by J. Biggs and C. Tang, Maidenhead, England,
Open University Press, 2007, 360 pp., £29.99, ISBN-13: 978-0-335-22126-4

Teaching for quality learning at university

Recent shifts in education and labour market policy have resulted in universities being placed under increasing pressure to produce employable graduates. However, contention exists regarding exactly what constitutes employability and which graduate attributes are required to foster employability in tertiary students. This paper argues that in the context of a rapidly changing information- and knowledge-intensive economy, employability involves far more than possession of the generic skills listed by graduate employers as attractive. Rather, for optimal economic and social outcomes, graduates must be able to proactively navigate the world of work and self-manage the career building process. A model of desirable graduate attributes that acknowledges the importance of self-management and career building skills to lifelong career management and enhanced employability is presented. Some important considerations for the implementation of effective university career management programs are then outlined.

The graduate attributes we've overlooked : enhancing graduate employability through career management skills

Review(s) of: Outliers: The Story of Success, by Malcolm Gladwell, Allen Lane, 320pp; $32.95.

Outliers: The Story of Success [Book Review]

This paper considers the purpose, values and principles underpinning higher music education (HME) as one of the performing arts in a context of turbulent global change. Recognising complex challenges and opportunities in this field, HME is addressed from dual perspectives: educating the next generations of professional musicians, and higher music institutions’ (HMEIs) engagement in society. The paper has a particular focus on the sector within HME that is dedicated to intensive practical craft training for performers, composers, programmers, producers, managers and teachers. We argue that there is an urgent need for fresh orientating frameworks through which to navigate HME’s development. We examine concepts such as artistic citizenship, social responsibility and civic mission increasingly perceived to be relevant to the sector, and we explore their connections to concepts of artistic excellence, imagination and creativity, and musical heritage. We identify apparent dichotomies of value within contemporary HME, including between intrinsic and instrumental purpose in the arts, cultural heritage and new work, artistic imagination and entrepreneurship, and we argue that creative tensions between what have hitherto easily been perceived as opposing concepts or competing priorities need to be embraced. To support our argument we draw on the particular ethnomusicological concept of ‘musicking’, and we look towards a partnering of artistic and social values in order to enable HME to respond dynamically to societal need, and to continue to engage with the depth and integrity of established musical traditions and their craft. Based on this discussion we propose a conceptual foundation: the ‘musician as a maker in society’, in which developing vision as a musician in society, underpinned on the one hand by immersion in musical artistry and on the other hand sustained practical experience of connecting and engaging with communities, offers invaluable preparation for and transition into professional life. We propose that this idea, connecting societal and artistic vision and practice, is equally essential for HMEIs as it is for musicians, and sits at the heart of the position they evolve within their local communities and wider society.

/pdf/musicians-as-makers-in-society-a-conceptual-foundation-for-473a0ockz1.pdf

Musicians as "Makers in Society": A Conceptual Foundation for Contemporary Professional Higher Music Education.

While the majority of creative, performing, and literary artists are self-employed, relatively few tertiary arts schools attempt to develop capabilities for venture creation and management (and entrepreneurship more broadly) and still fewer do so effectively. This article asks why this is the case. It addresses underlying conceptual and philosophical issues encountered by arts educators, arguing that in all three senses of the term: new venture creation; career self-management; and being enterprising, entrepreneurship is essential to career success in the arts. However, the practice of entrepreneurship in the arts is significantly different from the practice of entrepreneurship in business, in terms of the artist’s drivers and aims, as well as the nature of entrepreneurial opportunities, contexts and processes. These differences mean that entrepreneurship curricula cannot simply be imported from Business schools. This article also examines the arts-idiosyncratic challenge of negotiating distinctive and potentially conflicting entrepreneurial aims, using career identity theory. It concludes by suggesting strategies by which adaptive entrepreneurial artist identities can be developed through higher education programs.

Not a dirty word : arts entrepreneurship and higher education

As parent universities strive to produce work-ready graduates, tertiary music institutions are beginning to respond by changing their offerings. Consequently, vocational preparation, work integrated learning (WIL) and service-learning courses are becoming increasingly prevalent. For the majority of institutions, these are offered in the latter years of students' undergraduate Bachelor of Music and Music Technology degrees. Some critics consider this is too late. Rather, exploration of what it means to be a musician needs to be encountered early in the degree in order to optimally maximise and engage with undergraduate training. In Australia, it is debatable whether young commencing students are generally ready to accept the realities of the music industry and/or supportive of vocation training. Traditional career goals such as orchestral employment are becoming less realistic, reducing linear career options yet some tertiary music institutions with curricula aligned to these employment outcomes continue to thrive. To explore this phenomenon beyond the argument of demographics, population and arts policy, an entire first year Bachelor of Music and Bachelor of Music Technology cohort was asked about their vocational ambitions. As "The Dream" is the initial inspiration for short-term and long-term music career motivation, this paper will identify, explore and define 94 first-year undergraduate students' career aspirations. Intrinsic/extrinsic motivations, perceptions of required career skills and role models are additionally scrutinized. The findings of this study may serve as a guide for music institutions wishing to integrate similar programmes into the first year of their undergraduate Bachelor of Music degrees. Key words: music, vocation preparation, career aspirations, career theory, curriculum design.

Identifying, analysing and aligning “the dream” with vocational preparation: An investigation into first-year music undergraduate career aspirations and motivations

While it could be argued that musicians have been long conditioned to the current Volatile, Uncertain, Complex and Ambiguous (VUCA) global environment, it appears the recent challenges are testing ...

2050 And beyond: A futurist perspective on musicians’ livelihoods

While full-time performance employment continues to be a highly desirable aspiration for many musicians within western cultures, its lack of practicality and statistical likelihood in current contexts has recently focussed attention on 'portfolio careers' as more feasible professional pathways for music students. Titled My Life as a Musician (MLaaM), this suite of compulsory courses exposes Queensland Conservatorium Bachelor of Music students to the issues of career survival and sustainability in the economical and technological volatile environment. While the main focus of their degree is refining the 'product', namely musical expertise, the overriding goal is to encourage the creative spirit in making well-informed decisions enabling educated predictions of career choices and/or viability of projects. As the first of its kind to be implemented in an Australian conservatoire, courses such as these have the potential to enhance entrepreneurial abilities in graduates and improving employment outcomes.

Designing a tertiary music institution course to create industry-ready graduates

Following a review of the Bachelor of Music program, the Queensland Conservatorium Griffith University introduced a vocational preparation strand, My Life as a Musician (MLaaM) in 2011 This is a sequence of compulsory courses offered for one semester each year for the duration of the Bachelor of Music (three or four years), and Bachelor of Music Technology (3 year) degree It includes a suite of tasks ranging from identifying personal career development and planning, small-to-medium business enterprise skills, to creative entrepreneurship and new venture management

Aligning Student Attitudes, Assessment, and Curriculum Design: A Case Study Using the “My Life as a Musician” Vocational Preparation Strand

From 1–2–1 Instrumental to Large Class Academic Teaching: A Case of the 21st Century Conservatoire Lecturer

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