Disciplinary background A. Creativity training and assessment. Considerable progress has been made in the field of creativity research over the last few years in refining the concept of creativity (Plucker et al., 2004), in recognising its importance in a wide range of domains including Higher Education (Park et al., 2020;Ulger, 2018) and in developing creativity enhancement interventions and measures (Kapoor et al., 2021;Said-Metwaly et al., 2017). Disciplinary background B.Training of the entrepreneurial musician. There has been increasing recognition of the need for Higher Music Education (HME) institutions to better equip graduates to manage their future careers, given the uncertainties of the fluid and evolving world of work. In response, some conservatoires have embraced curriculum change toward a greater emphasis on facilitating an entrepreneurial mindset in students but this is not yet the norm in the UK and Europe and it is unclear how this can be most effectively done (Carey & Coutts, 2021). Recent research in entrepreneurship education has foregrounded creativity as a key competence in developing an entrepreneurial mindset (Fillis & Rentscher, 2010).

Disciplinary background A. Music psychology. In Western classical music, participation generally involves a preparation period, and a performance. Time constraints have been shown to affect behaviour during rehearsal (Kokotsaki, 2007) and shifts in focus observed as performance approaches, from verbal communication to nonverbal interactions (King & Gritten, 2018). Disciplinary background B.Organisational science. The punctuated equilibrium model of team development (Gersick, 1991) predicts a change in behaviour at the calendar midpoint, regardless of the timeframe over which this unfolds. Later research suggests this provides a type of 'semistructure' (Okhuysen & Waller, 2002), which, along with familiarity, norms and goals, provides a framework for working on complex tasks.

A longitudinal study of music students in a specialist higher education institution explored career intentions of students preparing for a career in the music industry. Stage of study had an impact on career goals, with students likely to gravitate away from aspirations for a performance career, towards a portfolio, freelance career. Alumni data supported this, with 80.3% of graduates from the institution currently engaged in a portfolio career. Reasons for changing intentions included gaining awareness of alternatives, personal insights, and negative prospects of the sector. Role models and other sources of inspiration were also key. Early students, especially those holding offers and yet to start, were particularly susceptible to external inspiration, such as advice or experiencing an exciting performance. Alumni were inspired by continuing to learn new skills, and networking with peers. Students were asked to self-rate themselves against generic industry competencies, and were most confident in setting goals and working as a team, and least confident in applying specific business skills such as managing finances. Findings are discussed in relation to the role that entrepreneurship education can play in supporting the needs of students in specialist performing arts, underpinning the need for early intervention and support as students perspectives emerge and are re-evaluated during their studies.