Arch.) - Carleton University, 2006. / Compact disc. Includes bibliographical references. Also available in electronic format on the Internet.

Thesis (Ed.D.)--Teachers College, Columbia University, 1965. / Typescript; issued also on microfilm. Sponsor: Paul Kozelka, . Dissertation Committee: Walter Eugene Sindlinger. Formulates a plan to integrate in the Fine Arts Dept. the areas of theater and pseech arts, art, and music.--Cf. leaf 1. Includes bibliographical references.

Thesis (Ph.D.)--University of Western Sydney, 2007. / A thesis presented to the University of Western Sydney, College of Arts, School of Communication Arts, in fulfilment of the requirements for the degree of Doctor of Philosophy. Title from title screen. Includes bibliographies. Thesis minus video and audio files also available online at: http://handle.uws.edu.au:8081/1959.7/35367.

abstract: ABSTRACT Improvisation, or extemporization, has always played an important role in all genres of music across the globe. In Western art music alone, improvisation has been used in many settings throughout history, such as composition, public extemporization, and ornamenting existing notated music. Why is it then, that improvisation is not an important part in the education of the Western Art Music tradition? Introducing improvisation to music education develops a more well-rounded musical ability, a firmer understanding of musical concepts, and a clearer insight to the composition of music. To examine this issue, I discuss a number of scientific explorations into the use of improvisation. First, new technology in the study of the brain gives insight into how the brain functions during improvisation. Adding to this evidence, I contextualize the use of improvisation into four scientifically developed educational scenarios based on how humans most effectively learn information and skills. To conclude, the discussion then shifts to simple exercises designed to assist musicians and teachers of any skill level in utilizing improvisation in practicing, lessons, and performance. To prevent students of music from reaffirming a continuously narrowing viewpoint of music’s creation, cultural implications, and performance, educational systems should make an effort to teach more than just the preparation of increasingly complex scores. Improvisation is not only a solid foundation for understanding the roots of western music’s own musical traditions, but also a gateway to understanding the musical traditions of the world. / Dissertation/Thesis / Doctoral Dissertation Performance 2015

Salon music, which marked the private sphere of music life during the 19th century, until recently represented an aesthetically uninteresting phenomenon. Musicological researches were, primarily, focused on art music, while the research of salon music was at the margin of scientific interest.