This is a constructivist study developing an understanding of how the public funding system in Denmark can generate an incentive to increase creativity for the musicians of the rhythmical music industry. The theoretical framework is build upon the “Systems perspective on creativity” presented by Csikszentmihalyi (1996), defining creativity to be developed “in context”. Amabile (1996) and Collins and Amabile (1999) suggest, that three components are crucial in the development of creative work: “Domain relevant skills”, “creative relevant processes” and “intrinsic motivation”. The concept of “synergetic extrinsic motivation” suggests, that extrinsic motivation, under specific circumstances, is able to enhance intrinsic motivation understood to be crucial to the creative work process. Further, Frey (2003) is, from an economical perspective of crowding theory, describing a relationship between government and artist conducive to motivation to increase creativity. The theory describes, how the public funding system has, via external intervention, the potential to both “crowd-in” and “crowdout” intrinsic motivation to produce creative products. The rhythmical music industry in Denmark is characterised by a complex network of cooperations between larger groups of sub-suppliers, considerably varying in size, all striving to produce products based on music. The public funding system is structured by the Ministry of Culture, so that a great deal of the funding task are delegated to the state and the municipalities, allocating funding to the music industry, via a framework of agencies, councils, committees and organisations. This study shows, that the generation of an incentive for the musicians of the rhythmical music industry to increase creativity is depending on: An increased focus on “non-mainstream” in the supply from the non-commercial public service media channels, especially DR; a greater focus on music in elementary schools; increased support, via the municipalities, towards music schools; increased allocation of funding towards “the regional concert halls”, the venues supported via “honorarium grants” and informal and inexpensive concert formats; an increased allocation of funding from the municipalities towards rehearsal spaces; the development of less bureaucratic application procedures, especially of the funding organs of the state - The Committee for Music and The Committee for Popular Music - characterised by informal, individual and intimate dialog with the applicants; education and targeted campaigns introducing the funding system to the musicians of the rhythmical music industry.
|Educations||MSocSc in Management of Creative Business Processes , (Graduate Programme) Final Thesis|
|Number of pages||188|