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Motivations and Intentionality in the Arts Portfolio Career
16 references·3 citing·53 second hop
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this work references cited by second hop

References

  • 2012Collaborating in a competitive world: musicians’ working lives and understandings of entrepreneurship189 cited
  • 2006Chapter 22 Artistic Labor Markets: Contingent Work, Excess Supply and Occupational Risk Management171 cited
  • 2014The urgent need for career preview: Student expectations and graduate realities in music and dance138 cited
  • 2019Building sustainable portfolio careers in music: insights and implications for higher education115 cited
  • 2015Creative labour and graduate outcomes: implications for higher education and cultural policy112 cited
  • 2019A lifespan perspective on multi-professional musicians: does music education prepare classical musicians for their careers?106 cited
  • 2017Who Goes Freelance? The Determinants of Self-Employment for Artists89 cited
  • 2007Utopia for music performance graduates. Is it achievable, and how should it be defined?84 cited
  • 2019Brand yourself, design your future: Portfolio-building in the social media age73 cited
  • 2010Getting ‘Capital’ in the music world: musicians’ learning experiences and working lives61 cited
  • 2016Involuntary career transition and identity within the artist population61 cited
  • 2013Roles, Revenue, and Responsibilities: The Changing Nature of Being a Working Musician59 cited
  • 2006Contradictions in portfolio careers: work design and client relations56 cited
  • 2021

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The working life of musicians: mapping the work activities and values of early-career pop musicians in the Dutch music industry
44 cited
  • 2007Preferred work patterns of creative artists40 cited
  • 2010Economic analysis of artists' behaviour: some current issues35 cited
  • Cited by

    • 2024An integrative review of challenges and strategies in the work of cultural entrepreneurs7 cited
    • 2024From Portfolio to Platform Career3 cited
    • 2023Students as teachers: A study of UK undergraduate music students’ experiences and perceptions of instrumental and singing teaching2 cited