Educators Summit PROGRAM - MEIEA 2017Educators%Summit% 5! %!!!! ! musicbiz.org...

Educators Summit PROGRAM

– Chicago – 2017

March 31 -‐ April 1 | Embassy Suites by Hilton – Chicago Downtown

2 MEIEA

Welcome to the 2017 Music and Entertainment Industry Educators Association Summit! I’m excited to welcome you to Chicago, the home of Deep Dish Pizza, the Second City Comedy ensemble and great music, especially the Blues. This is my last MEIEA Summit as your President and I know we’ve planned a terrific three days of events, speakers and valuable content you can bring back to your respective campuses. Since we are in a city so well-‐known for Chicago Blues, I thought it was only fitting to bring the Blues to the Summit. I’m excited to interview a long-‐time friend and ally, Bruce Iglauer, Founder and President of Alligator Records (although I think his title might just be “Boss”). Bruce started Alligator more than 45 years ago and his passion for the Blues is still evidenced by his unwavering support for his recording artists and their work, and his commitment that artists AND labels are paid fairly by new technology services. We will also hear from Jeff McClusky, a veteran of our industry who has been an incredibly successful radio promotion executive, which is only one of his many talents and services he provides to our industry. In addition to our keynote speakers, we have a superstar legal update panel, several other topical panels and roundtables and many great paper presentations. Last year, MEIEA started a Thursday briefing session and we will continue that innovation with a late afternoon session from our friends and sponsors at SoundExchange. I hope you can attend and learn more about their constant evolution in the digital streaming space. I look forward to meeting you all. Please feel free to reach out to me if you’d like to discuss ideas for panels, sponsors or other activities that you think MEIEA should entertain. Our commitment to our members, their professional development, their excellence in the classroom and the education of the next generation of music and entertainment industry leaders is what drives all of us at MEIEA. Please also reach out to me if you’re interested in getting more involved with MEIEA; if you have time to become a dedicated volunteer as a Board member, or wish to launch some valuable initiative that would benefit our members, or just to discuss an idea or event that might be of interest, I’d love to hear from you. Best regards, John L. Simson President, Music and Entertainment Industry Educators Association

2017 Educators Summit 3

Sponsors

Special thanks to the following sponsors for their generous support of MEIEA and the 2017 Educators Summit

4 MEIEA


musicbiz.org

facebook.com/MusicBizAssoctwitter.com/musicbizassocinstagram.com/musicbizassoc

Music Biz 2017 is the only music business event in North America that brings together the influen-tial decision-makers from the commerce, content and creative communities under one roof.

www.musicbiz2017.com

STUDENT REGISTRATIONS as low as $129 • EDUCATOR REGISTRATIONS as low as $259

Academic Partnership Program$500 per college/university

Calling all colleges and universities with music business, technology, or entertainment law programs, join Music Biz as an Academic Partner today and all students and faculty will have access to special membership benefits: • access to research, whitepapers and infographics; • complimentary registration to our Common Ground Webinar Series; • discounts to our annual Convention and Entertainment & Technology Law Conferences; and • eligibility to apply for scholarships through the Scholarship Foundation.

Let us help you nurture the next generation of music industry executives.

Email Evelyn Dichter at [email protected] for more details.

Join Music Biz Today at musicbiz.org!

Student-Focused Programmming

Career Development Workshops

Tuesday, May 16, 9 AM - 3:50 PM

Discuss careers in music, resources for entrepreneurs, networking, job interviews, and other skills necessary to get a foot in the door of the music industry.

Career Day: Resume Review & HR Meetings

Thursday, May 18, 9 AM - 6 PM

Amazon, Baker & Taylor, BMI, CAA, indiehitmaker, INgrooves Music Group, ole, SESAC, Songtrust, Sony Music, SSA Music, Super D/Alliance, Universal Music, Warner Music, and others will meet with students, dis-cuss job opportunities and internships, and help aspir-ing music biz executives find their best path forward.

Educator-Focused Programming

Music Business Educator Meetup

Wednesday, May 17, 11 AM - 1 PM

A time for professors, faculty members, and other higher-education enthusiasts to review the past semester, present new trends that can benefit the classroom, and discuss the future of music business education.

6 MEIEA

MEIEA Executive Board

EXECUTIVE OFFICERS

President John Simson American University

Vice President Storm Gloor University of Colorado, Denver

Secretary Carey Christensen California State University, Northridge

Treasurer Clyde Rolston Belmont University

Director of Membership Patrick Preston Bay State College

EXECUTIVE DIRECTORS

MEIEA Journal Editor Bruce Ronkin Northeastern University

BOARD MEMBERS

Peter Alhadeff Berklee College of Music Cutler Armstrong Butler University Courtney Blankenship Western Illinois University


Jerry Brindisi Columbia College Chicago Immediate Past President Serona Elton University of Miami Amy Macy Middle Tennessee State University Armen Shaomian University of South Carolina

Melissa Wald Middle Tennessee State University

Kim L. Wangler Appalachian State University

Australasian Liaison Ben O’Hara Australian College of the Arts Melbourne, Australia European Liaison Henric Lindstrom Linnaeus University Kalmar, Sweden

PAST PRESIDENTS (13) Serona Elton 2011-‐2015 (12) John Kellogg 2009-‐2011 (11) Rey Sanchez 2007-‐2009 (10) Rebecca Chappell 2003-‐2007 (9) Tim Hays 1999-‐2003 (8) Scott Fredrickson 1995-‐1999 (7) David Hibbard 1993-‐1995 (6) Janet Nepkie 1989-‐1993 (5) Michael Fink 1988-‐1989 (4) Richard Broderick 1986-‐1988 (3) James A. Progris 1984-‐1986 (2) David P. Leonard 1982-‐1984 (1) Jay Collins 1979-‐1982

8 MEIEA

Publish your articles and reviews in the

Journal of the Music & Entertainment Industry Educators Association

The MEIEA Journal is a refereed scholarly work published annually by the Music & Entertainment Industry Educators Association and is a resource for anyone interested in scholarly research and writing about the music and entertainment industries. The MEIEA Journal is distributed to members of MEIEA, universities, libraries, and individuals concerned with music and entertainment industry research and education. Articles are of business, legal, economic, technical, pedagogical, and historic significance and often reflect current issues that affect the music and entertainment industries and music and entertainment industry education. The MEIEA Journal is indexed in The Music Article Guide and The Music Index. Submissions for the 2017 issue due by June 26, 2017. For more information, visit: http://www.meiea.org/About-‐Journal

Social Media

Keep the conversation going after the Educators Summit at:

https://www.linkedin.com/groups/1873722

https://www.facebook.com/groups/530369290347184

https://www.youtube.com/user/meiea

For library orders and institutional subscriptions:

The MEIEA Journal is indexed in:


Faculty Research Grants MEIEA is proud to offer research grants to eligible educators in order to encourage scholarly research that advances theory, scholarship, and practice in the music and entertainment industries. MEIEA’s specific objectives are to provide academic encouragement and financial incentives for MEIEA members to pursue research and publication. Grants of up to $3,000 are available to full-‐time and part-‐time faculty at accredited institutions. Single-‐investigator applications, as well as applications that include collaboration with other faculty or industry practitioners, are welcome. Research topics might include:

• Historical or theoretical studies documenting the growth, evolution, or future of the music and entertainment industries or music and entertainment industries education;

• Curricular innovations and professional standards in music and entertainment industry education;

• Business models in the music and entertainment industry; • Interdisciplinary approaches to the recording industry.

MEIEA’s expectations for recipients of research grants are:

• To publish their findings in the MEIEA Journal as well as other scholarly publications;

• To make a presentation at MEIEA’s annual conference. For more information, visit: http://www.meiea.org/Faculty-‐Research-‐Awards

Student Enrichment Grants MEIEA is proud to offer student enrichment grants to provide financial support for select and notable student activities intended to advance student education in the music and entertainment industries. Grants may be used to support a variety of activities that include, but are not limited to, workshops, guest speaker support, networking mixers, community service projects, and mentoring programs.

Two levels of award funding are available: • Level I Award: Institutional Member. Up to $1,000 is available to

institutions that hold Institutional membership in MEIEA;

• Level II Award: Non-‐Institutional Member. Up to $500 is available to institutions that are not current Institutional members where the faculty sponsor is an individual member of MEIEA.

2017-‐2018 academic year Student Enrichment Grants will be reviewed beginning October 1, 2017 and will continue until the grant fund is exhausted. For more information, visit: http://www.meiea.org/Student-‐Enrichment-‐Awards

10 MEIEA

SUMMIT SCHEDULE

Wednesday, March 29, 2017

5:00 pm -‐ 8:00 pm MEIEA Board Meeting

Gold Coast

Thursday, March 30, 2017

9:00 am -‐ 3:00 pm MEIEA Board Meeting

Gold Coast

5:00 pm -‐ 6:00 pm Pre-‐Summit Briefing Session: SoundExchange Briefing session on current developments in collective rights management and SoundExchange, the non-‐profit performing rights organization that collects and distributes performance royalties on behalf of sound recording copyright holders. Moderator: Linda Bloss-‐Baum (Senior Director, Artist and Industry Relations, SoundExchange | Adjunct Faculty, Department of Management, Kogod School of Business, American University)

Lakeview

6:15 pm -‐ 7:15 pm Pre-‐Summit Roundtable Session: Songwriting Education Roundtable discussion on the state of songwriting education in higher education. Discussion topics include, but are not limited to: academic-‐ and trade-‐based instructional resources, curriculum models, and the development of a cohesive community of songwriting educators within MEIEA. Participation by all roundtable session attendees is encouraged. Moderator: Odie Blackmon (Assistant Professor and Commercial Songwriting Coordinator at Middle Tennessee State University, Lecturer in Music at Vanderbilt University’s Blair School of Music)

Lakeview

7:00 pm -‐ 9:00 pm Summit Check-‐in and Walk-‐up Registration

Atrium Pre-‐Function

7:30 pm -‐ 9:30 pm Welcome Reception / Networking Event

Lincoln Park

Friday, March 31, 2017

7:00 am -‐ 9:00 am Summit Check-‐in and Walk-‐up Registration

Atrium Pre-‐Function

8:00 am -‐ 9:00 am Roundtable Session: Using Professional Industry Tools in Your Courses Roundtable discussion of ways to use professional industry tools in your classroom sessions and course assignments. We will explore some examples involving BuzzAngle Music, Billboard Magazine, and others. Participation by all roundtable session attendees is encouraged. Moderator: Serona Elton (Associate Professor and Chair, Music Media & Industry Department, University of Miami)

Lincoln Park



9:15 am -‐ 10:15 am Academic Papers: Session 1 Moderator: Bruce Ronkin (Vice Provost for Undergraduate Education and Professor of Music, Northeastern University)

• From the Blank Page to the Mixed Demo: Building a Real World Writing, Publishing, and Recording Experience for Student Songwriters and Engineers -‐ Odie Blackmon (Assistant Professor and Commercial Songwriting Coordinator at Middle Tennessee State University, Lecturer in Music at Vanderbilt University’s Blair School of Music); Bill Crabtree (Professor/Recording Arts and Technologies, M.F.A. Director, Middle Tennessee State University)

• Practical Theory and Production Analysis: Helping Students Produce Competitive Songs -‐ Misty Jones (Assistant Professor, Audio Production, Middle Tennessee State University)

Lincoln Park

9:15 am -‐ 10:15 am Academic Papers: Session 2 Moderator: Kim L. Wangler (Director of Music Industry Studies, Appalachian State University)

• Teaching Creativity: An Alternative Approach -‐ Rob Cannon (Head of Entertainment Management, Australian Institute of Music)

• Lean Six Sigma: An Innovative Problem-‐Solving Methodology That Can Be Used To Develop Careers of Emerging Performing Artists -‐ Hal W. Weary (Lecturer, Music Business, Wayne State University)

Lakeview

10:30 am -‐ 11:30 am Welcome Session: John Simson, MEIEA President (Executive-‐in-‐Residence & Program Director, Business and Entertainment, Kogod School of Business, American University) Keynote Speaker: Bruce Iglauer (President & Founder of Alligator Records)

River North

11:45 am -‐ 12:45 pm Luncheon

River North

1:00 pm -‐ 2:30 pm Plenary Session: Legal Update: 2016 Year in Review Join top industry attorneys as they discuss some of the major cases of 2016 and their impact on the entertainment industry. Topics will include the DOJ ruling on 100% licensing for ASCAP and BMI and its aftermath, ongoing litigation for pre-‐1972 recordings, Cox Communications vs. BMG and safe harbor under the DMCA, The AMP Act, the Songwriter’s Equity Act and other pending legislation of interest to the music community. Moderator: Thomas Leavens (Partner at Leavens, Strand & Glover, LLC) Panelists: Robert S. Meitus (Partner at Meitus Gelbert Rose LLP), Linda S. Mensch (Of Counsel at Leavens, Strand & Glover, LLC)

River North

12 MEIEA


2:45 pm -‐ 3:45 pm Academic Papers: Session 3 Moderator: Melissa Wald (Associate Professor, Music Business Internship Coordinator, Middle Tennessee State University)

• Presenting Diverse Music in the U.S. and The Art of Connecting -‐ Mehmet Dede (Assistant Professor, Music & Performing Arts Management, The Hartt School at the University of Hartford)

• Music Consumption in Fly-‐Over Country: Understanding Listening Trends for Music Fans in the Midwest and Their Implications for Tomorrow’s Artists -‐ Scott LeGere (Department Head: Music Business, The McNally Smith College of Music); Kyle Bylin (Hypebot)

Lincoln Park

2:45 pm -‐ 3:45 pm Academic Papers: Session 4 Moderator: Armen Shaomian (Assistant Professor, Sport and Entertainment Management, University of South Carolina)

• The Status of the Chinese Music Industry and the Impact of the Third Amendment of Chinese Copyright Law -‐ Fengyan Zhang (Associate Professor, Communication University of China)

• Resources to Build My Arts Management Course -‐ Stan Renard (Assistant Professor of Music Marketing, The University of Texas at San Antonio); Courtney Blankenship (Assistant Professor of Music Business, Western Illinois University)

Lakeview

4:00 pm -‐ 5:00 pm Academic Papers: Session 5 Moderator: Amy Macy (Associate Professor, Department of Recording Industry, Middle Tennessee State University)

• Is a Degree in Audio Recording and Production a 360 Deal? -‐ Doug Bielmeier (Assistant Professor/Purdue Graduate Faculty, Purdue School of Engineering Technology – IUPUI)

• Internationalizing and Entrepreneurializing Music Curriculum in Higher Education: An India – Australia Collaboration -‐ Kristina Kelman (Lecturer, Queensland University of Technology); Adam Greig (Academic Coordinator, KM Music Conservatory)

Lincoln Park

4:00 pm -‐ 5:00 pm Academic Papers: Session 6 Moderator: Patrick Preston (Department Chair, Entertainment Management, Bay State College)

• Project-‐Based Learning in Sequential Music Industry Classes of Tennessee State University’s Commercial Music Program -‐ Mark Crawford (Coordinator of Commercial Music, Tennessee State University)

• Teaching Musicians to Think as Marketers: Strategies to Ease the Mindset Shift -‐ Fabiana Claure (Director of Career Development and Entrepreneurship in Music, University of North Texas)

Lakeview


Saturday, April 1, 2017 8:00 am -‐ 9:00 am Academic Papers: Session 7

Moderator: Keith Hatschek (Professor of Music, Program Director for Music Management and Music Industry Studies, University of the Pacific)

• Managing Your Band: What Does A Manager Really Need To Know? -‐ David Philp (Assistant Professor, William Paterson University)

• 100 Years of Recording and Publishing Ragtime -‐ Robert Willey (Director, Music Media Production and Industry, Ball State University)

Lincoln Park

8:00 am -‐ 9:00 am Academic Papers: Session 8 Moderator: Darren Walters (Associate Teaching Professor, Drexel University)

• Identifying Marketing Demographics for a Midsized Performing Arts Venue in a Multicultural City -‐ Armen Shaomian (Assistant Professor, Sport and Entertainment Management, University of South Carolina); Tyler Franz (Business Analyst, Charlotte Hornets)

• Integration and Synergy: Patron Experience Research in Entertainment Venue Management -‐ Michael Mahoney (Associate Professor, Coordinator – Sports & Entertainment Facility Management, California State University, Fresno)

Lakeview

9:15 am -‐ 10:15 am Keynote Speaker: Jeff McClusky (Founder and CEO, Jeff McClusky & Associates) Moderator: Armen Shaomian (Assistant Professor, Sport and Entertainment Management, University of South Carolina)

River North

10:30 am -‐ 11:30 am Topical Session: Issues in Music Journalism Panel discussion focusing on issues in music journalism including but not limited to the evolving role and responsibility of the music journalist in the digital age, career opportunities and diversity in the field. Hear from professional music journalists, some of who are also educators. Moderator: Justin Sinkovich (Assistant Professor, Media Management BA Coordinator, Columbia College Chicago) Panelists: Jim DeRogotis (Sound Opinions), Jim Kopeny (Chicagoist), Althea Legaspi (Chicago Tribune | Rolling Stone)

De Paul

14 MEIEA

Saturday, April 1, 2017 10:30 am -‐ 11:30 am Academic Papers: Session 9

Moderator: Amy Macy (Associate Professor, Department of Recording Industry, Middle Tennessee State University)

• The Beatles Catalogue and Paul McCartney's Quest to Recapture His Rights -‐ Don Gorder (Chair, Music Business/Management Department, Berklee College of Music)

• Virtual Or Otherwise: Music in Virtual Reality, Augmented Reality, and Other New Technologies and its Relationship to Copyright Law -‐ George Howard (Associate Professor, Music Business/Management, Berklee College of Music)

Lincoln Park

11:45 am -‐ 12:45 pm Topical Session: Chicago’s Live Entertainment Spectrum Panel discussion focusing on the live entertainment scene through the lens of Chicago musical venues, theaters and entertainment companies. What are the challenges and opportunities in this industry and how are venues and concert producers successfully navigating booking, ticketing, marketing, and audience engagement in an environment where fans and patrons have more choices than ever in being entertained? Insight provided from leaders in the industry who can share where they see live entertainment is heading. Moderator: Cutler Armstrong (Lecturer, Creative Media & Entertainment, Butler University) Panelists: Matt Brooks (Director, Sofar Sounds Chicago), Justin Seidenberg (Chicago-‐based artist manager, JSS Artists/Kiqstart Music), Nicole Wetzell (Director of Sales, Auditorium Theatre of Roosevelt University)

De Paul

11:45 am -‐ 12:45 pm Academic Papers: Session 10 Moderator: Darren Walters (Associate Teaching Professor, Drexel University)

• Narrative Analysis and Critical Inquiry in Self Knowledge Construction – Joseph (Joe) Miglio (Associate Professor, Music Business/Management, Berklee College of Music)

• The “Other” Value Gap: Consumer-‐Driven Digital Music Delivery and the Administrative Mountain That Has Yet To Be Conquered -‐ Melissa Wald (Associate Professor, Music Business Internship Coordinator, Middle Tennessee State University)

Lakeview

1:00 pm -‐ 1:45 pm Luncheon

River North

1:45 pm -‐ 2:30 pm MEIEA General Membership Meeting

River North


Saturday, April 1, 2017 2:45 pm -‐ 3:45 pm Academic Papers: Session 11

Moderator: Courtney Blankenship (Assistant Professor of Music Business, Western Illinois University)

• Teaching Music Industry Students Using the MEIEA Journal -‐ Patrick Preston (Department Chair / Management -‐ Music Industry Concentration, Bay State College)

• From the Classroom to the Real World and Back: Lessons Learned from Following in my Students’ Footsteps -‐ Kim L. Wangler (Director of Music Industry Studies, Appalachian State University)

Lincoln Park

2:45 pm -‐3:45 pm Academic Papers: Session 12 Moderator: Clyde Philip Rolston (Professor, Curb College of Entertainment and Music Business, Belmont University)

• Band Loyalty and Brand Loyalty: Consumer Choice and Globalization -‐ Shawn David Young (Director of Music Industry & Recording Technology, York College of Pennsylvania)

• Why Teaching Talent Agency Fundamentals is Important to Increase Student Learning and Success in the Growing Concert Touring Business -‐ Gloria E. Green (Assistant Professor, Middle Tennessee State University)

Lakeview

4:00 pm -‐ 5:00 pm Roundtable Session: Experiential Learning Projects We all know that students need experiential learning to complement classroom work, but creating these opportunities can be fraught with both pedagogical and logistical complications. This discussion will present an opportunity for faculty sponsors (and potential faculty sponsors) to share student business models, pedagogical goals and outcomes, and learning experience success stories. From student-‐run record labels to live entertainment projects, participants are encouraged to share their best practices and ideas. Moderator: Kim L. Wangler (Director of Music Industry Studies, Appalachian State University)

De Paul

5:30 pm -‐ 8:30 pm MEIEA Board Meeting

Printer’s Row

16 MEIEA

BIOGRAPHIES

KEYNOTE SPEAKERS

Bruce Iglauer Founder and President Alligator Records Bruce Iglauer is the President and Founder of Alligator Records, the largest contemporary blues label in the world. Iglauer founded the independent, Chicago-‐based label in 1971, at the age of 23, operating it by himself from a one-‐room apartment. Now Alligator has grown to 16 people, and its catalog contains over 300 CDs, over 130 produced or co-‐produced by Iglauer. His productions include albums by Hound Dog Taylor, Albert Collins, Koko Taylor, Lonnie Brooks, Shemekia Copeland, Carey Bell, Saffire—the Uppity Blues Women, Son Seals, Johnny Winter, Roy Buchanan, Michael Burks, Lil’ Ed & The Blues Imperials, Jarekus Singleton and many more. Twenty-‐six of the albums he’s produced have been nominated for Grammy Awards, with one winner. Alligator releases have won dozens of Blues Music Awards, the highest award the blues world presents. Iglauer is also a founder and co-‐director of the Blues Community Foundation, which is dedicated to supporting blues music education and assisting blues musicians and their families who are in need. He has served on the board of directors of The Blues Foundation and of A2IM, the American Association of Independent Music, as well as the board of the Chicago Music Commission. He was a founder of NAIRD, the independent labels organization that preceded A2IM, and served on its board for 26 years. He is also a co-‐founder

of Living Blues, America’s oldest blues magazine, and is a founder of the Chicago Blues Festival, the world’s largest blues festival. Iglauer was inducted into the Blues Hall of Fame in 1997. In 2002, Chicago Magazine awarded Iglauer its Chicagoan of The Year Award. In 2014, A2IM awarded him its Lifetime Achievement Award. Iglauer has traveled worldwide with his artists, and prides himself on his road management abilities. “I want to be remembered as the blues’ best roadie,” he says. “And I want Alligator to be the label that carries the blues into the future and turns new generations on to the power and joy of the blues.”


Jeff McClusky Founder and CEO Jeff McClusky & Associates Jeff McClusky & Associates (JMA) is a leading comprehensive entertainment promotion and artist exposure company. Our diverse client base includes major and independent record labels, publishing companies, Internet music companies, artist management firms and film companies among others. JMA is involved with virtually every breaking record, new artist as well as the nationwide development of every release on all major and most independent labels. We’ve consistently delivered an enormous advantage to our clients offering the proven ability to predict trends and provide clients with an invaluable edge in the midst of fierce entertainment industry competition. In addition, JMA utilizes its extensive contacts and expertise to create unique synergistic opportunities within the Music, Broadcast and New Media industries. Jeff McClusky has played a pivotal role in the exposure of music and contemporary recording artists including Pearl Jam, Kings Of Leon, U2 and The Rolling Stones among countless others. Over three decades, Jeff and JMA

have continually recreated the methods through which entertainment content is channeled to reach its target audience. Jeff has used his extensive network of relationships as a music consultant and strategic intermediary between consumer brands, advertising agencies, mobile service providers, and the music industry. Additionally, JMA and the McClusky family – including Jeff’s wife, Jill, and their daughters, Lauren and Rachel – are deeply committed to Special Olympics and have volunteered in the organization’s music CD initiatives, entertainment, and fundraising around the world. Jeff is also active as a board governor for Opportunity International and a board member for School of Rock, working closely with these groups to assist in entertainment initiatives and bring opportunities to passionate and talented young individuals across the country.

18 MEIEA

BIOGRAPHIES

MODERATORS | PANELISTS | PRESENTERS

Cutler Armstrong Cutler Armstrong teaches a variety of courses across Butler University’s Recording Industry Studies degree, including a two-‐semester capstone experience in which students work with artists signed to the University’s record label and publishing entity, Indyblue® Entertainment. He also advises the Butler Music Industry Association student group, which regularly records and promotes sampler albums, hosts industry conferences, and promotes on-‐campus concerts. Cutler is proud to serve on the MEIEA® Board.

Doug Bielmeier Doug Bielmeier is an Assistant Professor in Music and Arts Production at the Purdue School of Engineering and Technology -‐ IUPUI with a doctorate in education and a decade of experience teaching music, audio engineering, and music technology at the graduate and undergraduate levels. Doug was formerly a freelance engineer in Nashville, Tennessee and has fifteen years proven success as a studio and live sound engineer. Doug’s live sound work has included working at the Lincoln Theater and sound for Vice President Joe Biden. Currently Doug is the Designer and studio manager of the C.L.E.A.R. Lab recording studio at the Purdue School of Engr. & Tech. As a researcher, Doug explores the relationship between audio education and industry, DIY circuit building for self-‐directed instructional methods, and high resolution/multichannel recording via the internet. Doug is also a

Contemporary classical composer of fixed electronic, live instrument, and video compositions performed internationally. http://www.noisybuffalo.com, Noisy Buffalo (@dbielmeier), thenoisebuffalo.blogspot.com

Odie Blackmon Odie Blackmon is an Assistant Professor and Commercial Songwriting Coordinator at Middle Tennessee State University and Lecturer in Music at Vanderbilt University’s Blair School of Music. Blackmon is a Grammy-‐nominated songwriter with more than 20 million in sales, #1 hits, and the CMA’s Single-‐of-‐the-‐Year to his credit. His songs have been recorded by George Strait, Lee Ann Womack, John Legend, Gary Allan, and Martina McBride. His compositions have also appeared on ABC's Nashville, CMT’s Working Class, and Mel Gibson’s When We Were Soldiers soundtrack. He was named Billboard magazine’s #1 Hot Country Songwriter in 2005 and has earned three ASCAP Performance Awards, two CMA Performance Awards, and three NSAI Achievement Awards. His production credits include Universal recording artist Gary Allan’s gold selling Alright Guy, Grammy

winner Jim Lauderdale’s Country Super Hits and MCA Canada artist Jason McCoy’s Honky Tonk Sonatas, as well as singles for USA Network's Nashville Star. His copyrights as a music publisher appear on gold and platinum albums. Blackmon is an alumnus of Leadership Music, Vice-‐President of the Center for Popular Music advisory board, a voting member of the National Academy of Recording Arts and Sciences, a professional member of Nashville Songwriters Association International, and a pro member of ASCAP.

Courtney Blankenship Courtney Blankenship, B.S. in Marketing (Miami of Ohio), M.A. in Arts Administration (Indiana University), joined Western Illinois University in 2008 as Director of Music Business in the School of Music. She is a current board member of MEIEA (Music and Entertainment Industry Educators Association). A pianist and former ballet dancer, Courtney has held positions in public relations/marketing at the Bloomington Convention & Visitors Bureau, the Indiana University School of Music’s Publicity Office and Musical Arts Center Box Office, as a grant administrator for Sponsored Projects at Western Illinois University, and co-‐editor of a 501(c)3 parenting publication she co-‐founded in 2006. https://www.linkedin.com/in/courtneyblankenship


Linda Bloss-‐Baum Linda Bloss-‐Baum is the Senior Director for Artist and Industry Relations at SoundExchange. In that role, Linda drives awareness and visibility for SoundExchange across multiple channels related to performance and music entertainment. Before joining SoundExchange full time, she served as an independent consultant for SoundExchange and recording artists through her agency, LBB Creative Strategies. The mission of LBB Creative Strategies was to increase the volume of artists’ voices in multiple arenas. Prior to establishing LBB Creative Strategies, Linda ran the Warner Music Group office in Washington, D.C. for six years. She also served as Vice President, Public Policy/Government Relations at Universal Music Group/NBC Universal and Time Warner, Inc. Linda graduated from Catholic University Law School. She is an adjunct professor at the KOGOD School of Business at her

undergrad alma mater, American University, where she teaches a class on “Protecting the Creative Class in the Digital Age.”

Matt Brooks Matt Brooks is a recent graduate of Butler University's Recording Industry Studies, Strategic Communication, and Spanish programs and is currently the Chicago Director of Sofar Sounds. Sofar, or Songs From A Room, is a global network of artists, hosts, and guests, all with the goal of bringing the magic back to live music. The community has spread to over 300 cities and 60 countries, recently surpassing a gig total of 6,000 since founding. Acts to have played Sofar Sounds include Bastille, Hozier, Sylvan Esso, Leon Bridges, Karen O, X Ambassadors, and many more. Sofar has also received investment from Virgin’s Richard Branson, his first investment in music since starting Virgin Records.

Rob Cannon Rob Cannon’s first brush with the music industry was as a guitarist and pianist in several bands in the UK. He started his career on the business side of the industry at Clive Davis’ J Records in New York, and subsequently worked in A&R and marketing for several Sony and BMG labels in New York, London, and Sydney. Rob has worked with artists ranging from Alicia Keys and Guy Sebastian to Augie March and Rod Stewart. He runs the Entertainment Management department at the Australian Institute of Music (AIM), and continues to work in the music industry on a freelance basis. Rob holds a BA in Modern Languages from the University of Cambridge, an MA in Music Business from New York University, and an MAppSci in Coaching Psychology from the University of Sydney.

Fabiana Claure Fabiana Claure is a multifaceted concert artist and entrepreneur with an extensive career in performing, teaching, and music business. Her international background—having lived in the U.S., Bolivia, and Cuba—has allowed her to gain a global perspective towards music education and career development. Dr. Claure is the Director of Career Development and Entrepreneurship in Music at the University of North Texas (UNT). She teaches undergraduate and graduate courses including marketing for musicians, music entrepreneurship, career development in professional music, and performing arts management. She is the Founding Director of UNT's Music Entrepreneurship Competition, has established the internship program, and is on the advisory board for UNT’s Murphy Center for Entrepreneurship. Fabiana is also the Co-‐Founder and Executive Director of the Superior

Academy of Music in Miami, Florida that has been featured twice on national television (PBS). Prior work includes being the Royal Conservatory of Music’s Regional Associate for the state of Florida where she created an extensive network of teachers and executed national strategies, acting as the key spokesperson and representative for the Royal Conservatory. As a recipient of the College Music Society’s Yamaha In-‐Residence Fellowship, she organized and performed in a series of lecture-‐recitals and co-‐wrote an article published in the CMS’s Newsletter. Fabiana holds a Doctor of Musical Arts in Piano Performance degree with cognates in Music Business and Entertainment Industries from the University of Miami. Her research in the field of music entrepreneurship led her to author her doctoral dissertation entitled “The Entrepreneurial Concert Pianist: A Study of The Diverse Trends Used to Complement a Performing Career.” Website: www.fabianaclaure.com. Contact: [email protected].

20 MEIEA

Bill Crabtree Bill Crabtree is a Professor of Recording Industry and the Director of the Masters of Fine Arts program in Recording Arts and Technologies at Middle Tennessee State University. Bill works as a freelance musician, producer, recording engineer, and technical writer. He has engineered a wide scope of studio productions in audio production, sound design, and music composition for many artists and corporate clients. Bill worked as a staff engineer at Q Division Recording Studios in Boston where he recorded many jazz and world music artists such as The Beat Circus, Shirim Klezmer Orchestra, Philip Hamilton, Patricia Vlieg, Safam, and III Kings. Most recently, Bill produced and engineered the debut album from St. Louis based artist Zigo. As a technical writer, Bill is the author for the API Legacy Plus Console Operator’s Manual and API’s Analog In a Digital World. He teaches courses in multi-‐track

recording and studio production in MTSU’s B.S. in Recording Industry and M.F.A in Recording Arts and Technologies. Prior to joining MTSU’s Recording Industry faculty, Bill served as an Assistant Professor at Berklee College of Music, Artist in Residence at Emerson College, Assistant Chairman of Audio & Media Technology at New England Institute of Art, and Chairman of Recording Arts at Massachusetts Communications College.

Mark Crawford Mark Crawford, a native of Decatur, Illinois, is the Coordinator of Commercial Music at Tennessee State University. He has been in this position since the fall of 1998. In this position he serves as the advisor for Commercial Music majors, places interns, maintains a rapport with the music industry, and teaches within the Commercial Music core. Dr. Crawford’s completed degrees include the Master of Music from Austin Peay University, the Doctorate of Education and Master of Education degrees from Vanderbilt University, and the Bachelor of Science in Instrumental Music Education (K-‐12) and an Associate of Science degrees from Freed-‐Hardeman University. His musical experiences include writing and co-‐producing five independent music projects, performing at Opryland, and Fiesta, Texas theme parks, three appearances on TNN’s You Can Be A Star, three-‐time first place winner for the

West Tennessee Songwriters’ Association songwriting contest, past member of the Nashville Community Orchestra, the Jackson, Tennessee Community Band, and the Jackson Community Jazz Band, road work and vendor support for various artists, multiple “garage” bands, numerous demos, story line and music composer for a children’s musical, director of the Chester County Community Band, interim band director for Nashville Christian School, and guest conductor.

Mehmet Dede Mehmet Dede is an art presenter, tour producer, and educator. Throughout a career spanning twenty years, he has produced hundreds of concerts and event series, including collaborations with Lincoln Center, Central Park SummerStage, the Town Hall and the Kennedy Center in Washington, D.C. Since 2010 Dede has served as Director of Programming at Drom, a 300 people-‐capacity club in downtown Manhattan and is co-‐founder and curator of the New York Gypsy Festival, now in its thirteenth year. Mehmet has worked on concerts and marketing campaigns for Jamiroquai, Amy Winehouse, The Roots, Norah Jones, Jill Scott, Nelly Furtado, Mark Ronson, and collaborated with high-‐profile label partners Atlantic, Warner Bros., Epic, and EMI. He started his career at Universal Music Group and a Top 40 radio station based in Istanbul. He serves as Assistant Professor at the Hartt School’s Music &

Performing Arts Management program at the University of Hartford and as Adjunct Faculty at the Tisch School of the Arts at New York University where he teaches courses in concert management, curating and touring. He regularly conducts workshops for artists and managers abroad. http://www.dromnyc.com, http://www.nygypsyfest.com, http://www.linkedin.com/in/mdede


Jim DeRogatis Born in Jersey City, New Jersey, the year the Beatles arrived in America, Jim DeRogatis began voicing his opinions about rock ‘n’ roll shortly thereafter. He is an assistant professor in the Professional Writing Program of the English Department at Columbia College Chicago, and he continues to write about popular music for WBEZ.org. Together with Greg Kot of The Chicago Tribune, he co-‐hosts Sound Opinions, the weekly rock ’n’ roll talk show heard on Public Radio 120 stations nationwide as well as podcast on the Web. DeRogatis spent fifteen years as the rock critic at The Chicago Sun-‐Times and is the author of several books about music, including Let It Blurt: The Life and Times of Lester Bangs, America's Greatest Rock Critic; The Velvet Underground: An Illustrated History of a Walk on the Wild Side; Staring at Sound: The True Story of Oklahoma's Fabulous Flaming Lips; Turn On Your

Mind: Four Decades of Great Psychedelic Rock; and Milk It! Collected Musings on the Alternative Music Explosion of the '90s. He has played in punk-‐rock bands since age thirteen but jokes that he is a drummer, not a musician. He lives on the North Side of Chicago with his wife Carmel.

Serona Elton Serona Elton, Esq., is an Associate Professor, Director of the Music Business & Entertainment Industries Program, and Chair of the Music Media & Industry Department at the University of Miami Frost School of Music. She also works for Warner Music Group as Vice President, Business Solutions, and has previously worked/consulted for EMI Recorded Music, Sony Music Entertainment, and Universal Music Group, working in areas related to royalties, copyright/mechanical licensing, rights management, and metadata. She is also very active in numerous organizations in the music industry, presently serving as a Trustee for the Copyright Society of the U.S.A., and recently serving as president of the Music and Entertainment Industry Educators Association (MEIEA), and on the Recording Academy, Florida Chapter, Board of Governors. She has also published numerous articles about the music industry, and directed several industry conferences.

Tyler Franz Tyler Franz is a business analyst for the Charlotte Hornets whose expertise is around predicting consumer behavior, sponsorship/marketing efficacy, valuation, and machine learning. Past and present projects include working with brands and properties such as the NFL, Enterprise, McDonald’s All-‐American Game, the Seattle Sounders, and more. He holds a Masters in Sports & Entertainment Management from the University of South Carolina and attended Ashland University where he received a Bachelor of Science in Exercise Science. https://www.linkedin.com/in/tyfranz/

Don Gorder Don Gorder, Chair and founder of the Music Business/Management Department at Berklee College of Music, is an attorney, educator, and musician. He holds advanced degrees in law and music (B.M. University of Nebraska, M.M. University of Miami, J.D. University of Denver), has authored numerous articles on the music industry, and has spoken at many national and international music industry events and academic conferences. He co-‐authored the course Legal Aspects of the Music Industry for Berklee Online. As an attorney, he has represented clients in matters of copyright and contracts, and he remains active as a trumpet player in a variety of jazz and commercial settings. Don is Past President of the NAMM-‐Affiliated Music Business Institutions, a past officer and Board member of the Music and Entertainment Industry Educators Association, a past Trustee with the Arts & Business

Council of Greater Boston, and currently serves on the Alumni Advisory Council of the Sturm College of Law, University of Denver. He served for fourteen years with the International Association for Jazz Education, as the Resource Team representative for music business/management.

22 MEIEA

Gloria E. Green Gloria E. Green is an Assistant Professor in the Music Business program at Middle Tennessee State University where she teaches Artist Management, Concert Promotions & Touring, Music Publicity, and Talent Agency Fundamentals. Prior to teaching, she was a Music Agent at the William Morris Agency (now WME) where she negotiated concert bookings for a diverse roster of faith-‐based artists including Cece Winans, Jaci Velasquez, Joy Williams, Kirk Franklin, Mary Mary, Newsboys, Switchfoot, and Take 6. After leaving WMA, Gloria launched her own faith-‐based entertainment company providing artist development and public relations services. Gloria earned her Bachelor’s and Master’s degrees from the University of South Carolina, where she interned in the Sports Information Office. As a Graduate student, she also worked part-‐time as an assistant to the press secretary in the Lieutenant Governor’s office. Following graduation, Gloria worked as the Public

Information Officer for South Carolina State Parks for several years. Gloria remains active in the music industry as a member of the Women in Music Business Association (WMBA), the National Association of Black Female Executives in Music & Entertainment (NABFEME), and the International Entertainment Buyer’s Association (IEBA). Gloria is a long-‐time member of the Gospel Music Association (GMA), where she served nine years on the GMA Foundation Board of Directors. https://www.linkedin.com/in/gloriagreenentertainment/

Adam Greig Originally from St Andrew’s in Scotland, Dr. Adam Greig completed his undergraduate and postgraduate studies at Lancaster University in England, where he received a BA (Hons) in Music and a Masters degree in Music with Distinction, and went on to complete a doctoral thesis on the music of French composer, Germaine Tailleferre. As an active performer and musicologist Adam’s research involves combining different modes of analytical enquiry with experience from practice, to better understand interpretation and artistic transmission. In solo piano performance he holds the prestigious Licentiate from the Associated Boards of the Royal Schools of Music (ABRSM) in London. He specializes in performing early 20th Century French repertoire, particularly that which surrounds the ‘Les Six’ composers, and has performed as a soloist and accompanist at a number of international

conferences, including the Royal Music Association Symposium Nostalgia and Innovation in Twentieth-‐Century French Music. He has also had the privilege of performing two piano concertos with the Lancaster University Symphony Orchestra – Francis Poulenc’s Piano Concerto No.1, and Germaine Tailleferre’s Concerto pour piano et 12 instruments. Adam’s secondary area of performance is contemporary electro-‐acoustic music and he has performed both existing repertoire and premieres in this genre at the International Computer Music Conference in Belfast and the LICA-‐Mantis Festival in Lancaster. As a researcher, Adam has given papers at Cambridge University, King’s College London and the International Conference of Music Since the 1900s, held in Keele. His published work includes contributions as a Research Assistant to Professor Deborah Mawer’s articles in the Journal of the Royal Music Association and the Journal of Twentieth-‐Century Music, and typeset musical examples for her book, Ravel Studies, published by Cambridge University Press in 2010. At KMMC Adam is the Academic Coordinator with oversight over all Music Programs and curriculum. He is also the institutional link tutor for the Middlesex University partnership and teaches piano, analysis and musicological subjects on the Foundation and Diploma programs.

Keith Hatschek Keith Hatschek is Professor of Music and Director of the Music Management Program at the University of the Pacific, Stockton, California. Prior to joining academia, he worked in the music business for more than twenty-‐five years. He is the author of two music industry books: The Golden Moment: Recording Secrets of the Pros and How To Get a Job in the Music Industry, which provides career development tools and strategies for young music professionals. A third edition of the music career text was released in 2015. Book projects in development include The Historical Dictionary of the Music Industry. He contributes monthly music industry commentary for the blog, Echoes-‐Insights for Independent Artists. Among his research interests are music industry curriculum and pedagogy, student-‐led music businesses, recording and music technology, and the life and work of jazz pianist,

Dave Brubeck. He has presented a number of conference papers and public lectures at jazz festivals about Brubeck’s role in Cold War jazz diplomacy, the Civil Rights movement and musicians’ collaborative efforts to address segregation in the mid-‐twentieth-‐century United States. This latter topic will be the subject of a book about a jazz musical written in the mid-‐1950s by Dave and Iola Brubeck starring Louis Armstrong and Carmen McRae that tackled the problem of segregation.


George Howard George Howard is an Associate Professor of Management at Berklee College of Music, where he teaches courses in entrepreneurship, marketing, copyright law, and leadership. He is the 2014 recipient of the Dean’s Award for Teaching Excellence. George is the Co-‐Founder of Music Audience Exchange. Prior to this he was the President of Rykodisc (the world’s largest independent record label), manager of Carly Simon, and original co-‐founder of TuneCore (the world’s largest independent music distributor). Via his consulting firm, George advises a wide-‐range of clients on how to integrate technology (including Blockchain) with strategy in order to increase awareness and revenue. A partial list of clients includes Intel, National Public Radio, CVS/pharmacy, Easter Seals, Alticor/Amway, Ora, Inc., Townsend Energy, Comstar, Monegraph, Composer Mark Isham, Snowbird Ski and Summer

Resort, Wolfgang’s Vault, Brown University, Paste Magazine, The Estate of the Platters, Rednote, and Daytrotter. George is a columnist for Forbes and a frequent contributor to the New York Times and numerous other publications. Mr. Howard holds an MA, MBA, and JD. https://www.linkedin.com/in/georgeahoward

Misty Jones Misty Jones is an Assistant Professor in the Department of Recording Industry at Middle Tennessee State (MTSU) in Murfreesboro, Tennessee, and received her Bachelor’s Degree in Music Education from Baylor University. Misty studied Music Technology Innovation at Berklee Valencia in Spain, where she received the Outstanding Scholar award and achieved a Master of Music degree. Specializing in MIDI programming, Ableton Live, and pop/electronic music, Misty teaches synthesis and music production at MTSU. Misty has spoken and performed at various festivals and conferences including MIT’s EMTech España, Madrid Music Days, and the King of Spain’s Impulsa Music Forum. She presented her thesis work at Sonar Music Festival in Barcelona, which was featured by Numark at MusikMesse in Germany, mentioned by Billboard Magazine, and included in the textbook

entitled The Impact of Technology, published by Capstone. Most recently, Misty won an award in Prism’s International B-‐Side Remix competition, mentioned by Sound on Sound Magazine. www.mistyjonesmusic.com

Kristina Kelman Kristina Kelman is a lecturer at the Queensland University of Technology. Her research interests include the education of the aspiring professional musician. In 2014 she completed a PhD, From music student to industry professional: An entrepreneurial learning design, producing an experiential curriculum model for student-‐run enterprise. Youth Music Industries was the outcome of her PhD, a student-‐run music company that has been running since 2010, featuring key events such as the Four Walls Festival, Emerge, and Little BIGSOUND. The organization was also the recipient of two prestigious awards ($60,000 each) from the National Australia Bank for its excellence in community partnerships. Kristina has also had extensive experience working in the area of community music. In 2013 she collaborated on the Music Bridges project in Vanuatu, which brought together musicians

from across Melanesia, Polynesia, and Mozambique in the form of a music camp with performances at signature music festivals in Australia, Vanuatu, and Africa. Kristina has also been working with ARIA award winning musician David Bridie and First Languages Australia on a national language recording project. The documentary and album was released at the Queensland Music Festival in 2015 and recently appeared on QANTAS in-‐flight entertainment. In 2015 Kristina was awarded a QUT Engagement and Innovation grant to support a project aimed at unearthing the youth indie music scene in India. She has received additional funding through the Australia India Council to continue this project until 2018. As an accomplished jazz vocalist, Kristina has performed and supported high profile Australian artists such as Don Burrows and his quartet, Tommy Tycho and the QLD Symphony Orchestra, James Morrison, Grace Knight, Vince Jones and Marcia Hines. Kristina released her first album in 2001, which was awarded a Sunnie Award in the Queensland Recording Industry awards. Most recently Kristina recorded a jazz album ‘One Bright Star – A Christmas Album’ for Rhondalay Music based in Los Angeles.

24 MEIEA

Jim Kopeny Jim Kopeny started writing about music in the late 1980s and found that he just couldn’t quit once he got started. Over the years, Jim has also been a talent buyer, music promoter and member of a number of bands. Through it all—amazingly—he’s managed to remain first and foremost a music fan. Jim has been the Senior Editor of Arts & Entertainment for Chicagoist since 2005. He’s also an Associate Creative Director at a Chicago ad agency. Jim lives in Bucktown with his wife, two cats, and rooms clogged with vinyl, CDs, books, tapes and music gear. If you have any storage or organization tips his wife would love for Jim to hear them. You can find Jim on Twitter as @tankboy and read the music writing (and other stuff) that won’t fit anywhere else at Tankboy.us. He’s also on Instagram at jkopeny and, for a laugh check out #tankboyconcertshirts there.

Thomas Leavens Thomas Leavens focuses his practice in entertainment, intellectual property and new media law. His legal career spans four decades as both a founding partner at Leavens Strand & Glover in Chicago and Nashville and as in-‐house counsel for media and recording companies. Thomas has worked with clients in all areas of the performing, visual and literary arts to manage and protect intellectual property rights in transactions and in litigation. He has continually adapted his practice to meet the demands of the evolving business environment in the entertainment sector. He served as General Counsel of Platinum Entertainment, a public company that at one point was the largest U.S.-‐based

independent record company. Thomas was also the General Counsel for MusicNow LLC, a pioneering digital music company that commercially launched a subscription music service, webcasting and the sale of music downloads in 2002, and General Counsel for LRSmedia, LLC, a television production and brand development company. Today he counsels producers, artists, distributors and content users on maximizing opportunities as they arise and uncovering value in transactions while continuing to protect relationships with their audiences. Thomas has served as executive producer for numerous successful sound recording and television projects, including 16 House of Blues: Essential Blues recordings. His well-‐regarded practical guide, Music Law for the General Practitioner, was published by the American Bar Association in 2013. Esteemed by his peers, Thomas was the inaugural recipient of the Thomas R. Leavens Award, presented by Lawyers for the Creative Arts. The annual award is now an honor for lawyers who support the arts in Chicago through service with LCA. Thomas is a frequent speaker and lecturer on business aspects of the entertainment industry, and has served as an expert witness in disputes in the sector. He is also an Adjunct Professor at Northwestern University School of Law and at the S.J. Quinney College of Law at the University of Utah, an Associate with The Henry Lydiate Partnership in London, the premiere arts consultancy in the UK, a voting member of the National Academy of Recording Arts and Sciences, and a member of the Authors Guild.

Althea Legaspi Althea Legaspi is a full-‐time freelance music journalist/critic based in Chicago. She is a night editor and writer for RollingStone.com and regularly contributes to Chicago Tribune. Her work has also appeared in USA Today, Spin, Vulture and MTV News, among other outlets. In addition to writing and editing, she serves as the Senior Urban Music Curator for ReverbNation’s CONNECT program, an artist incubation initiative. In the radio realm, she has produced and reported on-‐air stories for NPR-‐affiliate WBEZ, which have aired on “Eight Forty-‐Eight,” “Morning Edition,” “All Things Considered” and “Worldview,” and she served as a producer for the station's “Chicago Amplified.” She has also helmed podcasts for Story Week: Festivals of Writers, Law School Podcaster and MBA Podcaster. As an adjunct faculty member at Columbia College Chicago, she has taught in the Journalism, Radio, and

Business And Entrepreneurship departments. She is the instructor/creator of the radio department's Covering International Festivals: Iceland class, where students learn to produce cultural and music stories and radio documentary segments culled while covering Iceland Airwaves Music Festival in Reykjavík, Iceland. The documentaries air on WCRX-‐FM 88.1 in Chicago.


Scott LeGere Over the past eighteen years, Scott LeGere has played key roles in the ownership and operation of audio recording facilities, independent record labels, media schools, and commercial music production companies. During this time he has engineered Grammy nominated albums, produced critically acclaimed independent projects, lectured nationally in university classrooms and conferences, and foolishly hauled both Yamaha CP-‐70s and Hammond B3s (concurrently) to gigs. In 2010, he co-‐founded NoWare Media and since then has helped produce Clio, Emmy, and Cannes Lion award winning commercial spots for Target, General Mills, PepsiCo, Bauer Hockey, BluDot, and many others. In addition to his industry endeavors, Scott has taught media economics in several Twin Cities institutions for over a decade and currently chairs the Music Business Department at the McNally

Smith College of Music. In a continuing attempt to distill some wisdom from the above “career” to his students, Scott is generally optimistic about the future of art making in today’s economy—you can still make money in music, however, you might need to be prepared for your job to include writing lyrics that rhyme with “broccoli.”

Amy Macy Amy Sue Macy, Professor in the Department of Recording Industry at Middle Tennessee State University (MTSU), received both her undergraduate degree in Music Education and her Masters degree in Business Administration from Belmont University. For fifteen years, she worked for various labels including MTM, MCA, Sparrow Records, and the RCA Label Group (RLG). Amy created strategic marketing plans for launching new releases into the marketplace, working closely with artists and their managers including Martina McBride, Kenny Chesney, Clint Black, Alabama, and Lonestar. While maintaining a marketing focus, Amy was responsible for all sales at the national retail level with clients including Walmart, Kmart, Target, and Best Buy, to name a few all the while communicating key marketing strategies coast to coast with RLG’s national distributor Bertelsmann Music Group

(BMG). Since securing her teaching gig at MTSU, she has served as the Music Business Internship Coordinator for eight years and has taught Marketing of Recordings, Record Retail Operations, Survey of the Recording Industry, the Lecture Series, and an Old Time String Band Music Ensemble and the student-‐run record label MATCH Records. The 3rd Edition now published, Amy co-‐authored the textbook RECORD LABEL MARKETING that has been adopted by USC, NYU, UCLA, State of New York University, James Union, Colorado University, Drexel University, Belmont University, McNally Smith College of Music, and MTSU. Amy's love of music extends beyond the business world. She initially moved to Nashville to be a musician and has toured professionally with several artists internationally. She is a vocalist and is accomplished on guitar, fiddle, and banjo. Amy has performed in musicals at Nashville’s famous Ryman Auditorium as well as the Tennessee Performing Arts Center, has been an artist-‐in-‐residence at the Country Music Hall of Fame and has recently created a concert series focusing on the “story behind the song” which highlights Civil War and Irish music that has migrated to America.

Michael Mahoney Michael Mahoney implemented an industry-‐based curriculum in Sports and Entertainment Facility Management (SEFM) at California State University, Fresno in 2006. In addition to overseeing this degree emphasis, he also coordinates the certificate offering in Sports and Entertainment Facility Management. As a frequent contributor to the industry, Dr. Mahoney is a member of the Scholarship committee for the Stadium Managers Association, and the Faculty Advisory Task Force for the International Association of Exhibitions and Events. He has published research in the Journal of Legal Aspects of Sports, Journal of Facility Planning, Design, and Management, among others, and written many technical industry reports related to the ‘patron experience’. He has an active research agenda involving music festivals, venues and accessibility both in the U.S. and internationally. He is a

requested guest speaker who has presented at many international and national conferences. Dr. Mahoney is established in the industry and academia for his work in sports marketing, facility management, venue and event accessibility, planning and management. In 2014, he founded VEASi – Venue & Event Assessment Specialists International, a company focused on conducting Patron Experience Measurement and Accessibility projects.

26 MEIEA

Robert S. Meitus Robert S. Meitus is a partner at Meitus Gelbert Rose LLP and serves as copyright, trademark and entertainment counsel for a wide range of clients including recording artists, record labels, filmmakers, visual artists, authors and business clients in a range of creative industries. His practice largely involves negotiation of agreements, work with intellectual property protection, clearance and licensing and generally serving as business/legal counsel to numerous creative clients. Meitus has also filed numerous terminations under the U.S. Copyright Act, is regularly involved in IP litigation, and has recently served as a panelist in the 2014 Copyright Office Music Licensing Roundtable on revisions to the current copyright law. Meitus is an adjunct professor of law at the IU Maurer School of Law, regularly teaching Entertainment Law and an intellectual property clinical course. He received his J.D.

from the Maurer School of Law, his masters of international and public affairs from Columbia University, and his B.A. from Wabash College and is a Grammy voting member and belongs the Copyright Society of America along with other professional organizations.

Linda Mensch Linda Mensch has practiced Entertainment Law in Chicago and New York for more than 35 years and now serves as counsel at Leavens Strand & Glover where she consults and advises on multimedia project. She serves as legal counsel for a variety of entertainment projects, including film, television and music ventures. She is currently serving as Executive Producer of The Ella Jenkins Story and provided production and legal services on the 2016 documentary Maya Angelou: And Still I Rise. She received a local Illinois Emmy for her co-‐production efforts for the documentary Find Yourself a Dream! The Bob Love Story in 2008, and a Midwest and Heartland Emmy for producing The Wayman Tisdale Story in 2012. Over the years, Linda has served as president of the Chicago Chapter of The Recording Academy (GRAMMYs) as well as National Vice President, Trustee, and of counsel to the

local board. She is a member of Rotary 1, a Lifetime Member of The Recording Academy, and a member of both the Illinois and American Bar Associations. She is also a past president and current board member of Lawyers for Creative Arts. In addition, Linda is named a Leading Lawyer in Illinois, a Super Lawyer in Entertainment Law, included in Best Lawyers in America and is AV rated by Martindale-‐Hubbell.

Joseph (Joe) Miglio Joseph (Joe) Miglio, Ed. D. is in his twelfth year at Berklee College of Music as an Associate Professor of Music Business/Management. His areas of specialization include strategic planning and program review; instructional innovation design, faculty development, authentic assessment and experienced based learning. Joe has represented Berklee in numerous presentations at the Music and Entertainment Industry Educators Association (MEIEA) Summit, including “How to Teach the Millennial Student” in 2009, “Institutional versus Program Assessment” in 2011, and “Assessing the Assessment Process and Its Impact on Teaching and Learning Dynamics” in 2012. He served as coordinator-‐facilitator of the roundtable session on pedagogy at the 2013 Summit. At the MEIEA Summit 2014, Joe presented, “Name It, Claim It; Tag It; Bag It: Towards a Model of Competency

Based Music Industry Education”. He returned to the MEIEA 2015 Summit with a presentation that continued those themes, entitled “Re-‐Viewing Competency Based Education and Assessing Institutional Readiness”. In 2016 Joe presented a multi-‐semester assessment of his Berklee-‐based MB 345: Advanced Management Techniques course at the MEIEA. The presentation provided a model of experiential learning and problem posing/project based learning. It continues to be utilized as a model for exploration of best practices and demonstrable student learning outcomes. At the 2017 MEIEA Summit, Joe will further his work in the area of assessment design and learning outcomes with a session entitled, “Narrative Analysis and Critical Inquiry in Self Knowledge Construction” which utilizes autobiography of a model of reflective and reflexive engagement. The design provides for analysis of identity and membership, content and contextual impacts that inform identity and membership, and awareness on current and future practice.


David Philp David Philp, Assistant Professor of Music Management & Popular Music Studies at William Paterson University (WPU), sports over twenty years of experience in the entertainment world working for PolyGram Records, the Universal Music Group, New Video (home video distributor of the A&E Network, History Channel & Biography Channel content), The Edge With Jake Sasseville (independent television show), and Greater Media Broadcasting (WDHA & WMTR radio). A BM graduate of WPU with an emphasis in Music Management, David received his MBA in Marketing Management from Pace University. He runs the Music Biz 101 website for the WPU Music Management and Popular Music Studies programs and co-‐hosts with Dr. Stephen Marcone “Music Biz 101 & More,” a weekly radio show on WPSC: Brave New Radio. The podcast is available on iTunes, SoundCloud, and

Stitcher.com. Marcone and Philp are also co-‐authors of “Managing Your Band – 6th Edition,” available wherever awesome books are sold on April 18, 2017. David teaches about music royalty streams, social media, and entrepreneurship at WPU. He is also the music director at the Wayne United Methodist Church and Chief Organizer Guy of YouChoose Music, a live music events production company that raises oodles of big dollars for great non-‐profits. He has one wife and two children, all of whom are left-‐handed.

Patrick Preston Patrick Preston, L.P.D., is the Department Chair/Associate Professor of the Management -‐ Music Industry Concentration program at Bay State College in Boston. He received his B.A. in Theater Arts from the University of Massachusetts/Boston and both his M.A. in Public History and his Doctorate in Law & Policy from Northeastern University. Prior to his coming to Bay State College, Patrick Preston was both an actor and playwright in the Boston/New England markets; and while in LA, he undertook additional coursework in screenwriting at the UCLA Writers Program and improv training with the Groundlings. In 2015, he presented “Examining Traditional and Paperless Ticketing Systems and their Value to Artists and their Fans from an Artist Management Perspective” co-‐written with his colleague Jess White at the MEIEA Summit Austin, Texas. From 2015-‐2017, Patrick served as the MEIEA Director of Membership.

Stan Renard Stan Renard is the Assistant Professor and Coordinator of the Music Marketing Program in the Music Department at the University of Texas at San Antonio (UTSA). Dr. Renard joined UTSA as part of the University’s Goldstar Initiative, which supports its recruitment and retention of world-‐class faculty members. He has the unique background of someone who has taught business courses in business schools and music courses in music departments, and then used this experience to develop music business courses. Dr. Renard is the Assistant Director of the start-‐up incubator CITE (Center of Innovation, Technology and Entrepreneurship). Dr. Renard is also a touring and recording artist, virtuoso violinist, violist, active conductor, and the founder and arranger of the Grammy-‐Nominated Bohemian Quartet. Dr. Renard holds a Doctorate in Musical Arts (DMA) from the University of Connecticut as well as a Doctorate in International Business (DBA) from Southern New Hampshire University. Previously held collegiate appointments include Colby College, the University of Massachusetts, Amherst, the University of Connecticut, Providence College, Eastern Connecticut State University, Southern New Hampshire University, and the University of California at San Diego. http://music.utsa.edu/index.php/faculty_page/stan-‐renard-‐music-‐marketing-‐coordinator, www.musicbizday.utsa.edu, http://business.utsa.edu/cite/cite_te_bootcamp.aspx, www.bohemianquartet.com

Clyde Philip Rolston Clyde Philip Rolston is Professor of Music Business in the Mike Curb College of Entertainment and Music Business at Belmont University. Prior to joining the faculty at Belmont University he was a Vice President of Marketing at Centaur Records, Inc. While with Centaur Records, Dr. Rolston engineered and produced many projects, including recordings by the Philadelphia Trio and the London Symphony Orchestra. He is an active member of the Music and Entertainment Industry Educators Association. Dr. Rolston received a Ph.D. in Marketing from Temple University and has taught marketing to music business students for twenty years.

28 MEIEA

Bruce Ronkin Bruce Ronkin is Vice Provost for Undergraduate Education at Northeastern University. He directed Northeastern’s Music Industry program from 1991-‐2002 and was Chair of the Music Department from 1998-‐2002. He served as Associate Dean of the College of Arts and Sciences from 2002-‐2008, Interim Dean of the College from 2008-‐2010, and Interim Dean of Northeastern University’s new College of Arts, Media and Design from 2014-‐2015. He has been published in a variety of journals including the MEIEA Journal, the Saxophone Journal, and the Saxophone Symposium. He is the author of the highly acclaimed Londeix Guide to the Saxophone Repertoire and co-‐author of the two-‐volume The Orchestral Saxophonist, a required text at universities and conservatories throughout the world. Dr. Ronkin is widely known as a pioneering specialist on the wind synthesizer, an electronic wind

instrument, performing worldwide as a soloist and chamber musician. He holds degrees from the Eastman School of Music, Indiana University, and the University of Maryland. Ronkin is Editor of the MEIEA Journal.

Justin Seidenberg Justin Seidenberg is the co-‐founder and owner of Kiqstart Music, an artist management firm based in Chicago. Current clients include Duke Tumatoe & the Power Trio and Kill the Alarm. Kiqstart Music also produced the first Pink Floyd themed cruise, Great Gig in the Sea. Prior to starting Kiqstart Music, Justin worked at Jam Productions, Bands.com, Red Light Management, and Live Nation. Justin holds a Masters in Music Business from New York University.

Armen Shaomian Armen Shaomian, DMA, is an assistant professor in the department of Sport and Entertainment at the University of South Carolina. Dr. Shaomian has extensive background in performing arts management, education, and project management consulting. He is the founder and CEO of Armenize, Inc., an arts consulting agency specializing in non-‐profit arts management and foundational strategies. Prior work includes programs manager/associate producer for the National Foundation for Advancement in the Arts (NFAA) and its signature YoungArts program. Dr. Shaomian holds Master’s and Doctor of Musical Arts degrees in Accompanying and Chamber Music with cognates in Music Business and Entertainment Industries from the University of Miami. He also holds a Bachelor of Music degree in Piano Performance from Wayne State University. He is an active concert pianist and

has performed numerous concerts at venues in Europe and the United States. He has authored a book on Swedish National Romantic Music and his piano recordings of composer Hugo Alfvén are featured on Vax Records’ Vaxholm -‐ Ett Dubbelnöje. https://www.linkedin.com/in/drarmen

Justin Sinkovich Justin Sinkovich is an assistant professor and Media Management degree coordinator in the Business & Entrepreneurship Department at Columbia College Chicago. He has worked as the New Media Manager at Touch and Go Records, Label Manager of Southern Records, owner of File 13 Records, and founder of the Webby-‐winning Web site, Epitonic.com. He is also a music artist and producer. Website: www.justinsinkovich.com


Melissa Wald Melissa Wald is an associate professor in the Department of Recording Industry at Middle Tennessee State University (MTSU), where she teaches Music Publishing and Music Publishing Administration. She also serves as the Internship Coordinator for the Music Business and Commercial Songwriting concentrations. She is the owner of Copyright Solutions, a consulting company which represents artists, songwriters, and producers as well as several independent record labels in the areas of licensing and royalty calculation and collection. Some of her clients include HIT Entertainment, Island Bound Music, Amylase Entertainment, New Haven Records, and songwriters such as Max T. Barnes, Deanna Bryant, and Beverly Darnall. She has been involved in the design and testing of new software for royalty calculation and catalog management and served as one of only three certified trainers of that software in the world. She also has been enlisted by publishers to perform income analysis and

prepare prospectuses for potential sales of publishing catalogs. Before her teaching career began at MTSU, she worked with several music publishing companies representing songs and songwriters from country music and Contemporary Christian music in Tennessee and Texas. Throughout her career, she has represented the songs of writers such as Alan Jackson, Amy Grant, Keith Urban, and Steven Dale Jones. The Dallas native began her undergraduate studies at Baylor University as a piano and music education major, but transferred to Belmont University to complete her Bachelor of Business Administration degree majoring in the Music Industry. She earned a master’s in adult education and distance learning from the University of Phoenix and is a member of the Leadership Music class of 2011 as well as SOURCE Nashville.

Darren Walters Darren Walters has thirty years of music industry experience that spans the entrepreneurial and academic and allowed him to experience the nuances of the industry from a variety of perspectives. In his position as an Associate Teaching Professor at Drexel University, Darren is the Director of the MAD Dragon Music Group and MAD Dragon Records, a key enterprise classes for business students. In addition, Darren is responsible for teaching core Music Business classes and designed the Music Industry Program’s first Study Abroad, a focus on the music and culture of Brazil. Jade Tree, the record label Darren co-‐founded in 1990, continues to provide him with ongoing industry experience. As Label Director and Manager, Darren provides company leadership, strategic financial and business direction, determines project marketing, and is essential to the A&R of artists.

Kim L. Wangler Kim L. Wangler, M.M, M.B.A joined the faculty of Appalachian State University in 2005 as the Director of the Music Industry Studies Program. Ms. Wangler teaches music management, marketing and entrepreneurship. She has served in the industry as President of the Board of Directors for the Orchestra of Northern New York, House Manager for the Community Performance Series (serving audiences of over 1,000 people) and as CEO of Bel Canto Reeds – a successful on-‐line venture. Ms. Wangler currently serves as an independent consultant for entrepreneurial musicians and serves as Vice Chairman for the Cultural Resources Board for the town of Boone, North Carolina and on the board of the College Music Society Mid-‐Atlantic Chapter and the Music and Entertainment Industry Educators Association national board of directors. Ms. Wangler is published through Hal Leonard, Sage Publishing, and the MEIEA and NACWPI journals.

Hal Weary Hal Weary brings a creative flair to his compositions and piano playing. He enjoys working and thinking across genres in music and disciplines in the arts; and has national/international experience as a performer and composer. His most recent orchestral composition, “Beyond the Eastern Shore” encompasses a pluralistically lyrical, rhythmic, and harmonically approachable style that intersects Western art music, Popular music, Jazz and non-‐Western music. His research focuses on the 21st century musician: artistry, industry, technology and pedagogy. Dr. Weary earned a Bachelor’s, Master’s and a Doctorate in Music and he directs the Music Business program at Wayne State University. He has significant music business industry experience in New York City and continues to collaborate with world-‐class musicians, scholars, and music industry professionals. Website: http://www.halweary.com/ Linkedin: https://www.linkedin.com/in/hal-‐weary-‐67109820/

30 MEIEA

Nicole Wetzell Nicole Wetzell serves as the Director of Sales at the Auditorium Theatre of Roosevelt University, one of Chicago's oldest and largest entertainment venues. Dedicated to creating and implementing programs that delight consumers, she manages the group and subscription ticket programs for 14+ productions such as Alvin Ailey American Dance Theater and the Boston Pops with Bernadette Peters. Nicole also oversees and helped create the theatre’s Ticket Services Center, which handles customer service and converts patrons into Auditorium enthusiasts. She received her undergraduate degree in Music Business from Western Illinois University and her MBA from Roosevelt University.

Robert Willey Robert Willey teaches songwriting, computer music, music industry, and senior projects at Ball State University. He has published books for Hal Leonard on Brazilian style piano and music production, and Louisiana Creole Fiddle for Alfred. His current research is about teaching character strengths and communication skills, promoting original music of the Midwest, teaching Brazilian drum set independence, and performing the music of Conlon Nancarrow and Scott Joplin. For more information on the Scott Joplin Online Centennial, visit http://scottjoplinarchive.org.

Shawn David Young Shawn David Young, Ph.D. is director of music industry and recording technology at York College of Pennsylvania, where he also teaches courses in American studies. The author of Gray Sabbath: Jesus People USA, the Evangelical Left, and the Evolution of Christian Rock (Columbia University Press, 2015), he has published research on the counterculture of the 1960s, communal living, music festivals, the politics of popular music, and Christian rock music in a number of journals, including VOLUME! The French Journal of Popular Music Studies, Religion Compass, Religions, and the Journal of Religion and Popular Culture. Dr. Young is also the CEO of the York Music Group, a student-‐run company that is connected to York College’s music industry program.

Fengyan Zhang Fengyan Zhang is currently an associate professor and graduate student instructor in the School of Music and Recording Arts, Communication University of China (CUC). She received her Ph.D. in Musicology at CUC, and studied music industry at Northeastern University as a visiting scholar. In recent years, Fengyan has been active in the Chinese music industry speaking at conferences and media channels, (such as “How to Pushing Forward the Innovation Power of Chinese Music Industry,” “Reborn and Revolution: A New Chinese Music Industry Under A New Copyright Eco-‐system,” and “Development Proposal for The Unbalanced Chinese Music Industry Eco-‐system”). She has also undertaken lots of research projects, such as the national level research project, “The International Communication of Chinese Music,” the provincial level research project “Study of Music

Communication in Colleges”; jointly writing “2014 Music Industry Report” and “2015 Music Industry Report”, which are under the guiding of The State Administration of Press, Publication, Radio, Film and Television. What's more, she also published several influential essays on CSSCI, including “The Status and Characteristics of US Music Consumption Model,” and “Relative Solutions for The Copyright Plight During Digital Music Communication.” In 2015, Fengyan was invited to be the committee member of Consultant Committee of Beijing by Korea Copyright Commission, and the expert of Music Industry Research Department by Sichuan Cultural Creative Industry Research Center.


ACADEMIC PAPER SESSIONS SESSION 1: FRIDAY | 9:15 A.M. | LINCOLN PARK Moderator: Bruce Ronkin

From the Blank Page to the Mixed Demo: Building a Real World Writing, Publishing, and Recording Experience for Student Songwriters and Engineers

This project serves as a capstone experience for Middle Tennessee State University’s Commercial Songwriting students and students in the Master of Fine Arts (M.F.A.) in Recording Arts and Technologies program. Undergraduate songwriters and graduate student engineers work with professional songwriters and musicians to record songs in professional studios on Music Row in Nashville. These “Pro Sessions” offer students a unique and intensive real-‐world music production experience. Working in a fast-‐paced, high expectation, professional production environment, students foster relationships with industry professionals and build confidence toward a successful career in the music industry. This project is spearheaded by Commercial Songwriting Assistant Professor Odie Blackmon and M.F.A. Director Professor Bill Crabtree.

Students write songs under the guidance of Commercial Songwriting Assistant Professor Odie Blackmon. Blackmon brings hit songwriters from Nashville to the classroom for a professional critique and one-‐on-‐one workshop with students. These professional songwriters from Nashville’s famed Music Row provide real-‐world, experiential learning for students and access to accomplished professionals in the music industry. Past guest professional writers include number-‐one pop writers Shelly Peiken (Christina Aguilera, Meredith Brooks), Catt Gravitt (Jake Owen, Adam Lambert), Travis Hill (Kenny Chesney, Brett Eldredge) and Hugh Moffat (Ke$ha, Merle Haggard).

Students enrolled in the M.F.A. program in Recording Arts and Technologies are the recording and mixing engineers for the Music Row sessions. M.F.A. students must quickly adapt to a new studio and rise to the challenging pace of a professional recording session with “A-‐List” session players. After basic tracking, the M.F.A. students work with the student songwriters on vocal performance, final mix, and mastering of the final product. The M.F.A. students are guided by M.F.A. Director Professor Bill Crabtree.

This collaborative learning experience is a unique opportunity for both undergraduate and graduate students under one program. The resulting work will be made available to the public through a CD and/or digital album.

Practical Theory and Production Analysis: Helping Students Produce Competitive Songs

Misty Jones Assistant Professor, Audio Production Middle Tennessee State University

A common goal among music production educators is that upon completion of their studies, students will be able to

produce songs that are competitive in today’s market. The challenge is that we can’t begin to cover all of the subgenres that exist in pop, electronic, and hip-‐hop music. I’ve developed a simple method that can be used with students who have varying levels of musical skill, combining basic music theory and production analysis. This method not only helps students achieve the aforementioned goal after applying their analysis, but also empowers them to educate the class by sharing their analysis of specific artists and genres. This presentation includes the classroom method, analysis process, examples of student work, and practical suggestions for working this method into various subjects and environments.

Odie Blackmon Assistant Professor and Commercial Songwriting Coordinator at Middle Tennessee State University,

Lecturer in Music at Vanderbilt University’s Blair School of Music

Bill Crabtree Professor/Recording Arts and Technologies, M.F.A. Director

Middle Tennessee State University

32 MEIEA

SESSION 2: FRIDAY | 9:15 A.M. | LAKEVIEW Moderator: Kim L. Wangler

Teaching Creativity: An Alternative Approach

Rob Cannon Head of Entertainment Management

Australian Institute of Music

Creativity is the life-‐blood of the creative arts—and indeed the heartbeat of business in the 21st century. An obvious question then arises: “How can we be more creative?”, and within the realm of arts education, this is surely a key concern.

Two key perspectives on this question emerge from the literature. The first discusses the implementation of techniques and behaviors designed to stimulate various creative thinking patterns—reframing, connecting and combining, questioning assumptions, using our imagination. The second approach examines the hurdles we manifest that hamper our capacity to exercise and implement our creativity—such as fear of failure, procrastination, boredom—and explores ways to overcome them.

Educational approaches within the creative arts regularly focus upon the first approach, teaching techniques that students can use to directly facilitate their creative thinking skills. However, this paper argues that an educational focus on the second approach, employing elements of positive psychology such as resilience, grit, authenticity, goal-‐setting, strength identification, authenticity, may also have significant influence on facilitating creative outcomes among students in the creative arts.

Lean Six Sigma: An Innovative Problem-‐Solving Methodology That Can Be Used To Develop Careers of Emerging Performing Artists

Hal W. Weary

Lecturer, Music Business Wayne State University

The changing landscape of the music industry in the 21st century has brought about significant opportunities and

challenges for emerging performing artists. Although many performing artists at all levels can benefit from the implementation of a strategy that provides a clear roadmap to achieve set goals in a desirable timeframe, emerging performing artists, even more so, must utilize an effective strategy to acquire a competitive edge in the marketplace. The Lean methodology establishes strategic success and adds value to performing artists’ careers through the implementation of continuous improvement and sustenance over time. The Six Sigma methodology encompasses a strategic and entrepreneurial approach to proactive problem prevention as opposed to reactive problem solving. This increases the likelihood of acquiring quality data, transparency, and efficiency through the use of the (DMAIC) methodology, define-‐measure-‐analyze-‐improve-‐control, which links tools and techniques in a sequential manner. Key performance metrics used in Lean Six Sigma (LSS) provide benefits from both of the aforementioned methodologies, which result in a clear roadmap to achieving set goals and perhaps, ultimately lead to success.


SESSION 3: FRIDAY | 2:45 P.M. | LINCOLN PARK Moderator: Melissa Wald

Presenting Diverse Music in the U.S. and The Art of Connecting

Mehmet Dede Assistant Professor, Music & Performing Arts Management

The Hartt School at the University of Hartford

Using smart models for funding, up-‐to-‐date analytics, and creative ways of booking strategies, this session looks at finding ways to connect niche genres with larger audiences in the U.S. by way of touring and live performances. The North American live music market offers a wide range of opportunities in art presenting thanks to its diverse communities that coexist respectfully in a safe, positive, and nurturing environment. New York, in particular, represents a microcosm of the world with a wealth of artists, venues, and cultures. The role of an art presenter, then, is to utilize art as a catalyst to connect and educate people while encouraging artistic expression. This highly informative session aims to provide participants with practical knowledge of how to present international artists in the U.S., highlighting key elements such as raising funds, routing strategies, and utilizing social media and stats. We will also look at two case studies—the 12th annual New York Gypsy Festival and U.K.-‐based the Dhol Foundation’s 2016 U.S. tour—to review the current marketplace and latest practices connecting fans and communities.

Music Consumption in Fly-‐Over Country: Understanding Listening Trends for Music Fans in the Midwest and Their Implications for Tomorrow’s Artists

Technological change and the now near ubiquity of music are changing consumer trends and behaviors. While much has been said about the habits of Millennials and “digital natives,” this project surveyed over 1,100 Mid-‐Western college students and young adults to gain insight into their listening habits, purchase behaviors, and other quantitative and qualitative data points. We found that while listening behavior and preferred formats are indeed changing, with some data corresponding to potentially concerning issues for emerging artists, the desirability of music remains at a high level despite an observed decline in media purchasing.

Scott LeGere Department Head: Music Business The McNally Smith College of Music

Kyle Bylin Hypebot

34 MEIEA

SESSION 4: FRIDAY | 2:45 P.M. | LAKEVIEW Moderator: Armen Shaomian

The Status of the Chinese Music Industry and the Impact of the Third Amendment of Chinese Copyright Law

Fengyan Zhang Associate Professor

Communication University of China

Since the 21st Century, a rising China has caught a lot of attention. In the meantime, the whole world is getting increasingly interested in Chinese culture. And as an important part of the culture of a nation, music is small in volume and easy to spread. However, Chinese music, especially popular music, still has difficulty blending in the global music market. Thus, the global music market couldn’t get updated immediately with the latest change and decide to enter the Chinese music market.

From the data and information collected both from China and abroad, the author is going to present the current situation of the Chinese music industry, such as some persuasive key figures here: According to IFPI 2016 Global Music Report, Chinese music market ranking rising to No.14 in 2015, which is $169.7 million and has a growth of 63.8%. Additionally, licensing fees of musical works had a tremendous growth in 2015, especially the licensing fees of domestic music work rose by 200%-‐400%. Otherwise, the digital music market became bigger due to the persistent growth of internet and smartphone users, which is 680 million people (CNNIC). There is every indication that the Chinese music industry has promising development potential.

Meanwhile, the government introduced relevant policies to support the music industry from both the financial and political aspect. Lots of music industrial district has been built to assure a creative environment for related staff. Also, more and more music companies started to foster young musicians and explore more efficient and effective business modes. And yet there is no denying that there are still fundamental problems existing in the Chinese music industry. Even though the music users are listening changed from pirate one to copyrighted one, they still don’t pay. Even though music companies pay for copyright licenses, nobody can assure that musicians have gotten how much they deserved. Even though there is infringement compensation in copyright law, it is too weak to deter piracy. Even though there are many music charts, there is no authority such as Billboard Hot 100 and Grammy Awards.

Relevant departments in China have been developing countermeasures to solve those problems. After lots of research and survey, the Third Amendment of Chinese Copyright Law is under auditing. The changes in this amendment will bring terrific influence for Chinese music industry. This amendment will give performance rights and broadcasting rights to sound recording authors, which will for the most part improve the music creators’ living situations. On the other hand, it could assure that Chinese music works will be properly protected even in overseas markets. What’s more, the amendment will double the compensation of copyright infringement, which will not only promote the credibility of Chinese Copyright Law, but also give music creators confidence to protect their works. All things considered, there are both opportunities and challenges for the Chinese music industry. However, letting the whole world know about the current situation of the Chinese music industry is also important. China will play an important role and contribute to global music market, one day.

Resources to Build My Arts Management Course

Most Music industry programs tend to include a least one course in arts management, arts administration, or an introduction course to arts and music nonprofit organizations. The authors combine their experience teaching such arts management courses to provide music industry educators with tools to build their own course. Resources will include websites, online articles, links to archives of pertinent media content (movies, documentaries, recordings, and interviews), newsletters to subscribe to stay up to date, jobs and internship banks, case studies, and books. In addition, the experiential learning outcome will be discussed and include but not be limited to site visits, possible student assignments, group projects, and extra point options. The intent of this article is to provide an organized set of resources for music industry educators interested in adding either an arts management-‐type course in their curriculum, moving their course online, and enhancing and/or refreshing the content they already provide students.

Courtney Blankenship Assistant Professor of Music Business

Western Illinois University

Stan Renard Assistant Professor of Music Marketing The University of Texas at San Antonio


SESSION 5: FRIDAY | 4:00 P.M. | LINCOLN PARK Moderator: Amy Macy

Is a Degree in Audio Recording and Production a 360 Deal?

Doug Bielmeier Assistant Professor/Purdue Graduate Faculty

Purdue School of Engineering Technology -‐ IUPUI

Aspiring engineers entering an Audio Recording and Production (ARP) program and an Artist signing a 360 deal with a major record label share common blank? Therefore, this paper defines both the contemporary recording contract landscape for an artist as well as the cost and investment of attending an audio recording and production degree program. The costs, personal value, and earning potential of both artists and aspiring engineers were identified through formulas that determined accrued debit, ROI after matriculation, career earning potential, regional cost-‐of-‐living factors, and skill improvement as a result of matriculation/obligation. This paper provides insight for educators to recognize the true cost of education and therefore enables them to counsel students planning to enter the industry.

Internationalizing and Entrepreneurializing Music Curriculum in Higher Education: An India – Australia Collaboration

The traditions of music education are quite different between India and Australia. The West has an ostensibly “scientific” approach to education since the turn of the 20th century and tends towards homogeneity, standardization, and a deeply literate “mind.” India retains much of its oral past and is far less standardized and homogenized. While Australia has a strong conservatoire tradition in higher education, there is a comparable master-‐apprentice tradition that sits outside of mainstream higher education in India, these educational models lack industry engagement and don’t encourage an entrepreneurial approach, often leaving students ill-‐equipped for their future careers. It is no longer sufficient for music degrees to teach students virtuosity on their chosen instrument. The larger challenge is teaching students how to make their way in the world as professionals. They also need to think globally, connect globally, and be aware of opportunities on a global basis.

This paper reports on a project that has been ongoing since 2015, between A.R. Rahman’s KM Music Conservatory (established in Chennai, India in 2008) and the Queensland University of Technology (QUT), Australia. The project aims to assist music students in equipping themselves for the global economy, through a collaborative initiative that aims to internationalize and entrepreneurialize music education, at both institutions. The project is also supported by industry partners, Earthsync (organizers of Chennai’s IndiEarth Xchange, a trade event for independent music, film and media) and QMusic (producers of the music trade event, BIGSOUND, held in Brisbane, Australia every September).

The institutions presented the Indian version of QUT’s highly successful Indie100 program at IndiEarth XChange in November 2015 and 2016. The event involved staff and students from KM Music Conservatory and QUT, and high-‐profile Australian and Indian producers. Twelve bands were recorded and produced throughout the conference and delegates had an open invitation to attend the recording sessions. The final stages of the project involved QUT and KM Music Conservatory students working together online to launch, promote, and distribute the recordings on both local and international platforms using the extensive networks of all project partners.

There are significant benefits resulting from this project, including the establishment of an ongoing exchange program that will feature parallel programs running at both QUT and KM Music Conservatory. Both programs are in constant dialogue allowing the programs to evolve, cater to both local and international needs, and facilitate ongoing student and staff exchanges. The project was supported by The Australia-‐India Council, established on 21 May 1992, to advance Australia’s interests by supporting activities, which enhance awareness and understanding between the peoples and institutions of Australia and India.

Adam Greig Academic Coordinator KM Music Conservatory

(Chennai, India)

Kristina Kelman Lecturer

Queensland University of Technology (Brisbane, Australia)

36 MEIEA

SESSION 6: FRIDAY | 4:00 P.M. | LAKEVIEW Moderator: Patrick Preston

Project-‐Based Learning in Sequential Music Industry Classes of Tennessee State University’s Commercial Music Program

Mark Crawford

Coordinator of Commercial Music Tennessee State University

The purpose of this presentation is to share construction and application of project-‐based learning in two sequenced

music industry related classes—MUSC 2710 Introduction to Commercial Music, and MUSC 3710 Music Business and Law—within Tennessee State University’s Commercial Music Program. The classes are the only sequential classes in the Commercial Music Core and required of Commercial Music students.

The 2710 Introduction to Commercial Music class presents content regarding various careers related to the music industry. Class discussion includes career planning and goal setting. The arcing project includes constructing a resume, assembling a press kit, researching assigned topics, practicing phone and online etiquette, completing a guided list of performing opportunities, and participating in a mock audition. Segueing to 3710 Music Business and Law, Commercial Music students’ arcing case study focuses their experiential learning on acquiring business information and costs related to music production (music publishing, studio recording, duplication and packaging, musicians’ and singers’ unions), and live touring (venue location, routing, mode of transportation, fuel costs, food costs, lodging costs, personnel costs, revenue projections).

Each project is for the students and about the students, effectively making a case study with the students as the focal point. The projects require the students to participate in acquiring, organizing, and maintaining authentic information related to the music industry. The assignments are such, that each student will find information unique to their career goals.

The current version of the case studies reflects changes and tweaks throughout the years. Ideas for assignments and content reflect experiences of the author, current trends in the music industry, and input from active music professionals and practitioners. The collective goal of completing the two classes is for the Commercial Music students—in the midst of completing the required tasks—to have experienced genuine interaction with other music professionals. In addition, to provide the students the motivation and opportunity to collect relevant, current, and meaningful information that will help in the students’ music related career.

Teaching Musicians to Think as Marketers: Strategies to Ease the Mindset Shift

Fabiana Claure Director of Career Development and Entrepreneurship in Music

University of North Texas

Introducing marketing principles—especially those that involve thinking from the audience’s perspective—can oftentimes be confusing and foreign for musicians. As a result of spending a lifetime with a self-‐centered focus on developing their artistry, musicians oftentimes struggle to market themselves in a way that will resonate with the needs and perspectives of their intended audiences. These basic marketing concepts can be crucial for creating sustainable careers.

This paper provides an overview of the common misconceptions and challenges musicians face while shifting their mindset from performer-‐centered to audience-‐focused. Examples will include discussions involving SWOT analysis, customer and competitor analysis, setting marketing goals, brand development and differentiation, measuring results, pricing, placement, and promotion. This paper will also offer the tools, strategies, and a methodology to successfully encourage musicians to embrace and develop a marketer mindset.


SESSION 7: SATURDAY | 8:00 A.M. | LINCOLN PARK Moderator: Keith Hatschek

Managing Your Band: What Does A Manager Really Need To Know?

David Philp Assistant Professor

William Paterson University

Managing Your Band: What Does A Manager Really Need To Know will be a session geared at directing music business educators toward areas of required focus for their classes, which are made up of future label personnel, self-‐managed DIY artists, and artist managers.

What are the most important topics a manager needs to know about the music industry? At what point does an artist truly need outside representation? From contracts to company structure, from data to deals, Managing Your Band: What Does A Manager Really Need To Know will help attendees figure out where to focus when teaching about the music business.

This session and subsequent paper will offer direction for educators, self-‐managed DIY artists, and fledgling artist managers through interviews with managers, artists, and label personnel, so students can figure out where they stand and what they do and don’t know about the music biz.

100 Years of Recording and Publishing Ragtime

Robert WIlley Director, Music Media Production and Industry

Ball State University

Scott Joplin was five years old when slavery ended, and one of the first of his generation of African-‐Americans to learn to read and write music. He became known as the “King of Ragtime” and the royalties from his biggest seller, “Maple Leaf Rag” allowed him to retire from a life as a saloon pianist to devote himself to composition. The piece was recorded at least forty times on piano rolls and it is believed that Joplin recorded a few later in his life, but the process was crude and his interpretation was masked by the subsequent stages of editing and arranging. Ragtime was a popular style for twenty years around the turn of the 20th century, and the player piano was the most advanced technology of the time, but soon it was replaced by records, radio, and new styles of jazz. There was a revival of interest in Joplin’s music after it was used in the soundtrack of the movie The Sting and recorded by Joshua Rifkin on the Nonesuch label.

In the 1980s the MIDI specification was developed, and soon after Yamaha released the first Disklavier—the modern version of a player piano controlled by MIDI sequences rather than punched paper rolls. The latest models of the Disklavier capture fine nuances of performance, and include the option to include a simultaneous video recording of the performer. The presentation includes a report on the resources of the Scott Joplin Online Centennial and associated Piano Works Archive developed by the author—a peer-‐reviewed pool of MIDI performances and video-‐sync recordings which will form the core of Disklavier concerts beginning April 1st (the 100th anniversary of Joplin’s death in New York City) and continuing over the course of the coming year. Institutions and individuals with Disklaviers will be hosting events combining time-‐shifted recorded performances, academic papers, and lecture/demonstrations from the Archive with selections performed by pianists from the local area.

One version of each of Joplin’s compositions is being selected for the Centennial’s archive. The public is welcome to enter recordings of their own performances of Joplin’s compositions for consideration, along with Joplin-‐inspired compositions and improvisations. The website (http://scottjoplinarchive.org) will continue after the end of the Centennial year as a resource for research and listening enjoyment.

The presentation concludes with a report on the author’s partnership with TimeWarp Technologies to develop a complete edition of Joplin’s piano works in a clean, modern presentation distributed through the SuperScore iPad app. These electronic versions have the same cover art and score information as the originals, but scale to any size screen, have interactive playback and foot pedal-‐controlled page turns, and historical and analytical information.

38 MEIEA

SESSION 8: SATURDAY | 8:00 A.M. | LAKEVIEW Moderator: Darren Walters

Identifying Marketing Demographics for a Midsized Performing Arts Venue in a Multicultural City

In 2011, the South Miami-‐Dade Cultural Arts Center (SMDCAC) opened its doors in a community that had been devastated almost twenty years earlier by hurricane Andrew. Built in the southern part of Miami-‐Dade County, this brand new, state-‐of-‐the-‐art venue plays a key role in the economic and cultural development of the area. The venue serves a predominantly African-‐American and Hispanic community, including a large Caribbean population. The venue is a county-‐managed building that serves a multidisciplinary and community-‐gathering role, and it acts as a presenting organization, with performances taking place weekly that range from jazz acts in their multipurpose black box theater to ballet and theater performances in their 961-‐seat mainstage auditorium. Our study intends to look at the 2015-‐2016 arts season at SMDCAC and conduct a patron data study, including an overview of its attendance demographics, popularity of specific performances or themes, and whether their marketing approach is reaching their target audience. Results of this study will benefit not only this specific venue, but also other midsized performing arts venues in regards to successful community engagement, which may in turn bolster ticket sales and audience engagement.

Integration and Synergy: Patron Experience Research in Entertainment Venue Management

Michael Mahoney Associate Professor, Coordinator – Sports & Entertainment Facility Management

California State University, Fresno

This presentation reports on the collaborative action research process used to evaluate the patron experience and venue readiness at an entertainment venue setting in the United States. Research involved collaboration with venue management, on-‐site event analysis, website review, and communication with venue staff to determine the “patron experience” according to the provisions of the action research plan. Findings indicate that the collaborative action research program met the academic and venue management requirements inclusive of analysis and evaluation, and distinctive knowledge and learning transfer. The collaborative action research program not only connected academic research and students, venue management professionals and staff with methods to improve the “patron experience”, including website enhancements, serving persons with disabilities or mobility limitations, it demonstrates how other entertainment venue management professionals can engage knowledge and learning to enhance the patron experience and venue readiness so patrons, customers, clients, and other visitors can enjoy equitable experiences at entertainment venues.

The synergistic collaboration between academic researchers, venue management administrators, and students studying venue management is a multi-‐functional way for venue management professionals to systematically investigate: a programmatic area in need of improvement or enhancement (i.e., service delivery); or validate the importance and value of an entertainment venue to a community; to meet municipal/contractual obligations, and; in order to grow the body of existing knowledge of venue management and support professional practice. This case study example of academic engagement with the entertainment venue management industry outlined the process of collaborative action research.

Tyler Franz Business Analyst Charlotte Hornets

Armen Shaomian Assistant Professor, Sport and Entertainment Management

University of South Carolina


SESSION 9: SATURDAY | 10:30 A.M. | LINCOLN PARK Moderator: Amy Macy

The Beatles Catalogue and Paul McCartney's Quest to Recapture His Rights

Don Gorder Chair, Music Business/Management Department

Berklee College of Music

The prolific songwriting team of John Lennon and Paul McCartney produced a series of hits and pop standards released on Beatles records beginning with Love Me Do in 1962. As valuable as this catalogue of songs has become, it may be surprising to note that neither Lennon nor McCartney ever fully owned the publishing rights in their songs. Through a long and somewhat convoluted chain of ownership, the songs are now in the hands of Sony/ATV Music, and McCartney is now availing himself of provisions in U.S. Copyright Law that could allow him to terminate Sony/ATV’s interest and reclaim his publishing rights. He recently filed suit against Sony/ATV, seeking a declaratory judgment stating that he has the right to reclaim his share of ownership in this treasure trove of songs.

The importance of the outcome of this lawsuit to songwriters, publishers, and music industry educators, cannot be understated. A holding in McCartney's favor could open the flood gates for other legacy songwriters to reclaim their rights, thereby depleting the publisher's only asset, its catalogue of songs. A holding in Sony/ATV’s favor could have a chilling effect on the viability of a career in songwriting. Clearly, for our students as future publishers or songwriters, an understanding of the termination provisions under copyright law is paramount.

This presentation will begin with an examination of the chain of ownership of the Lennon/McCartney catalogue, from Northern Songs to Sony/ATV. I will then explain the provisions of copyright law that gave rise to McCartney’s lawsuit and his assertions of compliance. I will conclude with a brief analysis of the recent similar dispute involving Duran Duran, the outcome of which could be dispositive of McCartney’s claim.

Virtual Or Otherwise: Music in Virtual Reality, Augmented Reality, and Other New Technologies and its Relationship to Copyright Law

George Howard Associate Professor, Music Business/Management


Perhaps Pokemon Go was the “killer app” that allowed Augmented Reality to cross Moore’s famous chasm into the realm of the mainstream. Whatever the cause, there is little doubt that our world will be increasingly virtual due to technologies such as Virtual and Augmented Reality, as well as Artificial Intelligence/bots.

Much (if not all) of the applications utilizing these new technologies will include copyrightable or copyrighted materials—music, images, etc. Further, new works may emerge via layers of augmented reality atop existing works, and/or via machine generated works.

Certainly, these new technologies are not the first to test the durability of copyright law. With seemingly every new technological advance, there are calls for copyright overhaul. Are these calls for change merited, or is the current copyright code flexible/expansive enough to accommodate these technologies?

Throughout the past year, I have written and spoken on these topics (most recently at the Copyright and Technology Conference in New York in January). Additionally, I have introduced these concepts into many of my classes at Berklee—from Copyright Law to Emerging Business Models—and have found widespread interest from students.

This paper will provide: • An overview of the challenges and opportunities of these new technologies vis-‐a-‐vis copyright law; • Various examples of relevant historic cases that may inform and guide with respect to future court decisions

around these new technologies; • Sample use cases—both actual/emerging and prospective—related to these new technologies and

copyright law; • How best to integrate the concepts of these new technologies and their relation to copyright law in the

classroom.

40 MEIEA

SESSION 10: SATURDAY | 11:45 A.M. | LAKEVIEW Moderator: Darren Walters

Narrative Analysis and Critical Inquiry in Self Knowledge Construction

Joseph (Joe) Miglio Associate Professor, Music Business/Management


This presentation will describe how autobiography has been utilized as a model for narrative analysis and critical inquiry for self knowledge construction. It will focus on the design and facilitation of a model of reflective and reflexive engagement. (Reflexive Engagement Method that I created in 2003.)

The method is guided by three core questions that are topically independent and thematically integrative which leads to a reiterative and recursive process for narrative investigation. The design provides for analysis of identity and membership, content and contextual impacts that inform identity and membership, and awareness on current and future practice.

Succinctly, but certainly not simply, the engagements ‘ask’:

1. Who Am I? – The story and telling elements of identity 2. What Made Me, Me? – The commitments of identity as structural frame 3. Who/What Am I Becoming? – The re-‐framing of identity

As a result of the engagement process and its analysis by the author/learner a variety of conceptual frameworks

emerge for deeper investigation. These can include applications of my ideas of “Absence: Presence”, “Spectator/Participant”, “(Non) Fictive Narrative”, “Object, Subject, Subjectivity” and “Suturing” – all leading to a deeper understanding of self as “story” – as creator, as controller, as teller and as seller.

I have been utilizing this method of reflexive engagement for over a decade. It has been the cornerstone of my instructional design and facilitation for the past 4 years in my course MB 301: Business Leadership and Ethics. I find that it can significantly assist students in identifying and assessing the identity politics of self and other by creating meaning and in ultimately mediating the clash of value that can be produced with conflicts of interest at its multiple levels of identity ownership.

The “Other” Value Gap: Consumer-‐Driven Digital Music Delivery and the Administrative Mountain That Has Yet To Be Conquered

Melissa Wald

Associate Professor, Music Business Internship Coordinator Middle Tennessee State University

Much has been discussed about the value gap between the wants of the consumer and the compensation of the

creator, as it pertains to the music industry and the ownership of copyrighted works. Discussions have been targeted toward streaming services and the compensation to recording artists and labels, but have almost completely ignored the same topic as it relates to songwriters and music publishers. Much blame has been placed on the complication of fractional ownership as well as inconsistencies with the availability of accurate metadata.

This paper will provide a brief explanation of the differences in compensation to creators between digital downloads and streaming platforms, which is the basic core of the “value gap” discussion. It will then explain the administrative process that takes place from the end user (consumer services) and the record labels as they interact with music publishers. Because there is no single source to provide accurate metadata for the song copyright, the process of identifying song copyright owners is often overlooked, along with the compensation that should have been paid. To add to this identification problem, the amount of data generated each month by the various services is staggering. The administrative volume has grown exponentially while the dollars have reduced, which places an increasingly large burden on the music publisher, therefore limiting the compensation to the songwriter.

In conclusion, this paper will explore ways to better prepare our music business students to become problem-‐solvers in this new metadata-‐driven industry.


SESSION 11: SATURDAY | 2:45 P.M. | LINCOLN PARK Moderator: Courtney Blankenship

Teaching Music Industry Students Using the MEIEA Journal

Patrick Preston Department Chair / Management -‐ Music Industry Concentration

Bay State College

Since its inception in 2000, the journal of the Music & Entertainment Industry Educators Association has become the primary outlet for the research of music industry educators. The range of topics covered include legal issues, economic issues, business issues, historical developments in the music industry, etc. Given the breadth of the MEIEA Journal offerings, it serves as both a time capsule of research interests but also as a potential deep source for curriculum support in music industry classes. In this presentation, the presenter will share his experiences using selected MEIEA Journal articles in his 100 level The Business of Music course for teaching students relevant business disciplines (management, marketing, finance, etc.) as they relate to the music industry. The presenter will discuss what worked when using specific MEIEA Journal articles, which articles or approaches to teaching the articles did not work, and the future plans for continuing use of this resource.

From the Classroom to the Real World and Back: Lessons Learned from Following in my Students’ Footsteps

Kim L. Wangler Director of Music Industry Studies

Appalachian State University

In this presentation, I will discuss what I have learned through undertaking an internship in Nashville during my sabbatical in the Spring 2017 semester. From choosing a site, updating my resume, finding a place to live, and surviving the all-‐important first day on the job, I will recount the lessons that I have learned and how this experience will make me a better internship supervisor and how the knowledge I am gaining through working with a top-‐notch marketing firm will inform my teaching in the years to come. Suggestions regarding the process will be offered to other professors who might be interested in applying for similar experiences through their institutions.

42 MEIEA

SESSION 12: SATURDAY | 2:45 P.M. | LAKEVIEW Moderator: Clyde Rolston

Band Loyalty and Brand Loyalty: Consumer Choice and Globalization

Shawn David Young Director of Music Industry & Recording Technology

York College of Pennsylvania

The record industry continues to sell “records” with a marketing approach that relies heavily on the idea of brand affiliation and brand identity. The concert industry serves the greater corporate brand through the touring band, a process which blurs the lines of fan dedication. Since Beatlemania, merchandizing has been necessarily linked to fan-‐commitment, not only to specific images, but to specific individuals. For example, some were dedicated to Paul while others worshipped John, or Ringo, or George, and so on. But imagine a new version of the Beatles…or Black Sabbath, Nirvana, or KISS. Imagine a completely different lineup.

This paper will examine various differentiations between brand affiliation and band identification. Consideration will be given to legacy bands and the changing landscape of rock concerts as personnel changes in legacy groups are becoming commonplace. The primary question will be this: at what point does dedication to an iconic performer become more about the brand and less about commitment to the individual?

Why Teaching Talent Agency Fundamentals is Important to Increase Student Learning and Success in the Growing Concert Touring Business

Gloria E. Green

Assistant Professor Middle Tennessee State University

Revenue from live entertainment is the main source of income for most performing artists. Seasoned recording

artists, without the benefit of multi-‐platinum selling albums, or a significant publishing catalogue, will generate much of their money from live entertainment, including merchandise and ticket sales, and tour sponsorship opportunities. The growth seen in the live entertainment area is not just measured by the number of tickets sold, but also by the increase in the number of live performance opportunities for artists of all levels performing local, regional, and national shows. As a result, there are more college-‐to-‐career opportunities for success in this field with students who have learned the fundamentals of being a booking agent. This paper provides an overview of how a talent agency course was developed to provide students with real-‐world exposure and experience in the agency business. Partnering with six different boutique and full-‐service talent agencies, the course utilized top music agents as consultants for curriculum guidance and insight into relevant hands-‐on class activities. Industry experts including agents, tour managers, and concert promoters served as co-‐teachers, at their talent agencies, in the classroom, and via virtual experiences. With the continued growth of live concerts and touring, the need for talent agencies to find qualified students to hire, who have more than a general knowledge of the agency business, is essential to the industry and provides ongoing opportunity for future partnerships between Academia and Music Business.


(Chicago Downtown)

Educators Summit PROGRAM - MEIEA 2017Educators%Summit% 5! %!!!! ! musicbiz.org...

Documents

Transcript of Educators Summit PROGRAM - MEIEA 2017Educators%Summit% 5! %!!!! ! musicbiz.org...