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An explorative study of entrepreneurial skills among musical artists
No full textDenne masteroppgaven består av en eksplorativ studie med mål om å identifisere entreprenørielle ferdigheter blant musikkartister. Vi har samlet data fra artister som enten har vunnet eller blitt nominert til en Spellemannspris. Vi har dermed samlet data fra artister som har hatt en vedvarende suksess og som vi anser som entreprenørielle karrierer i musikkbransjen. Med denne dataen har vi gjennomført en induktiv studie hvor vi har prøvd å identifisere viktige entreprenørielle ferdigheter basert på artistenes individuelle erfaringer og hvordan de har handlet og reagert på situasjoner i karrieren deres.
Entreprenørielle ferdigheter er et begrep som beskriver ferdighetene entreprenører har, som kan bli brukt til å bedre utfallet av bedrifter. Forskere er enige om at entreprenørielle ferdigheter er viktig for artister og musikere for å ha bærekraftige karrierer (Beckman, 2005, 2007; Bennett, 2009; Bridgstock et al., 2016; Thom, 2015, 2016, 2017).
Forskning har tidligere fokusert på artister som er utdannet innen musikk i høyere utdanning, uavhengig av deres karrierestatus (Beckman 2005, 2007, 2008; Bennett, 2016; Daniel & Daniel 2015, Miller et al., 2017; Thom 2016, 2017; Toscher, 2019, 2020; Toscher & Morris Bjørnø, 2019; Pollard & Wilson, 2014). Dette innebærer at forskere har brukt akademisk en tittel som et forhåndsinnstilling for å forske på entreprenørielle ferdigheter blant artister. Entreprenørielle ferdigheter er avhengig av kontekst (Kutzhanova et al., 2009), noe som betyr at det er viktig å identifisere nye entreprenørielle ferdigheter i et musikkperspektiv.
Funnene våre indikerer at de viktigste entreprenørielle ferdighetene for artister kan bli delt inn i fire teoretiske dimensjoner; domenekunnskapsferdigheter, ledelsesferdigheter, selvledelsesferdigheter og forretningsstrategiferdigheter.
Forskningen i denne studien har implikasjoner som kan være relevant for artister og utdanningsinstitusjoner som tilbyr høyere musikkutdanning. Vi tror at studien kan bli brukt av profesjonelle og aspirerende artister som ønsker å vite hva som trengs for å ha suksess, ved siden deres musikktalent. Studien kan også gi implikasjoner for videre utvikling av entreprenørskapsutdanning i høyere musikkutdanning, og gi forskere mer data på hvilke ferdigheter som burde bli lært bort til studenter
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Exploring the Path Towards the Legitimacy Threshold - A Case Study of Norwegian New Technology Ventures in the Energy Sector
Get PDFNyetablerte selskaper betraktes som legitime dersom de opparbeider seg nok legitimitet til å krysse en legitimitetsgrense. Et nyetablert selskap danner legitimitet ved å benytte legitimitets strategier for å bygge en kombinasjon av ulike legitimitetskilder. Selv om legitimitet har blitt forsket på av flere forskere etter at Stinchcombe publiserte sin velkjente artikkel i 1965, eksisterer det fremdeles hull i legitimitets litteraturen vedrørende nyetablerte selskaper. Ved å gjennomføre en litteraturstudiet om emnet, oppdaget forfatterne at norske nyetablerte teknologiselskaper som opererer i energisektoren var et lite undersøkt området. Forfatterne fant også at forskningen frem til i dag i hovedsak har hatt et isolert søkelys på legitimitetsstrategier og legitimitetskilder. I hensikt av å tette hullet i litteraturen satt forfatterne av denne masteroppgaven følgende formål: utforske individuelle legitimitetsstrategier som brukes av norske nyetablerte teknologiselskaper mot å nå legitimitetsgrensen i energisektoren.
Tre forskningsspørsmål ble formulert for å veilede forfatterne i å besvare oppgavens formål. Forfatterne valgte å gjennomføre en kvalitativ studie og inkluderte ni norske nyetablerte teknologiselskaper fra energisektoren. Empiriske data ble samlet inn ved å gjennomføre halvstrukturert intervju med en av grunnleggerne fra hvert nyetablerte teknologiselskap. For å veilede datainnsamlingen og analysen, brukte også forfatterne et teoretisk rammeverk som er basert på Zimmerman og Zeitz sin artikkel fra 2002. Analysen består av en Within-Case analyse, to Krysse-Case analyser, for å svare på RQ1 og RQ2, og til slutt en Kryss-Case på tvers av industri analyse for å svare på RQ3.
Resultatene viser at conformance og selection er strategier som også er viktig for norske nyetablerte teknologiselskap. Denne oppgaven viser også at creation og manipulation strategier er ofte brukt, og at grunnen til det muligens er at energisektoren går gjennom en digitaliseringsprosess. I tillegg viser analysen at det kan finnes et minste grunnlag for av legitimitet, som kan oppnås ved bruk av conformance strategi. Forfatternes forskning avslørte at det muligens eksisterer en avhengighet mellom de ulike individuelle legitimitetsstrategiene, og foreslår at legitimitet kan bygges både kontinuerlig og diskontinuerlig.New ventures are viewed as legitimate if they gain enough legitimacy to cross the legitimacy threshold. Gaining legitimacy is accomplished by utilizing legitimation strategies to build a combination of different legitimacy sources. Although legitimacy has been researched by a number of scholars since Stinchcombe published his seminal paper in 1965, there still exist gaps in the literature that needs further research. By conducting a literature review on the topic, the authors found that Norwegian new technology ventures operating in the energy sector in Norway were an under-researched area. They also found that research predominantly investigates legitimacy strategies and legitimacy sources in an isolated manner. The authors of this thesis attempted to close the gap in legitimacy literature by setting the following purpose; explore individual legitimation strategies used by Norwegian new technology ventures (NTVs) towards reaching the legitimacy threshold in the energy sector.
Three research questions were formulated to guide the authors in answering the purpose. The authors chose a qualitative study and included nine Norwegian NTVs from the energy sector. Empirical data was collected by conducting semi-structured interviews with one of the founders from each venture. In order to guide the data collection and analysis, the authors also composed a theoretical framework based on the seminal work of Zimmerman and Zeitz (2002). The analysis is comprised of a Within-Case analysis, two Cross-Case analysis’ to investigate RQ1 and RQ2, and finally a Cross-Case Across Industry analysis to answer RQ3.
The findings indicate that conformance and selection strategies remain important strategies also for Norwegian NTVs in the energy sector. This thesis found that creation and manipulation are relatively frequently used strategies, which may be due to the energy sector being prone to digitalization. In addition, the analysis shows that there might exist a baseline of legitimacy sources, which can be achieved by utilizing a conformance strategy. The authors also revealed an interdependency between the legitimacy sources and strategies, and suggest that legitimacy can be built both continuous and discontinuous
Career ambitions, expectations and skills among music students at higher education institutions - A literature review and empirical study
Get PDFMany scholars argue that the purpose of higher music education institutions is to prepare future musicians for a career in music and that most artists need to act as entrepreneurs in order to make a living. However, there is little consensus in the literature on how to teach music students entrepreneurship, especially without knowing their ambitions and the skills necessary to succeed as self- employed artists. A literature review and empirical study were therefore conducted to tighten this gap in the literature. This resulted in two separate articles.
First, a literature review was carried out to get a better understanding of today s situation for arts entrepreneurship at higher education institutions, in addition to career ambitions and expectations among music students and the skills deemed important for self-employed artists. A preliminary search was first conducted to plan the review. Only articles in peer-reviewed journals with a focus on entrepreneurship, ambitions, expectations, and skills concerning higher music/arts education were chosen for further screening. Then, a structured search consisting of six steps was conducted to find relevant articles on the topic. This was done in the databases of Web of Science and Scopus using defined search strings found during the preliminary search. The literature review ended up containing 31 articles. The findings show that many educators and administrators are confused by the word "entrepreneurship." Still, there seems to be a change in terms of teaching arts entrepreneurship from a "business-oriented" approach to a more "behavior-oriented" approach. Music performance students aspire to work with performance, but expect to work with teaching. Creative and strategic thinking together with confidence, collaboration skills, communication skills and understanding of artistic context were found to be important fundamental skills for music students. Further research should be done on students , teachers and administrators perception of entrepreneurship and musical career ambitions, expectations and skills among music students.
Second, an empirical study was conducted to get a better understanding of Norwegian music students career ambitions, expectations and skills concerning entrepreneurship, and how teachers and administrators perceive this. The findings of the literature review led to the following research questions:
1. How do music students, educators, and administrators define entrepreneurship?
2. What skills do students think is necessary for a career in music?
3. What are the career ambitions and expectations of music students?
4. How do educators and administrators perceive a career in music and what skills do they think
is necessary?
A cross-sectional survey study was conducted where 114 students and 37 teachers and administrators participated. The findings show that there is a disagreement among students, teachers, and administrators of what entrepreneurship is. Most students wish to work with performance activity after graduation, but expect to work with teaching. Both students and administrators/teachers share the same point of view concerning necessary skills for a career in music where creativity, networking, teamwork and communication/presentation is valued the most. The cross-sectional approach made it only possible to offer a single snapshot of a specific moment in time, thus, making it impossible to comment on cause- and-effect relationships. The findings in this study can be used by practitioners to develop broader career purviews and entrepreneurial identities among music students. Further research should be done on why music students choose to study at HEIs, how a consensus on arts entrepreneurship education can be achieved, why are the skills found in this study important/unimportant for music students and what forms the expectations and ambitions of music students specifically
Exploring the Path Towards the Legitimacy Threshold - A Case study of Norwegian New Technology Ventures in the Energy Sector
No full textNyetablerte selskaper betraktes som legitime dersom de opparbeider seg nok legitimitet til å krysse en legitimitetsgrense. Et nyetablert selskap danner legitimitet ved å benytte legitimitets strategier for å bygge en kombinasjon av ulike legitimitetskilder. Selv om legitimitet har blitt forsket på av flere forskere etter at Stinchcombe publiserte sin velkjente artikkel i 1965, eksisterer det fremdeles hull i legitimitets litteraturen vedrørende nyetablerte selskaper. Ved å gjennomføre en litteraturstudiet om emnet, oppdaget forfatterne at norske nyetablerte teknologiselskaper som opererer i energisektoren var et lite undersøkt området. Forfatterne fant også at forskningen frem til i dag i hovedsak har hatt et isolert søkelys på legitimitetsstrategier og legitimitetskilder. I hensikt av å tette hullet i litteraturen satt forfatterne av denne masteroppgaven følgende formål: utforske individuelle legitimitetsstrategier som brukes av norske nyetablerte teknologiselskaper mot å nå legitimitetsgrensen i energisektoren.
Tre forskningsspørsmål ble formulert for å veilede forfatterne i å besvare oppgavens formål. Forfatterne valgte å gjennomføre en kvalitativ studie og inkluderte ni norske nyetablerte teknologiselskaper fra energisektoren. Empiriske data ble samlet inn ved å gjennomføre halvstrukturert intervju med en av grunnleggerne fra hvert nyetablerte teknologiselskap. For å veilede datainnsamlingen og analysen, brukte også forfatterne et teoretisk rammeverk som er basert på Zimmerman og Zeitz sin artikkel fra 2002. Analysen består av en Within-Case analyse, to Krysse-Case analyser, for å svare på RQ1 og RQ2, og til slutt en Kryss-Case på tvers av industri analyse for å svare på RQ3.
Resultatene viser at conformance og selection er strategier som også er viktig for norske nyetablerte teknologiselskap. Denne oppgaven viser også at creation og manipulation strategier er ofte brukt, og at grunnen til det muligens er at energisektoren går gjennom en digitaliseringsprosess. I tillegg viser analysen at det kan finnes et minste grunnlag for av legitimitet, som kan oppnås ved bruk av conformance strategi. Forfatternes forskning avslørte at det muligens eksisterer en avhengighet mellom de ulike individuelle legitimitetsstrategiene, og foreslår at legitimitet kan bygges både kontinuerlig og diskontinuerlig
Blank Canvas: Explorative Behavior and Personal Agency in Arts Entrepreneurship Education
Get PDFThe majority of learning in arts entrepreneurship education is experiential (Essig & Guevara, 2016). Experiential and entrepreneurial learning theories indicate that to facilitate entrepreneurial knowledge generation which “enables [entrepreneurs] to recognize and act on entrepreneurial opportunities and to organize and manage new ventures” (Politis, 2005, p. 400), individuals need to exercise personal agency and engage in explorative behavior (Kolb & Kolb, 2009; Politis, 2005). If arts entrepreneurship education is to help students generate such entrepreneurial knowledge, arts entrepreneurship educators should create learning environments in which their students can exercise personal agency and behave exploratively. Despite this, how students exercise personal agency and explore within arts entrepreneurship education has not been empirically studied. This empirical paper attempts to answer the following question: How do students explore and exercise personal agency in arts entrepreneurship education? Using rigor to systematically analyze qualitative data (Gioia et al., 2013) from a five-week course in entrepreneurship in higher music education to produce a data structure and model, I find that within a teacher-created learning environment, students balance personal factors (their values and beliefs, habitual modes of thought, prior experience and personal goals) against social factors (social interdependencies and conditions of approval) while taking actions to reduce uncertainty. The findings imply that teacher-created learning environments and engagement in social contexts influences how students exercise personal agency and explore.publishedVersionCopyright (c) 2020 Ben Toscher Creative Commons License This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License
Music Teachers’ and Administrators’ Perspectives on Entrepreneurship in Norwegian Higher Music Education: An Exploratory Pilot Study
Get PDFArts entrepreneurship education has been increasingly offered in Nor- wegian Higher Music Education (HME) since 2011 (Watne & Nymoen, 2017). I argue that a teacher’s perspective and definition of entrepreneurship influences how they teach the subject. Using a qualitative content analysis approach (Elo & Kyngäs, 2008; Mayring, 2000), this article explores a small (n=37) pilot survey of administrators and teachers from four institutes of HME in Norway. In addition to mapping respondents’ definitions of entrepreneurship to the most influential defini- tions of entrepreneurship from the literature, I explore their perceptions of the need for entrepreneurship in HME and their prescriptive changes for entrepreneurship education’s integration into the curriculum. Respondents most commonly defined entrepreneurship in the “opportunity creation, recognition, and exploitation” sense, with definitions related to “self-employment” and “innovation” being the second and third most common response, respectively. 95% of respondents perceive a need for entrepreneurship education in HME. Prescribing curricular changes, 57% of respondents see a need for a more market oriented and entrepreneurial focus in the current curriculum to “some extent”, 19% to a “large extent”, 16% to “a little extent”, and 8% to a “very little extent.” Rationale for such changes is further analyzed using Bridgstock’s (2013) typology of arts entrepreneurship pedagogical approaches. I conclude by guiding educators and readers to existing knowledge and tools in the literature as they relate to each arts entrepreneurship pedagogical approach – an organization of knowledge that is important given the field’s diversity of perspec- tives and the power an educator has in the subject’s implementation.publishedVersio
Entrepreneurial Learning in Arts Entrepreneurship Education: A Conceptual Framework
Get PDFIncreasingly, higher education has called upon arts entrepreneurship to prepare artists for sustainable careers, and to provide a platform for research on artist professional development. In response, teaching in entrepreneurship and arts entrepreneurship education has grown significantly over the past few decades (Fayolle et al., 2016), with an estimated 168 institutions with 372 offerings arts entrepreneurship courses in the US alone (Essig & Guevara, 2016). This is especially true in the field of music, where arts entrepreneurship has been readily embraced due to the entrepreneurial nature of sustaining a livelihood as a musician (Bennett, 2016; Breivik et al., 2015). The amount of research focusing on the teaching of arts entrepreneurship has followed closely behind the growth in arts entrepreneurship education – but what about research on learning arts entrepreneurship? How do arts students actually learn to be entrepreneurial? While research in arts entrepreneurship has been performed to examine curricular efforts (e.g., Beckman, 2005), the similarities and synergies of entrepreneurs and artists(e.g., Gangi, 2015), and arts entrepreneurship education as a comprehensive phenomenon of interest and study (Chang & Wyszomirski, 2015), no work has been performed to connect the field´s body of knowledge to extant theoretical work directly related to experiential and entrepreneurial learning (Politis, 2005). Given that most arts entrepreneurship curricula include some form of experiential learning (Essig & Guevara, 2016), I propose a framework to advance the field´s investigation of entrepreneurial learning in the arts entrepreneurship classroom. Since understanding arts entrepreneurship is context-specific (Beckman & Essig, 2012), in this article I use the specific case of music performance education in higher music education (HME) to connect empirical and theoretical literature on arts entrepreneurship education, entrepreneurial learning, entrepreneurial competencies (Bacigalupo et al., 2016), careers in music, and social cognitive career theory (Lent et al., 2002) Synthesizing these streams of literature, I propose a conceptual framework for integrating context-specific entrepreneurial learning activities within arts entrepreneurship education. The framework developed recognizes and address the importance of context, personal agency, student-centered learning, explorative behavior and definitions in arts entrepreneurship educational activities. The framework also provides the means to analyze both mini-cases and examples of entrepreneurial learning activities which may develop entrepreneurial competencies. The article concludes with promising areas and questions for future research and as well as implications for educators.publishedVersionCopyright © 2019, Ben Toscher. Under the Creative Commons Attribution-NonCommercial 4.0 International license
Blank Canvas: Explorative Behavior and Personal Agency in Arts Entrepreneurship Education
No full textThe majority of learning in arts entrepreneurship education is experiential (Essig & Guevara, 2016). Experiential and entrepreneurial learning theories indicate that to facilitate entrepreneurial knowledge generation which “enables [entrepreneurs] to recognize and act on entrepreneurial opportunities and to organize and manage new ventures” (Politis, 2005, p. 400), individuals need to exercise personal agency and engage in explorative behavior (Kolb & Kolb, 2009; Politis, 2005). If arts entrepreneurship education is to help students generate such entrepreneurial knowledge, arts entrepreneurship educators should create learning environments in which their students can exercise personal agency and behave exploratively. Despite this, how students exercise personal agency and explore within arts entrepreneurship education has not been empirically studied. This empirical paper attempts to answer the following question: How do students explore and exercise personal agency in arts entrepreneurship education? Using rigor to systematically analyze qualitative data (Gioia et al., 2013) from a five-week course in entrepreneurship in higher music education to produce a data structure and model, I find that within a teacher-created learning environment, students balance personal factors (their values and beliefs, habitual modes of thought, prior experience and personal goals) against social factors (social interdependencies and conditions of approval) while taking actions to reduce uncertainty. The findings imply that teacher-created learning environments and engagement in social contexts influences how students exercise personal agency and explore
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