The Handbook on Music Business and Creative Industries in Education
Edited by
Daniel Walzer [+–]
Indiana University – Indianapolis
Daniel Walzer is Assistant Professor of Music and Arts Technology at Indiana University-Indianapolis. Originally trained as a percussionist, Walzer maintains an active career as a composer, performer, and audio production specialist. Walzer’s research and writings on music technology and the creative industries appear in Leonardo Music Journal, Journal of Music, Technology & Education, Creative Industries Journal, Music Educators Journal, and in numerous edited collections. He is the co-editor of Audio Education: Theory, Culture, and Practice (with Mariana Lopez), and the author of Leadership in Music Technology Education: Philosophy, Praxis, and Pedagogy, both with Focal Press.
Creative arts professions (music, media, and performance) remain in a period of flux. As the music industry and related fields adapt to changing business models, student interest in training for a career in the entertainment sector continues to rise. Though the expansion of global degree offerings in the creative industries expands each year, a “state of the field” on educational and pedagogical issues in the music business and the creative industries has yet to be created.
Creative arts research encompasses a broad range of sectors in the music and entertainment industries; among these subfields include performance, technology, entrepreneurship, marketing, and social justice. Globally, formal training for such pathways happens most often in higher education. The Handbook provides a practical and engaging resource for faculty, staff, administrators, graduate students, and industry members working on the “front lines” in teaching and learning. It presents a wide range of global perspectives from academics, BIPOC voices, and ECRs from the United States, the UK, Europe, Australia, and Canada.
Another factor that affects HE stakeholders is the absence of a versatile resource on the teaching and learning issues in music business and related fields. While The Handbook avoids overly prescriptive models of teaching and learning, the volume includes topical research through case studies, ethnographies, and a thorough cross-section of qualitative and quantitative methods. Such a resource may be germane particularly to educators transitioning from industry to faculty appointments in HE. Authors are encouraged to draw from their expertise and use narrative analysis to support their perspectives.
Series: Music Industry Studies
Table of Contents
Introduction
Editor’s Welcome 1-11
Indiana University – Indianapolis
Daniel Walzer is Assistant Professor of Music and Arts Technology at Indiana University-Indianapolis. Originally trained as a percussionist, Walzer maintains an active career as a composer, performer, and audio production specialist. Walzer’s research and writings on music technology and the creative industries appear in Leonardo Music Journal, Journal of Music, Technology & Education, Creative Industries Journal, Music Educators Journal, and in numerous edited collections. He is the co-editor of Audio Education: Theory, Culture, and Practice (with Mariana Lopez), and the author of Leadership in Music Technology Education: Philosophy, Praxis, and Pedagogy, both with Focal Press.
Chapter 1
Macromedia University of Applied Sciences, Berlin
Martin Lücke is Professor of Music Management at Macromedia University of Applied Sciences, Germany. As Local Head of Faculty, he leads the Faculty of Arts, Media and Psychology at the Berlin Campus. His current research focuses on education research and cultural financing. Previously, he was working on Schlager and progressive rock. Martin Lücke is active in numerous associations and initiatives. He is one of the co-founders of Music Business Research, a new scientific discipline that looks at all kinds of music from economic, legal, and sociological perspectives. His most recent publications include the Lexikon der Musikberufe (2021), the anthology The New Age of Electronic Dance Music and Club Culture (2021), edited with Anita Jóri, and the anthology Musikwirtschaftsforschung. Die Grundlagen einer neuen Disziplin (2017), co-edited with Peter Tschmuck and Beate Flath. Martin Lücke also curates music exhibitions. In 2023, together with Annette Hartmann, he created an exhibition on disco culture for the rock’n’pop museum in Gronau, Germany.
Analysing developments in Music Business Education in Germany, Martin Lücke opens the volume by contextualizing the significant differences between more traditional universities and those focusing on applied science and compares public and private institutions. After a synopsis of how Music Business Education has evolved in Germany, Lücke generates empirical data by examining curricula, accreditation standards, program length, and qualitative analysis of teaching and learning across the sector. Lücke concludes with future directions of Music Business Education in Germany and implications for educators working in similar departments in other countries.
Chapter 2
University of Technology Sydney
Ian Stevenson is a specialist in the field of audible design with over thirty years of experience as an audio engineer, producer, artist, and educator. He is currently senior lecturer in music and sound design at the University of Technology Sydney. His current research is in the areas of sound design, sound studies, soundscape analysis, and music and sound pedagogy.
University of Technology, Sydney
JMC Academy
JMC Academy
Jeff Crabtree is a speaker, performer, songwriter, and music producer with 100 composition and production credits. He co-authored Living with a Creative Mind, a handbook for nurturing creativity and well-being. He is the founder and director of Zebra Collective, a microlearning platform. Jeff is currently a sessional academic at the University of Technology Sydney and JMC Academy. His doctoral research revealed the extent of workplace and sexual harassment in the music industry.
University of Technology, Sydney
Macquarie University
University of Sydney
Macquarie University
University of Sydney
Monica Rouvellas is a solicitor, composer, music producer, and educator. Monica is currently a sessional academic at the University of Technology Sydney, Macquarie University, and the University of Sydney, teaching in the fields of music, business, and law. She is also the founder of Muzikboxx, a music education app for both music teachers and students. Her current research is in the areas of gamified learning, self-regulated learning, immersive sound, and technology and the law.
In their chapter on instructional design in the music business with tertiary students in a music and sound design course, Ian Stevenson, Jeff Crabtree, and Monica Rouvellas identify three primary areas – design, delivery, and student evaluation –, and discuss how these components support self-regulated and authentic learning for educators in the creative industries. Through qualitative analysis of reflective writing and semi-structured interviews, Stevenson and colleagues analysed student participation and project assessment across multiple domains with a university-affiliated record label. Results suggest that mirroring a real-world scenario improved student collaboration, reflective practice, and a sense of autonomy.
Chapter 3
Wayne State University
Jeremy Peters is an Assistant Professor of Music at Wayne State University, a faculty affiliate of Labor@Wayne, and is the 2023 recipient of the American Musicological Society Career Development Grant in American Music. He maintains an active teaching, performing, and researching practice centred around popular music, vocal performance, the creative and cultural industries, ethnographic studies, archives, organization theory, and entrepreneurship in the home of Motown. He is an active music industry professional who co-owns indie label Quite Scientific Records, and before academia he worked at Ghostly International for many years.
Jeremy Peters writes on efforts to integrate entrepreneurship across various undergraduate music business courses to improve job readiness for soon-to-be graduates. Analysing survey data from the Strategic National Arts Alumni Project (SNAAP), Peters discusses effectuation theory and addresses five hybrid skill sets, including financial and business, entrepreneurship, creative thinking, and problem solving, networking, and project management. Peters argues that repetition helps build confidence in these areas and concludes with ways to incorporate experiential learning through internships and relevant coursework.
Chapter 4
University of Liverpool
Mathew Flynn is a Senior Lecturer in Music Industries at University of Liverpool, Assistant Director of the Institute of Popular Music (IPM), and member of the Liverpool City Region Music Board. His current research interests include decision-making in the music industries, mapping music sectors, the experiences of Black music makers and practitioners, and how to better educate musicians about copyright, data use and self-management.
Drawing on his survey of 500 UK-based musicians, Mathew Flynn uses grounded theory and research in behavioural economics to propose the 5R Model of Decision-Making: Role, Repertoire, Representation, Reputation, and Remuneration. With little extant scholarship on decision-making for musicians and designed with practitioners and educators in mind, Flynn’s 5R Model allows musicians to apply a visual toolkit of decision-making concepts in smaller, collaborative environments and when working independently. The result is a more comprehensive and visual understanding of how best to navigate an unpredictable music industry in the future.
Chapter 5
How Do I Look? The Importance of Visual Analysis for Musicians in Popular Music Higher Education [+–] 91-108
The Liverpool Institute for Performing Arts
Helen Elizabeth Davies is Subject Leader of Popular Music Studies at the Liverpool Institute for Performing Arts, UK. Her key research interests are popular music and gender, popular music visuals, music education, music in everyday life, and ethnographic research. She has published research into musicians in vocational popular music higher education and graduates working in the music industry, focusing on gender-related experiences and issues. Since 2019, she has carried out research with the organization UK Music on diversity in the UK music industry workforce for their biennial diversity report.
She is currently writing a book on popular music visuals.
She is currently writing a book on popular music visuals.
Helen Davies writes about visual imagery, a relatively under-researched area of popular music and the creative industries. Central to the music business, visual content in promotional materials, packaging, live events, social media, and technology connect artists with their audience. Davies delves into visual analysis and its relationship to Popular Music Higher Education (PMHE). Using an “analytical toolkit” that considers musician persona, images, costuming, performance, and music video, Davies describes how students create visual content to accompany their musical practice and how such efforts promote multisensory pedagogy in vocationally focused coursework.
Chapter 6
University of Westminster
Hussein Boon is a principal lecturer at the University of Westminster and member of the Black Music Research Unit. His teaching areas include music production, performance technologies, songwriting, modular synthesis, live coding, music business and Artificial Intelligence. He was part of the team that established Rockschool’s popular music exams and has worked for various artists, including Beats International, Billy Ocean and De La Soul. His recent publications include using shift registers for semi-improvised songwriting,
several short fiction stories about AI and music, reimagining the DAW as a design tool, and the role of the anti-aesthetic in music production education.
several short fiction stories about AI and music, reimagining the DAW as a design tool, and the role of the anti-aesthetic in music production education.
In his critical examination of song writing, Hussein Boon argues that modern technology and visual media affect how practitioners write music and how popular music educators might address such tensions in their teaching. In Boon’s view, technological determinism and song writing are inextricably linked; crafting songs with and through technology opens possibilities to advance the craft. Moreover, as Boon suggests, creative practice is equally shaped by visuality, namely, how artists communicate beyond music and sound. Through his analysis of music videos and industry case studies, Boon leads us to a better understanding of the interwoven politics of the music industry, artist creativity, and technology. Boon concludes by cautioning educators to guide students to balance creativity with meeting market demand and to view the craft of song writing across multiple domains: creative, technological, and business.
Chapter 7
Bath Spa University
Simon Strange is a multidimensional creative, spanning the academic and creative industries, a trombone player, music producer, photographer and socio-cultural academic. Simon has performed around the world and curates the Sidmouth International Jazz and Blues Festival. Strange is Research Programme Manager at Bath Spa University, overseeing an AHRC funded project related to the concept of story. He leads a team who are exploring the use of Story Skills within a range of organizations. His first book, Blank Canvas, based on pedagogical connections between UK art schools and popular music, was released by Intellect Publishing in 2022, looking at the creative connection between art and music. Simon has written articles for the Journal of Popular Music Education as well as presenting at various conferences of the IASPM, KISMIF, and the Punk Scholars Network.
Undertaking an extensive history of UK art education, Simon Strange’s chapter draws on interviews with visual artists and musicians – to include Brian Eno, Dexter Dalwood, Gina Birch, Gaye Black, and others – to conceptualise a punk-inspired, DIY model of teaching and creating in popular music. UK art schools in the 1960s and 70s served as a breeding ground for postmodernist experimentation, where artists dismantled or “unlearned” traditional models of practice, favouring new technologies and aesthetics, and blurring the lines between visual art and popular music. Strange concludes with a vision for how popular music educators might replace more commercially focused concepts for a more expansive, art-inspired model of music-making.
Chapter 8
SAE University College
Sean Foran is a Brisbane-based composer, pianist, and improvising musician. An ARIA nominated artist he has received the prestigious Brisbane City Council’s Lord Mayors Emerging Artist Fellowship, AMC/APRA Award for Excellence in Jazz, APRA Professional Development Award for Jazz, and the QLD Music Award multiple times. His research investigates improvisation with technology, contemporary music career strategies, and jazz industry practices. He is currently performing with acclaimed improvising trio ‘Trichotomy’, is Course Director for Audio and Music at SAE University College, co-director
of the publishing company ‘Prepared Sounds’, and associate artist of the Australian Music Centre.
of the publishing company ‘Prepared Sounds’, and associate artist of the Australian Music Centre.
University of Sydney
Jade O’Regan is a Lecturer in Contemporary Music Practice at the Sydney Conservatorium of Music (University of Sydney). She is the co-author of Hooks in Popular Music (2022) with Dr Tim Byron, which combines pop musicology and music psychology to understand pop music in an interdisciplinary way. Her research interests include the musical analysis of pop music, genres, songwriting, and creativity. She is an experienced music communicator who has been featured as a speaker at SxSW, Splendour in the Grass, on ABC News, and Triple J. She is also a performing musician and songwriter.
Charles Darwin University
Vincent Perry is a Darwin-based drummer, record producer, and avid collector of vintage instruments and recording gear. Vincent draws his musical inspiration from the house bands of the 1960s recording industry, especially Phil Spector’s Wrecking Crew and Motown’s Funk Brothers. He is currently a percussionist for the Darwin Symphony Orchestra, drummer for the Hot and Cold Big Band, and a lecturer at Charles Darwin University, where he delivers higher education and Vocational Education and Training (VET) music units.
Edith Cowan University
Tom O’Halloran is a Senior Lecturer at the Western Australian Academy of Performing Arts (WAAPA) at Edith Cowan University, where he is the academic coordinator of the jazz performance major within the Bachelor of Music degree. In 2017 he won the APRA Art Music Award for Jazz Work of the Year, and he is a regularly commissioned composer, pianist, and improviser. He gained a Master of Music (composition) from the Sydney Conservatorium of Music and holds a Bachelor of Music (jazz performance) from WAAPA, and is currently completing the PhD. His future research interests are hybridity and multi-disciplined approaches, technology within jazz, and assimilating techniques of modernism within jazz.
Sean Foran, Jade O’Regan, Vincent Perry, and Tom O’Halloran discuss a study on popular music repertoire and ensembles conducted at three Australian universities. Foran et al. encouraged students to blend historical analysis of popular music to reimagine cover material, compose original works, and consider factors including performance skills, staging, technology, music cognition, and group dynamics. The authors consider the broader aims of ensemble pedagogy, namely guiding students towards autonomy, improved communication, and advocating for a more profound conception of repertoire built on creativity and collaboration.
Chapter 9
University of Victoria
Kirk McNally is a sound engineer specializing in the recording of popular and classical music, as well as in the performances of new musical works using electronics. Kirk is the associate professor of Music Technology at the University of Victoria, Canada. In this role, he serves as the program administrator for an undergraduate combined program in music and computer science, as well as the graduate program in music technology. His research and creative work have received support from the Canada Council for the Arts and the Social Sciences and Humanities Research Council of Canada (SSHRC).
Using community-engaged learning and participatory action research, Kirk McNally presents a case study on the collaboration between upper-level sound recording students and a local Canadian record label. McNally argues that the standard practice of internships in the music industry is at best limited in its scope and exploitative at its worst. Community Engaged Learning (CEL) presents a useful alternative where students apply their skills in real-world scenarios, thus improving their applied knowledge and learning outcomes. McNally’s qualitative analysis of semi-structured interviews suggests while CEL promotes a sense of lifelong learning and reflective practice, educators must use care to align the industry component with existing music business curricula such that both support each other equally.
Chapter 10
Brandeis University
Taylor Ackley is a scholar, composer, and performer of American Roots music. His work explores and understands American folk and popular music through historical research, composition, analysis, performance, and ethnography. His integrated intellectual and creative practice builds upon lived experiences of poverty among the rural working-class to provide a foundational knowledge for studying, creating, and teaching music. He holds a master’s degree and a PhD in Composition as well as a master’s degree in Ethnomusicology from Stony Brook University and is currently an Assistant Professor of Music at Brandeis University. He directs the Deep Roots Ensemble and has three commercially released albums.
Composer, performer, and theorist
Joe Sferra is a composer, performer, and theorist who advocates for a broad musical curiosity as an essential trait of a modern musician, and he embodies this in his teaching and creative work. As a clarinettist, he is featured on both abstract electronic improvisation with the ACCAD Sonic Arts Ensemble for Ravello Records and American Roots music with the Deep Roots Ensemble for 4Tay Records. His compositions entertain with popular gestures while revealing a love for the harmonic and formal ideas of modernist concert music, and have been featured in performances in the USA, Canada, and Spain. He has
served on the faculties of Earlham, Vassar, SUNY-Potsdam, and the Cleveland Institute of Music.
served on the faculties of Earlham, Vassar, SUNY-Potsdam, and the Cleveland Institute of Music.
Taylor Ackley and Joe Sferra describe the Deep Roots Ensemble, a student-run mixed chamber group drawing musical inspiration from American folk and roots music, jazz, and classical styles. Written primarily as an autoethnography undertaken by the two authors, the chapter explores aspects of the complicated history of American music, institutional politics in higher education, and how an inclusive pedagogical style inspires deeper and more meaningful connections to ensemble performance, creativity, and professionalism. Along with interviews with former students, Ackley and Sferra challenge the hegemonic and limiting structures commonly found in academic music departments. The chapter concludes with a clarion call for how educators might adopt a similar ethos in their ensemble pedagogy.
Chapter 11
Excelsia College and James Cook University
Ryan Daniel is currently Chief Academic Officer at Excelsia College in Sydney, and Adjunct Professor in the College of Arts, Society and Education at James Cook University. His research is published in Creativity Studies, Creative Industries, International Journal of Cultural Policy, Arts and Humanities in Higher Education, CoDesign, Music Education Research, and the British Journal of Music Education.
Adopting chaos theory as a framework through which to examine the impact of COVID-19 on the creative industries and higher education, Ryan Daniel describes a future where freelance and portfolio careers become more commonplace in the performing arts. Limited in its scope, Daniel argues that the traditional model of teaching and learning embraced by conservatory-style education is no longer sufficient to prepare students for sustainable employment. In its place, Daniel advocates for a new conceptual model of self-guided pedagogy, where students acquire knowledge across several domains, including agency, practice, industry engagement, well-being, critical thinking, and peer learning.
End Matter
Index 227-233
Indiana University – Indianapolis
Daniel Walzer is Assistant Professor of Music and Arts Technology at Indiana University-Indianapolis. Originally trained as a percussionist, Walzer maintains an active career as a composer, performer, and audio production specialist. Walzer’s research and writings on music technology and the creative industries appear in Leonardo Music Journal, Journal of Music, Technology & Education, Creative Industries Journal, Music Educators Journal, and in numerous edited collections. He is the co-editor of Audio Education: Theory, Culture, and Practice (with Mariana Lopez), and the author of Leadership in Music Technology Education: Philosophy, Praxis, and Pedagogy, both with Focal Press.
ISBN-13 (Hardback)
9781800505926
Price (Hardback)
£75.00 / $100.00
ISBN-13 (Paperback)
9781800505223
Price (Paperback)
£26.95 / $34.00
ISBN (eBook)
9781800505230
Price (eBook)
Individual
£26.95 / $34.00
Institutional
£75.00 / $100.00
£26.95 / $34.00
Institutional
£75.00 / $100.00
Publication
26/09/2024
Pages
240
Size
234 x 156mm
Readership
students, scholars music industry professionals
Illustration
14 black and white figures
