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Savant syndrome, a very rare condition in the world, refers to individuals who have extraordinary talents but might have disabilities that prevent them from maintaining their life. The purpose of this paper is to investigate the views of conservatory instructors about the education of Buğra Çankır (BC), a musical savant with autism.

As it was difficult to communicate with BC and elicit his views, interviews were conducted with his teachers, who had similar experiences in his music education process. The participants were six instructors who worked as full-time instructors in the conservatory. The participants were administered a semi-structured focus group interview form that described the difficulties, experiences, perceptions and feelings they had in their interactions with BC. Data obtained from the study were subjected to content analysis methods performed by the researchers; analysis involved identification of the codes and themes and formation of sub-themes and codes in line with these themes.

Results showed that the participants had difficulties in teaching BC because of having insufficient knowledge about his features. In addition, while planning the conservatory education processes, the participants were found to redesign the teaching content considering the features of the student.

The present case study is important in terms of revealing the problems experienced in the education processes of these individuals. More detailed qualitative studies or action research could be utilised in studies to be conducted in the future.

BC’s educational experience is the first case for educational institutions and instructors in Turkey.

This study aims to address the question of what coordination mechanism can be used for cultural production and, in particular, for the governance of music culture production. The authors locate their reflection within the specific institutional innovations introduced in Italy in 2017, focusing on the idea of shared administration and the public–private collaboration instituted in Trentino (a province located in northern Italy) in support of its cultural policy.

This study focusses on the Trentino’s music school system. This includes 13 organisations (musicians’ cooperatives as well as associations of musicians and students, plus one municipal school which do not overlap with the public school system). To analyse shared administration features, the authors rely on selected information from 50 interviews with Trentino Music Schools (TMS) teachers and administrators, and on the proceedings of the 1994 music school conference organised by the schools at the time when this novel educational system was created.

To offer an innovative educational service, the public actor (Provincia Autonoma di Trento [PAT]) and the schools (TMS) have developed a strong interdependence at the different levels of decision-making: PAT needs organisations that are sufficiently structured and organised to respect requirements of transparency and accountability, as well as educational standards, whereas TMS need public funding to maintain their service accessible for users, good labour conditions and be financially sustainable. Likewise, the success of TMS in educating thousands of students every year, including additional teaching programmes funded by PAT within general public schools, has contributed to decrease the exclusion from music education, raise interest in young people for music and fed enrolment in TMS as well as in the public schools related to the conservatoire filière. Conclusions emphasise the existence of a polycentric system of music culture production which needs to acknowledge the risk of being trapped in a static disequilibrium, while recognising change and the need to support and promote a culture of cooperation among schools and across layered institutional levels over time.

Further research can observe this system of cultural production over time, to appreciate changes and organisational tranformations, while introducing comparative analysis with other systems in different regions.

The relationship between the public and private sectors to design, organise and manage activities of collective interest (in the social, cultural, sporting and other fields) can increasingly become an effective and efficient alternative to the traditional bureaucratic as well as to the competitive method. For this to happen, however, all actors involved must be aware not only of areas of efficiency but also of inefficiency. To remedy the latter, corrective measures will have to be introduced. For example, fostering and improving “co-programmazione” and “co-progettazione” means giving all stakeholders involved the opportunity to actively participate. Should the number of participants increase, more discussion fora could be set up because one alone may not be sufficient to foster maximum involvement, to enhance different points of view, to allow for intersectoral and multidisciplinary interpretations and responses.

The system governance based on co-programming and co-design has allowed – despite limitations – to pursue educational purposes and thus well-being for the users, as well as for the teachers and the community as a whole. The continuity of this educational and cultural action has been guaranteed by the economic and financial sustainability of the schools, which is highly dependent on the public actor funding personnel costs, and in turn tied to the number of students (demand) attending each school. Actors embedded in the system need to build awareness of industry and cultural changes and knowledge of how to introduce more adaptive capacity. This points towards the need for strengthening networking capacity and collaboration among schools and other relevant stakeholders.

The case presented is a unique system of music culture production in Italy, and its governance has never been addressed by previous studies. It provides an application of shared administration to which public administrations and communities can learn to improve access to music culture and education. For public and private organisations to take advantage of the method of “co-programmazione” and “co-progettazione”, to make the production of a meritorious good more efficient and to favour its maximum accessibility, this study considers the strengths and weaknesses of this approach, or the areas of efficiency and inefficiency, for which new measures will have to be introduced.

In the post‐industrial society traditional universities will not be insulated against change. No longer can they serve exclusively as degree‐granting bodies sheltering 18–22 year olds between allowances and salaries. They have to meet the needs of the Information Age or go the way of the dinosaur.

With a focus on undergraduate music major students in China, the study sought to examine how higher music education institutions prepare professional knowledge, professional skills and soft skills in relevance to music students' employability.

The quantitative survey engaged 359 music students from five music institutions in Western China to report their perceptions toward music curriculum related to employability. The current study examined whether their perception varied based on their gender, location, school, educational background and professional option purpose.

Perception differences in the music curriculum were observed across gender, schools, educational background and professional option purpose. School differences were the most significant among all five factors, followed by professional option purpose, educational background and gender. The location difference was insignificant among the five factors. There were insufficient opportunities for community and industrial engagement in higher music education.

The current study provides an insight into the higher music education curriculum for employability preparation in current China. This is one of the limited empirical studies in Western China to investigate music students' perceptions of professional knowledge and skills and the soft skill line with employability. The findings can serve as a reference for prospective employees in the music industry, policymaking and curriculum design and future research.

The Noise Upstairs (NU) is a monthly freely improvised (‘free improv’) music night with a home above a café bar in a mixed/student suburb of Manchester. This chapter uses the perspective of critical improvisation studies to reflect on aspects of a performance ethnography carried out by the authors, both of whom are performers and one of whom (Hunter) curates the NU night for the NU collective. Free improv is a post-1960s set of meta-musical practices related to but contesting both ‘jazz’, ‘free jazz’, ‘new music’ and ‘experimental’ music. In it, real-time co-creation and negotiation of social-and-musical relationships are paramount. Consequently, the question of whether a politics of sorts is enacted in the dialogic and multilateral socialities generated in free improv is a substantive one. In addressing it, the authors deploy some concepts from the ‘affective turn’ in social theory to review how the general milieu and out-of-the-hat ensemble-formation approach adopted at NU in fact enables a ‘minor’ micro-political practice of participating differently to be established there. Arising from that discussion, and in line with a key theme of the wider PARTISPACE study, the authors then discuss whether that politics might meaningfully (and usefully) be articulated in terms of ‘democracy’.

The purpose of this article is to examine the similarities between creative business leadership and successful artists and to illustrate how the label “outside artist” is a romantic myth.

Making use of four cases in classical music history, this study analyzes how a quartet of musical artists negotiated their space inside highly organized and changing environments.

Many qualities exhibited by musical artists are similar to those required of successful organizational managers. One of the reasons that insider artistry is a complex phenomenon is that socio-organizational conditions are not fixed, they change. Therefore, each new generation of artists has to invent new strategies to get the job done.

Understanding the nature of these similar qualities will help clarify the issue of making art work inside organizations and dispel erroneous assumptions about the role of artists in these organizations.

This article will contribute to the practical as well as the philosophical conversation about the place of artists inside successful organizations in society.

This systematic literature review provides an overview of the entrepreneurship education research, by outlining the recent trends of research on entrepreneurship education. This research study has two primary goals. First one is the identification and categorization of the entrepreneurship education in scientific research by providing sequential distribution of published articles, and the research output of scientific journals, authors, and different countries. Another goal is to recognize the themes of research that are most developed and examined by the researchers.

This research systematically examines published scientific documents on entrepreneurship education taken from Scopus database ranging from 1950 to 2021. A total of 1,531 articles were selected for final analysis after a systematic process of elimination based on specific criteria. VOSviewer was used for bibliographic coupling, keyword co-occurrence, distance based mapping, clustering, and co-citation analysis of articles, countries, journals, and authors.

The systematic literature review revealed that in the last 15 years, scientific literature has shown a variation in direction of research in this area. The literature has moved from focusing on traditional means of entrepreneurship education towards more subtle and output-oriented factors of entrepreneurship education such as intentions, motivation, attitude, and behavior. The most popular topic among researchers and with the greater number of published papers is entrepreneurial intentions, and it is closely related to practice, innovation, and entrepreneurial learning.

This is one of the few systematic literature reviews on entrepreneurship education, and perhaps the only systematic review that analyzes literature on entrepreneurship education from 1950 to 2021 with VOSviewer analysis techniques.

This chapter will take a case study approach to partnership in Higher Education (HE), highlighting good practice and showcasing FOCUS West as a model of innovative collaboration. FOCUS West is a government-funded, regional access organisation in the west of Scotland (http://www.focuswest.org.uk). The region comprises roughly 5,000 square miles with a population of around 2.2 million. Delivered by a partnership of the Universities of Glasgow, Strathclyde and the West of Scotland, Glasgow Caledonian University, Glasgow School of Art and the Royal Conservatoire of Scotland (RCS) it works with schools and local education authorities to increase progression to HE from the 37 lowest progression secondary schools in the area. It delivers a programme of guidance and support to pupils from S3 to S6 (14–18 year olds), targeting activity to those young people who have potential to achieve HE entry. FOCUS West, as a partnership organisation, addresses vital issues of social mobility in Scotland, where progression to university and all of the attendant opportunities, remains stubbornly linked to socio-economic circumstances.