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Sustaining a 'portfolio' career in music

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by

Dave Camlin

on 18 October 2017

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Transcript of Sustaining a 'portfolio' career in music

20 0
HYSTERESIS
?
2005
2010
2015
2017
"the structural lag between opportunities and the dispositions to grasp them"
(Bourdieu 1977, p.83)
"the disruption between habitus and field and the consequences of this over time."
(Hardy 2008)
(Anderson, C. 2009, p.32)
CAPITAL
Symbolic
(Bourdieu 1986)
"...can present itself in three fundamental guises:
as economic capital, which is immediately and directly convertible into money and may be institutionalized in the forms of property rights;
as cultural capital, which is convertible, on certain conditions, into economic capital and may be [embodied, objectified, or] institutionalized in the forms of educational qualifications; and
as social capital, made up of social obligations (‘connections’), which is convertible, in certain conditions, into economic capital and may be institutionalized in the forms of a title of nobility."
Economic
'transubstantiations' of economic capital
CoMusica
SAGE GATESHEAD
1997
UK CULTURAL POLICY
Labour majority
Con / Dem coalition
Con majority
Traineeship
Music Degrees
Founders Leave
Building opens
What have we learned so far?
Sustaining a 'Portfolio' Career in Music
What's the situation we want to understand better?
And why does it matter?

How are we going about it?
Dr. Dave Camlin 2017
dave@davecamlin.co.uk
+44(0)7580 78924
Situated ethnographic action research
Survey of established and emergent practitioners
purposive sampling
starting small (n=14)
Please tell us about your current professional musical career.
How did you get to be where you are now?
Which parts of your current career do you find the most personally rewarding?
Which parts of your current career do you find the most challenging?
What are the most significant networks that you are part of?
How much time do you spend on music-related work, and how much of your income does it represent?
What skills underpin your musical practice?
What values underpin your musical practice?
Which (if any) of the following music qualifications do you possess?
Who, or what, inspires you?
What advice would you give to someone just starting a career in music?
If you could have your time again, what (if anything) would you do differently about your musical career?
Anything else you would like to say about your musical career?
‘data about the most significant individuals and institutions in the social space are the most useful, because these field participants occupy the most dominant field positions, and therefore also occupy positions within the field of power, where they are able to determine the value of field-specific capitals. Here, the data collected are not a statistical sample, but should be a particular subset of individuals selected because of their powerful influence on the field.’ (Grenfell 2012)
Survey Questions
Networks
100% of respondents said the networks they belonged to were either important (28%) or very important (72%) to their career.
Full-time
85% of respondents said they spent 5 days or more each week on the various elements of their musical 'portfolio'
Income
64% of respondents aid they earned 'about' or more than the average annual UK income of c. £26,000
Case Studies
Jess Roberts
Ian Paterson
Sharon Durant
Ryan Humphrey
Community of Reflective Practice
Social
Aesthetic / Presentational
Praxial / Participatory
Integrated
What difference do I make in the world?
What change in society will this contribute to?
What do I hope will be the impact of this?
Why do I think that?
How will I know if / when we achieve that?
Why is
music
a good way of doing this?
Where are the boundaries?
What are the ethical considerations?
What's the purpose?
Is it any good? Do I know what it's good
for
?
Where's my comfort zone? And how do I operate outside of it?
Which dimension/s am I naturally inclined / oriented towards?
How do I strengthen the other/s?
What
wouldn't
I do? Why don't I do that?
What am I good at? What are my skills best suited for?
Who else do I want to work with on this? Whose perspective / skills / insight would be useful?
How is love - the aesthetic of relationship - manifest in my work?
How do I / we
shape / control the sound
to achieve something emotionally 'affective'? What aesthetic effect am I / are we aiming for?
How do I
refine my awareness
to express myself clearly and effectively, whilst listening to all the other voices?
How do we
work together
for maximum aesthetic impact?
How do I
support others
to express themselves?
What
techniques / skills
do I / we need to deploy / develop to achieve this?
When do I direct? When to facilitate? When to delegate? When to just 'get out of the way'?
Who's in the room? What do they want?
What do they need / expect from me?
Who isn't in the room? Why not? Where are they?
How can I make this easier / more accessible?
How do I facilitate a 'safe space'?
How do I make space for other people's creativity?
"Increasingly, successful musicians (celebrated for their flexibility in new labour markets centred on culture, creativity, and most recently, innovation), are more than simply performers aspiring to develop a portfolio career but can rather be seen as entrepreneurs who achieve sustainable careers in music by moving between fields such as music and digital media, video game culture and sound design, or interdisciplinary intertwined fields of business, arts and science" (Burnard 2015).
www.davecamlin.co.uk
How are musician identities / habitus changing in response to...
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