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JUDITH COE, BOARD MEMBER FOR PERFORMANCE
This has been a year of deep reflection and research for me and my Advisory Committee. We focused on how higher education can become an agent for social and cultural change in the arts by creating innovative and entrepreneurial leadership curricula, knowledge and skills, and experience. Many of us were taught within the framework of a traditional and replicative performance pedagogy, but students in this new century are best served through preparation for real world experiences. Michael Drapkin, Founder and Executive Director of The Foundation for Entrepreneurialism in the Arts, points out that US colleges and universities graduate 16,000 music performance majors annually without any significant planning as to their part in the larger role of the arts in our society, especially in a market-driven economy that specifically responds tosupply and demand.
Contemporary music performance students, along with vigorous and broad performance skills, must develop knowledge and skill areas in music business, entrepreneurship, law and intellectual property, and technology learning areas which supplement curricula in traditional music courses and which significantly contextualize and inform a present-day educational experience within a diverse and complex real world market.
The CMS Players Initiative is beginning to create a wonderful bridge between composers and performers. In thinking about the broad objectives of this initiative, several auxiliary initiatives seem potentially promising.
CMS Recital Exchange Clearing House
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The College Music
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