University Teaching of entrepreneurship: a practitioner's analysis

This is a practitioner doctorate aimed at both Universities about to introduce Entrepreneurship as a subject and practitioners who may be turning to teaching what they know building on their business experience. In this Portfolio the transition from Entrepreneur to Lecturer in Entrepreneurship is explored and several approaches were used to support the transition. A Professional Development Memoir offers a review of the life of an entrepreneur through the lens of Meaning Making Systems in order to bring clarity to the theories used by the Entrepreneur implicitly in his practice. Reflecting on these theories offers insight as to how the entrepreneur perceived and acted on market opportunities. Imparting some of the knowledge accumulated from practice is one goal in teaching. Economics and pedagogical theories were identified, researched and applied to inform the structure, design and delivery of a module in Entrepreneurship within a post graduate programme that focussed on business practice. Theories of Entrepreneurship grounded in Economics indicate the importance of this business function within the broad Economic System for economic development. The role of theory is to offer students ways of organising how they think about entrepreneurship. Gardner’s Teaching for Understanding framework is used to bring structure to the development of the module. Several leading exemplars on the teaching of Entrepreneurship are attended to offer a context both for the content of the Module and its subsequent implementation within a framework of best practice in the teaching of Entrepreneurship. The practical running of a business by the students as a central element of the Module provided a deep and valuable learning experience allowing them to experience Entrepreneurship in a real way for themselves.

Portfolio of compositions with commentaries 2012-2015

This writing forms part of a portfolio of works which gathers together notations and recordings made between 2012 and 2015. The writing divides into four chapters. The first chapter undertakes an examination of abstraction. From the proposition obtained therein, that it is possible to extend within abstraction beyond a correspondence between its terms and concrete manifestations, I ask in what way abstraction may be considered to function therefrom. The second chapter performs an analysis of radical music notations from the nineteenth, twentieth, and twenty-first centuries. The central analysis identifies what is essentially an evolution of what I call ''figuration'' throughout three non-chronological phases of Christian Wolff's notations. The chapter closes by questioning what form of understanding might yet be pursued in respect of this work given (a) its nature, and (b) the nature of our inquiry. The third chapter reflects on some of the philosophical problematics raised in the preceding chapters, at the same time as it prepares for those that follow in the final chapter. The final chapter is a record of the development of my thought appertaining to my compositional work. It sets out two case studies (prepared piano and postcard notations) before proceeding to a selected set of commentaries. Finally, the notion of the functioning of written and acoustical ''marks'' developed in the preceding commentaries is generalised as I develop an aesthetics of scriptural experience.