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Summit 2016
April 1-2, Washington DC
Hilton Garden Inn


Special Guests

David Israelite
President & CEO of the National Music Publishers Association

Ralph Peer
Chair & CEO of Peermusic

Call for Papers!

for more information

Educators Summit Archives
for past summit activities


Sport and Entertainment Management
University of South Carolina

Music Industry Studies /Technology
California State Polytechnic University, Pomona

Production, Music Business & Industry
Generalist, Music Business & Industry
Lyndon State College

Music Assistant Professor
Contra Costa Community College District

Chair, Associate / Full Professor
Department of Music & Entertainment Industry Studies (MEIS)
University of Colorado Denver

Music and Performing Arts Management
Hartt School, University of Hartford

Assistant Professor of Chorus/Voice
Department of Fine Arts/Music Industry Program, Francis Marion University

Leader, Bachelor of Arts Prograam
College of the Arts (Collarts), South Melbourne and Fitzroy campuses

Music Technology, Recording and Production
Department of Music, Florida Atlantic University

Assistant Arts Professor
Music Business, Tisch School of the Arts
New York University

Assistant Professor
Audio Arts, Newhouse School of Public Communications, Syracuse University

Assistant Professor
Practitioner of Music Management
University of the Pacific, Conservatory of Music

Assistant Professor
Creative Media & Entertainment
College of Communication, Butler University

  • Daniel Frankel and Gideon Frankel, editors; Interviews by Kara Pound. Artist in Control: Success in the New Music Business Storm Gloor, University of Colorado Denver
  • The Event Safety Alliance, Donald C. Cooper, Editor. The Event Safety Guide: A Guide to Health, Safety and Welfare at Live Entertainment Events in the United States
  • Ralf Schmerberg, Director; Many Ameri, Ralf Schmerberg, and Torsten Schmidt, Executive Producers; Easton West and Ralf Schmerberg Writers. What Difference Does It Make: A Film About Making Music (Video), Jason Lee Guthrie, University of Georgia
  • John C. Maxwell. Talent is Never Enough: Discover the Choices that Will Take You Beyond Your Talent Kristél Pfeil Kemmerer, Belmont University
  • Stephen Marcone and David Philp. Music Biz 101 & More (Broadcast, Streaming, and Podcast) Steve Leeds, SiriusXM Radio
  • UK Music, The Intellectual Property Office, and Aardman Animations. Music Inc. (App) MDickie. Popscene (App) Stephen Marcone, William Paterson University
  • Steve Winogradsky. Music Publishing: The Complete Guide Benjamin Smith, Montreat College

In order to seek professional practical knowledge and functional strategies in education, MEIEA endeavors to:

Provide resources for the exchange of information and knowledge about all aspects of the music and entertainment industries,Foster scholarly research on the music and entertainment industries and music and entertainment industries education,Assist institutions with the development of music and entertainment industries programs and curricula,Facilitate interaction between the music and entertainment industries and educators in affiliated educational institutions,Promote student interests in the music and entertainment industries and in music and entertainment industry education

In the
vol 15 2015
Can Global Release Day Reduce Piracy?
Wendy Anderson, Student Paper,
Augsburg College

images/logo-pdf.jpgGlobal release day is a concept that has been publicly accepted since July 2015. The idea has changed the norm for new music releases by grouping them together on one day for countries around the world. The International Federation of the Phonographic Industry (IFPI) is predicting that global release day will increase music sales and will reduce the risk of piracy. This paper addresses the issue of whether or not the implementation of global release day will decrease piracy by analyzing the details about global release day through consumer piracy behavior and convenience, time zones, and accessibility to new music. After exploring the possibilities for global release day to decrease piracy and to increase music sales, the paper concludes with recommendations for future research.
Complexity, Adaptive Expertise, and Conceptual Models in the Music Business Curriculum
David Bruenger, The Ohio State University

images/logo-pdf.jpg Music business curricula are necessarily complex because the subject itself is multifaceted and continually evolves in response to technological, social, and economic change. But in addition, if a goal of music business education is to prepare students to participate effectively in the business of music, then its curricula must not only reflect the evolving complexity of the music marketplace, but also foster the development of skills sufficiently adaptable to its changing conditions. This article uses complexity theory and the concepts of routine and adaptive expertise to explore how the curricular framework of music business studies might be adjusted to deepen understanding of the principles, processes, and patterns, as well as the critical analysis and creative problem-solving skills essential to successful entrepreneurship in the field.
The Record Company as a Learning Structure: Identifying Performance and Learning Inhibitors
David Herrera, Belmont University

images/logo-pdf.jpgThis study examines the variables related to organizational learning within record companies. Indie, major-indie, and major labels report both negative and positive elements linked to leadership, dialogue, empowerment, team learning, and inquiry—all of which affect reported organizational performance. The data suggests that performance and learning may be reflective of the constraints of size, structure, and leadership. With respect to organizational size, indie labels foster the highest learning environment, and this propensity for learning decreases as the labels grow in size. Larger labels also indicate growing deficiencies in embedded systems to transfer organizational knowledge, employee empowerment, and system connectedness to the environment or market. The implication is that managers should intervene in order to foster a robust learning environment that might be better able to adapt to change in the marketplace— especially as the market environment becomes unstable or the organization grows in size.
An Entrepreneurial Music Industry Education in Secondary Schooling: The Emerging Professional Learning Model
Kristina Kelman, Queensland University of Technology

images/logo-pdf.jpgThere is widespread agreement that entrepreneurial skills are crucial for young people today, yet there are few studies of high school students engaging in entrepreneurship education that might prepare them for music industry careers. This study has been developed in response to these challenges. It explores a group of high school students (fifteen to seventeen years) who alongside their teacher, have co-designed, developed, and driven a new business venture, Youth Music Industries (YMI) since 2010. The curriculum was designed to give students a real business situation for developing their project management skills and a broader understanding of working in the music industry. The resulting model and design principles speak to an ongoing challenge that has been identified in music education, and creative industries more generally. These principles offer a way forward for other music and creative industries educators or researchers interested in developing models of, and designs for, nurturing an entrepreneurial mindset.
Blue Note Records: A Singular Business Model
David Kopplin, California State Polytechnic University, Pomona

images/logo-pdf.jpgFounded in the late 1930s by two German immigrants who loved “hot jazz” and swing music, Blue Note grew into an iconic record label that produced some of the most celebrated recordings in jazz history. This paper looks at the history of the label with attention paid to its business model, business practices, and continuing legacy. The author concludes with speculation as to whether the Blue Note business model is relevant in the modern era.
Entrepreneurship: Theory and Application in a University Arts Management Setting
Paul Linden, University of Southern Mississippi

images/logo-pdf.jpgThis article explores the applicability of entrepreneurship as an academic course of study with respect to the broader area of arts management pedagogy. A historical overview of primary texts ranging from the seventeenth to nineteenth centuries serves as a preface for a discipline-based perspective of its twentieth-century articulations. Primary theoretical exponents reveal the economic, sociological, and psychological underpinnings of entrepreneurship as it is developed as an academic topic. Mahoney and Michael’s subjectivist theory informs the relationship between entrepreneurship and the study of creative and cultural industries. Recommendations for specific pedagogical application include structuring and content for in-class activities and outreach projects. In all cases the use of analogy, non-linear thinking, and the critique of textbook decision-making protocol supplement the implementation of outreach programs including practicum, externship, as well as study abroad, student leadership, and alumni-involvement initiatives.
Magical Mystery Tour: Failures From The Beatles’ Self-Managed Era and Lessons for Today’s DIY Musicians
David Philp, William Paterson University

images/logo-pdf.jpgManaging a band can be a full-time job. If it’s the biggest band in the world, the job is even harder. So what happens when the members of the biggest band in the world decide to manage themselves? This paper looks into the 21-month period in which the Beatles oversaw their own business affairs and explains their mistakes and broken philosophies. From the creation of Apple Corps as a means of shielding the group from individual tax burdens to the ultimate selection, by three members, of Allen Klein as their new manager, today’s DIY (do-it-yourself) artists are exposed to valuable lessons.
The Path to Loyalty Among Theater Patrons: The Importance of Interaction and a Sense of Brand Community
Armen Shaomian, University of South Carolina
Bob Heere, University of South Carolina

images/logo-pdf.jpgThe purpose of this study is to understand to what extent a theater serves as a focal point for community development, and whether that sense of community leads to more loyal patrons who are more likely to attend shows and donate to the theater. Additionally, the authors wanted to know to what extent interaction between patrons and personnel contribute to this sense of community. Our results support the view that the theater is a focal point for community development, and emphasizes the importance of interaction for a sense of community with the theater. Consequently, this sense of community contributes to a sense of loyalty towards the theater, and the associated consumer behavior (attendance, donations). Managerial implications are that theater managers are encouraged to allow for extensive interaction between patrons, and between staff and patrons, before and after the show, so patrons can develop a sense of community towards the theater.
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