In the field of higher music education conservatories, and more specifically in the so-called ‘classical music’, the first steps towards research regarding entrepreneurship are being taken, although the main obstacles to overcome are still at a conceptual level (to define what is entrepreneurship in this field, what the profile of a musician entrepreneur is, what exactly is understood when we talk about an entrepreneurial identity referred to Western classical music) and on a referential level (research is scarce on the professional identity of classical musicians, on motivation that leads to professional success, on employability of a musician in the 21st century). At the same time, thought and analysis are lacking on how music education addresses entrepreneurial spirit and how conservatories for higher education in Western classical music could provide their students with the necessary capacities to become professional entrepreneurial musicians. This article aims to explore the state of entrepreneurship of classical musicians and analyse what challenges and barriers are found in particular in this subfield. In order to clarify the key concepts, the most relevant and recent literature in entrepreneurship education has been reviewed. Searching for avenues for entrepreneurship education in music conservatories, theory and practice have been merged by applying the literature findings to some practical considerations raised at the International Conference on Music Entrepreneurship recently held in The Hague, together with the personal experience in the specific context of higher music education conservatories.

Campus Virtual de la Universidad del País Vasco. C/ Barrio Sarriena s/n 48940 Leioa (Vizcaya) Tlfn: +034 946012255Email: pulsar@ehu.es ResumenEn el presente artículo se realiza una descripción y comentario de las aportaciones más relevantes que se han realizado en sobre el fenómeno de los "nativos digitales" o "Net Generation". Se recogen distintas posiciones sobre el desarrollo de nuevas habilidades cognitivas y nuevas tareas y necesidades de estas nuevas generaciones afectadas por el cambio tecnológico, así como sus implicaciones para las políticas educativas y prácticas docentes. Palabras clave Aprendizaje, videojuegos, identidad, redes sociales, nativos digitalesKey Words Learning, videogames, identity, social networks, digital natives Abstract This paper brings a description and some comments about the more relevant contributions made to literature about the subject of "digital natives" or the "Net Generation". We explain the different positions emerged on the development of new cognitive skills or the newer generations' tasks and needs, along with a discussion about related issues for educational policies and teaching practices

Continually monitoring student learning, improving tutoring, predicting academic risks such as performance drops or dropouts, assessing more objectively or understanding the behavior of student groups are some of the tasks that have been beyond the reach of music teachers. The current technology of massive data processing (Big Data) and its analysis (Learning Analytics-LA) allows to achieve these goals with relative ease. The possibility of extracting individual behavior patterns facilitates attention to diversity, reduces school dropout and failure, and opens the possibility of implementing new educational strategies. The phenomenon of data-based education has led to different types of studies. This paper reflects on three trends or fundamental perspectives in the use of the collection of massive information applied to learning and teaching. We offer an overview of research and applications of Learning Analytics specifically in the field of music education, as well as a reflection on its possible practical uses in higher music education in conservatories. For this purpose, we discuss some practical examples of how this technological methodology could be incorporated into music and music education research, and its influence on possible new educational paradigms that lead to innovation on teaching-learning process through new technological resources.

El concepto de emprendimiento paulatinamente ha ido permeando todas las áreas de conocimiento y actividades sociales como un valor central que define el perfil de los individuos que conduce a la consecución de logros personales, laborales y económicos, permitiendo la creación de productos de valor, bienes y servicios. E l emprendimiento artístico, no obstante, no se ha abordado con rigor académico hasta hace menos de una década. En el ámbito de la música se están dando ahora los primeros pasos hacia la investigación en emprendimiento, si bien los principales escollos que se han de salvar están aún a nivel conceptual y a nivel referencial. Asimismo, se echa en falta una reflexión y análisis del modo en que influye la formación musical recibida en el emprendizaje (aprender a emprender) y la manera en que los centros superiores de educación musical pueden proveer a sus estudiantes de las habilidades necesarias para convertirse en músicos profesionales emprendedores. Para que esto tenga lugar es preciso un diagnóstico de la situación educativa actual, los retos y las posibles resistencias para la introducción de cambios en la misma. Estos son los aspectos que se abordan en este artículo, además de una aproximación a distintos modelos de implementación del emprendimiento en los centros superiores de música y el planteamiento de interrogantes para la reflexión como primer y necesario paso hacia la transformación y el cambio.

Self-observation has proven to be a powerful medium for personal and professional growth and development. This research makes use of self-observation through video to determine the latent structure that underlies the gestures to be learned and mastered by orchestra conducting students. Exploratory Factorial Analysis (EFA) techniques have been applied to the assessments of the performances of the orchestra conducting students who participated in the experimental group of this study ( N = 13, males: 38.5%, females: 61.5%) before and after a self-observation experience. The results show a better integration of the gestures performed, and an improvement in the awareness of gestural details that go unnoticed if they are not visualized from outside; an improvement in gestural learning and in the self-regulation of learning; gestural maturation and a more selective focus on the gestures that must be corrected, as well as propitiating a vision of the body as a whole.