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This article explores student and teacher experiences of bi-musical education at KM Music Conservatory (KM). KM is a higher education institution in Chennai, India, established in 2008 by the internationally renowned film composer, A. R. Rahman. The Conservatory offers various courses, including a Diploma programme validated by Middlesex University, UK, as part of an internationally recognised bachelor's degree in music. Students enrolled in the diploma programme study Western art music and Hindustani classical music as core subjects alongside audio engineering, in what has been described as a bi-musical curriculum. Teacher and student experiences of KM's curriculum indicate bi-musical education can reaffirm colonial, Orientalist, and neoliberal discourses. I argue this should be recognised as an outcome of bi-musical education; however, I also argue that if the generation of these discourses is acknowledged, bi-musical education can bring into dialogue a diverse range of issues that can be used to confront and unsettle colonial ideology, Orientalism, and neoliberalism in engaged ways.

This rapid literature review collates available literature on South-South cooperation (SSC) (including the origins of the concept and how is it explained by different developing countries). It draws on a diverse range of sources including academic and grey literature. Given the breadth of debates regarding SSC, this review should be considered as indicative of broad narratives. SSC, both the theoretical notion and its practical application, is a commonly accepted component in discussions of international development policy. However straight forward the concept of SSC might appear, the term is not without ambiguity and many commentators highlight that there is no agreed definition. SSC is broadly understood as the transfer and exchange of resources, technologies and knowledge between developing countries and has grown exponentially in recent years as a result of the increased engagement of ‘new’ or ‘(re)emerging’ development cooperation ‘providers’ from the South. However, the notion of SSC is neither new nor static, rather it has evolved in response to global developments.

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This article explores the potential use of ethnomusicology in the development of entrepreneurialism amongst Western classical music students studying at UK music colleges. It is argued that both ‘doing’ and ‘reading’ ethnomusicology can encourage students to explore the diverse uses and meanings attached to Western classical music in varied social and geographic contexts. The knowledge garnered through ethnomusicology can then be applied in creative, informed and situational ways by students in the development of entrepreneurial strategies. As a by-product, it is suggested that ethnomusicology can be used to reframe entrepreneurialism as a musical, relational and interactive process.