標(biāo)題: Titlebook: Entrepreneurial Music Education; Professional Learnin Kristina Kelman Book 2020 The Editor(s) (if applicable) and The Author(s), under excl [打印本頁(yè)] 作者: AMASS 時(shí)間: 2025-3-21 17:58
書(shū)目名稱Entrepreneurial Music Education影響因子(影響力)
書(shū)目名稱Entrepreneurial Music Education影響因子(影響力)學(xué)科排名
書(shū)目名稱Entrepreneurial Music Education網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱Entrepreneurial Music Education網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Entrepreneurial Music Education被引頻次
書(shū)目名稱Entrepreneurial Music Education被引頻次學(xué)科排名
書(shū)目名稱Entrepreneurial Music Education年度引用
書(shū)目名稱Entrepreneurial Music Education年度引用學(xué)科排名
書(shū)目名稱Entrepreneurial Music Education讀者反饋
書(shū)目名稱Entrepreneurial Music Education讀者反饋學(xué)科排名
作者: exhibit 時(shí)間: 2025-3-21 22:44 作者: 鋼筆記下懲罰 時(shí)間: 2025-3-22 03:03
,Current Approaches to Education—But What About the Music Industry?,ation for the twenty-first century learner, a shift that suggests breaking the habits of the didactic model of formal education in favour of a more experiential culture. However, Kelman points out that much of this work provides little empirical evidence of how a new approach might play out. The cha作者: 庇護(hù) 時(shí)間: 2025-3-22 05:34 作者: Allergic 時(shí)間: 2025-3-22 09:25
Designing an Entrepreneurial Learning Project, research as the chosen methodology has been applied to develop educational principles based on empirical evidence of the way in which students learn music industry skills in a real-world music business, student-led enterprise. Kelman unpacks the contextual aspects of the curriculum design which foc作者: ADOPT 時(shí)間: 2025-3-22 16:37
Developing Social Skills for Entrepreneurship in the Music Industry,s, staging music festivals, running a venue, and curating a youth music conference with industry partners. Through interviews, meeting debriefs, and Facebook interactions, Kelman asks what social skills do students acquire through an education designed to foster entrepreneurial capacity in the music作者: ADOPT 時(shí)間: 2025-3-22 18:11 作者: 錫箔紙 時(shí)間: 2025-3-23 01:10
Acquiring Domain Knowledge for Entrepreneurship in the Music Industry,taging music festivals, running a venue, and curating a youth music conference with industry partners. Through interviews, meeting debriefs, and Facebook interactions, Kelman asks what music industry knowledge do students acquire in an environment designed to encourage entrepreneurialism, and how di作者: 放牧 時(shí)間: 2025-3-23 04:38 作者: 不容置疑 時(shí)間: 2025-3-23 07:57
h project to examine how students developed entrepreneurial This book addresses the gap between formal music education curricula and the knowledge and skills necessary to enter the professional music industry. It uses extensive data from a long-running research project where high school students wer作者: 昏睡中 時(shí)間: 2025-3-23 13:22
Erik Lassner,Wolf-Dieter Schubertf design principles: in this way, a pedagogical approach was developed that can be transferred across the creative industries more broadly. This book will be of interest and value to scholars of music education, as well as those preparing students for the creative industries.作者: athlete’s-foot 時(shí)間: 2025-3-23 15:33 作者: 籠子 時(shí)間: 2025-3-23 18:41
https://doi.org/10.1007/979-8-8688-0379-6 within music education or preparing students for the music industry. The second part of the chapter highlights the Do It Yourself (DIY) culture prominent in the popular music sector, requiring musicians to develop a broad range of knowledge, skills, and attributes in order to manage their own careers.作者: 失望昨天 時(shí)間: 2025-3-23 22:16 作者: Initial 時(shí)間: 2025-3-24 06:26
Tuning, Timbre, Spectrum, Scalevering an annual youth music industry conference. She describes how these events were staged several times over a three-year period, each time growing in size, complexity, and outreach through her design interventions. The students are introduced in this chapter, and information related to how their learning was captured is also discussed.作者: 中古 時(shí)間: 2025-3-24 06:40
David E. Westfall,Glenn M. Boyce the students’ skill development. For entrepreneurial learning, the students developed ‘know-who’ and ‘know-how’, competencies vital for the enactment of their vision. In this sense, they were able to mobilise their social capital in order to gain access to new knowledge, and broaden the imaginative potential of their projects.作者: depreciate 時(shí)間: 2025-3-24 13:42 作者: 下船 時(shí)間: 2025-3-24 18:17
Introduction,f design principles: in this way, a pedagogical approach was developed that can be transferred across the creative industries more broadly. This book will be of interest and value to scholars of music education, as well as those preparing students for the creative industries.作者: Harass 時(shí)間: 2025-3-24 22:35 作者: SSRIS 時(shí)間: 2025-3-25 03:08
,Current Approaches to Education—But What About the Music Industry?, within music education or preparing students for the music industry. The second part of the chapter highlights the Do It Yourself (DIY) culture prominent in the popular music sector, requiring musicians to develop a broad range of knowledge, skills, and attributes in order to manage their own careers.作者: mercenary 時(shí)間: 2025-3-25 04:54 作者: Atheroma 時(shí)間: 2025-3-25 11:21
Designing an Entrepreneurial Learning Project,vering an annual youth music industry conference. She describes how these events were staged several times over a three-year period, each time growing in size, complexity, and outreach through her design interventions. The students are introduced in this chapter, and information related to how their learning was captured is also discussed.作者: 媽媽不開(kāi)心 時(shí)間: 2025-3-25 13:05
Developing Social Skills for Entrepreneurship in the Music Industry, the students’ skill development. For entrepreneurial learning, the students developed ‘know-who’ and ‘know-how’, competencies vital for the enactment of their vision. In this sense, they were able to mobilise their social capital in order to gain access to new knowledge, and broaden the imaginative potential of their projects.作者: Condyle 時(shí)間: 2025-3-25 18:27
Design Principles to Plan Entrepreneurial Learning in Music Education,iples were developed in accordance with the concepts presented in Kelman’s Emerging Professional Learning Model—Communities of Practice (Wenger), Social capital (Putnam) and Entrepreneurial competencies (Johannisson), highlighting the transferability of such a learning design across the creative industries more generally.作者: faddish 時(shí)間: 2025-3-25 21:19
Book 2020f design principles: in this way, a pedagogical approach was developed that can be transferred across the creative industries more broadly. This book will be of interest and value to scholars of music education, as well as those preparing students for the creative industries..作者: 過(guò)分 時(shí)間: 2025-3-26 00:16
Book 2020It uses extensive data from a long-running research project where high school students were invited to start their own business venture, Youth Music Industries. Not only did this act as a business venture, but it also functioned as a learning environment informed by the concepts of Communities of Pr作者: 無(wú)動(dòng)于衷 時(shí)間: 2025-3-26 04:50 作者: 戰(zhàn)役 時(shí)間: 2025-3-26 10:52 作者: Ornithologist 時(shí)間: 2025-3-26 13:32 作者: NATAL 時(shí)間: 2025-3-26 16:52 作者: 豪華 時(shí)間: 2025-3-27 00:28 作者: majestic 時(shí)間: 2025-3-27 02:41
David E. Westfall,Glenn M. Boyces, staging music festivals, running a venue, and curating a youth music conference with industry partners. Through interviews, meeting debriefs, and Facebook interactions, Kelman asks what social skills do students acquire through an education designed to foster entrepreneurial capacity in the music作者: 魅力 時(shí)間: 2025-3-27 06:44
https://doi.org/10.1007/978-1-4939-2199-7s, staging music festivals, running a venue, and curating a youth music conference with industry partners. Through interviews, meeting debriefs and Facebook interactions, Kelman asks what negotiating and organisational skills do students learn through an education designed to foster entrepreneurial 作者: 進(jìn)步 時(shí)間: 2025-3-27 09:51
Fire Suppression and Detection in Tunnels,taging music festivals, running a venue, and curating a youth music conference with industry partners. Through interviews, meeting debriefs, and Facebook interactions, Kelman asks what music industry knowledge do students acquire in an environment designed to encourage entrepreneurialism, and how di作者: avulsion 時(shí)間: 2025-3-27 14:34 作者: Cosmopolitan 時(shí)間: 2025-3-27 17:47
978-3-030-37131-9The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: 即席 時(shí)間: 2025-3-27 23:15
https://doi.org/10.1007/978-3-030-37129-6Entrepreneurial education; High School Music Students; Careers in Music Industry; Early Professional De作者: 傳授知識(shí) 時(shí)間: 2025-3-28 05:23
Kristina KelmanAcknowledges the gap between formal music education and the practical skills necessary to enter the industry.Utilises a long-running research project to examine how students developed entrepreneurial 作者: nephritis 時(shí)間: 2025-3-28 07:46 作者: mastopexy 時(shí)間: 2025-3-28 13:55
Learning About Project Management for Entrepreneurship in the Music Industry, cultural capital and were able to participate in decision-making, learned to negotiate with industry stakeholders, and became autonomous problem-solvers, while using reflective skills to improve and refine their project management.作者: 公豬 時(shí)間: 2025-3-28 16:50 作者: 迅速飛過(guò) 時(shí)間: 2025-3-28 20:11
https://doi.org/10.1007/978-1-4939-2199-7 cultural capital and were able to participate in decision-making, learned to negotiate with industry stakeholders, and became autonomous problem-solvers, while using reflective skills to improve and refine their project management.作者: 橫截,橫斷 時(shí)間: 2025-3-29 00:31 作者: BLUSH 時(shí)間: 2025-3-29 03:39
rred across the creative industries more broadly. This book will be of interest and value to scholars of music education, as well as those preparing students for the creative industries..978-3-030-37131-9978-3-030-37129-6作者: Magisterial 時(shí)間: 2025-3-29 10:11
