Summit Program

 Educators Summit Program 2016 April 1-­‐2 | Washington D.C. | Hilton Garden Inn – U.S. Capitol 2 MEIEA Welcome to the 2016 Music and Entertainment Industry Educators Association Summit! I’m really excited to welcome you all to Washington, D.C., the first time MEIEA has ventured to our Nation’s Capital. The program we have put together takes advantage of this location and we’ll have representatives from many major organizations to discuss the most pressing issues facing the music and entertainment industry over the next few years. This is truly cutting edge information that MEIEA is fortunate to bring you. Our program is so st
packed, that we’re even holding sessions on Thursday, March 31 starting at 3:00 p.m. for those arriving early enough to attend. We are honored to have keynote speakers David Israelite (CEO of the NMPA), Richard Burgess, (CEO of A2IM) and the legendary music publisher Ralph Peer II of Peermusic, one of America’s oldest publishing companies. In addition, our legal update panel will feature SoundExchange General Counsel, Colin Rushing, former SoundExchange General Counsel and currently counsel to many major music users, Gary Greenstein, former ASCAP Exec and publishing guru Todd Brabec and moderator, D.C. based entertainment litigator and transactional lawyer, Lita Rosario. Our topical sessions will also feature a music and film panel featuring two Hollywood superstars (Pilar McCurry and Jonathan McHugh) who have worked on many major motion pictures and television programs. We will continue our roundtable discussions in hopes that colleagues can share best practices and also focus on areas that need improvement in hopes that collaboration can make us all better mentors and teachers. As in past years, we will have presentations of twenty-­‐four peer-­‐reviewed papers, written or co-­‐written by MEIEA members, which are diverse and interesting explorations of our industry and its many facets. I’m sure these presentations, topical sessions, briefings and keynotes will satisfy your thirst for knowledge. Our welcome reception Thursday evening will be preceded by briefings from SoundExchange, the Copyright Office and the RIAA between 3:00 p.m. and 6:00 p.m. We hope you can get in early to join these informative sessions. I will also be posting a list of fun activities for you to pursue in D.C. which is one of America’s greatest live music cities boasting two clubs that win awards annually: the 930 Club (Rock, Alternative, Funk, Eclectic) and the Birchmere (a sit-­‐down listening room). The Kennedy Center will also be featuring symphony on Thursday, Friday and Saturday evenings. And for you baseball fans, the Washington Nationals will host the Minnesota Twins for an exhibition game on Friday at 6:05 p.m. I’m really excited to welcome you all to this year’s Summit and I’m excited that we have 11 new MEIEA members attending for the first time. I know you’ll find it as interesting and exciting as I did when I attended my first MEIEA Summit just a few years ago. Please feel free to contact me at [email protected] if you have any questions about Summit-­‐related activities, best ways to get around Washington D.C., or anything else that might be going on during your stay. Sincerely, John L. Simson President, Music and Entertainment Industry Educators Association 2016 Educators Summit Sponsors
Special thanks to the following sponsors for their generous support of MEIEA and the 2016 Educators Summit 3 4 MEIEA 2016 Educators Summit 5 6 MEIEA MEIEA Executive Board EXECUTIVE OFFICERS President John Simson American University MEIEA Journal Editor Bruce Ronkin Northeastern University Webmaster Wesley Bulla Belmont University Vice President Storm Gloor University of Colorado, Denver Secretary Kristél Pfeil Kemmerer Dutchess Community College Treasurer Jennifer Fowler Belmont University Director of Membership Patrick Preston Bay State College BOARD MEMBERS Peter Alhadeff Berklee College of Music Cutler Armstrong Butler University EXECUTIVE DIRECTORS 2016 Educators Summit Courtney Blankenship Western Illinois University Kim L. Wangler Appalachian State University Carey Christensen California State University, Northridge European Liaison Ray Sylvester Buckinghamshire New University Immediate Past President Serona Elton University of Miami Robert Garfrerick University of North Alabama Melissa Wald Middle Tennessee State University Australasian Liaison Ben O’Hara Australian College of the Arts (Collarts) PAST PRESIDENTS Serona Elton (2011-­‐2015) John Kellogg (2009-­‐2011) Rey Sanchez (2007-­‐2009) Rebecca Chappell (2003-­‐2007) Tim Hays (1999-­‐2003) Scott Fredrickson (1995-­‐1999) David Hibbard (1993-­‐1995) Janet Nepkie (1989-­‐1993) Michael Fink (1988-­‐1989) Richard Broderick (1986-­‐1988) James A. Progris (1984-­‐1986) David P. Leonard (1982-­‐1984) Jay Collins (1979-­‐1982) 7 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. For more information, visit www.meiea.org/journal.about.html For library orders and institutional subscriptions, contact: Social Media
Keep the conversation going after the Educators Summit at: https://www.facebook.com/groups/530369290347184 https://www.linkedin.com/groups/1873722 https://www.youtube.com/user/meiea 2016 Educators Summit 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 www.meiea.org/grants.faculty-­‐research.html 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. For more information, visit www.meiea.org/grants.student-­‐association.html 9 10 MEIEA SUMMIT SCHEDULE Thursday, March 31, 2016 8:00 am -­‐ 2:00 pm 3:00 pm -­‐ 4:00 pm 4:15 pm -­‐ 5:15 pm 5:30 pm -­‐ 6:30 pm 7:00 pm -­‐ 9:00 pm 7:30 pm -­‐ 9:30 pm MEIEA Board Meeting: Session 1 Pre-­‐Summit Briefing: Session 1 SoundExchange: Linda Bloss-­‐Baum (Senior Director, Artist and Industry Relations, SoundExchange | Adjunct Faculty, Department of Management, Kogod School of Business, American University) Pre-­‐Summit Briefing: Session 2 U.S. Copyright Office: Regan A. Smith (Associate General Counsel, U.S. Copyright Office) Pre-­‐Summit Briefing: Session 3 Recording Industry Association of America (RIAA): Mitch Glazier (Senior Executive Vice President, RIAA) Summit Check-­‐in and Walk-­‐up Registration Welcome Reception / Networking Event Astor Paint Branch Paint Branch Paint Branch NoMa Ballroom Lounge Stansbury Friday, April 1, 2016 7:00 am -­‐ 9:00 am Summit Check-­‐in and Walk-­‐up Registration 8:00 am -­‐ 9:00 am Roundtable Session: Music Industry Curriculum Roundtable discussion of the future of music industry (MI) curriculum in higher education. Discussion topics include, but are not limited to: How should MI curriculum evolve to meet the changing needs of students, the academy, and the industry?; How important are traditional music performance studies in MI curriculum?; How important is NASM accreditation to MI programs, their institutions, and the industry?; How existing MI programs can evolve their curriculum within their respective institutions. Participation by all roundtable session attendees is encouraged. Moderator: Robert Garfrerick (Professor and Eminent Scholar in Entertainment Industry, University of North Alabama) Welcome Session: John Simson, MEIEA President (Executive-­‐in-­‐Residence & Program Director, Business and Entertainment, Kogod School of Business, American University) Keynote Speaker: David Israelite (President and CEO, National Music Publishers’ Association [NMPA]) 9:15 am -­‐ 10:15 am NoMa Ballroom Lounge Stansbury Astor / Paint Branch 2016 Educators Summit Friday, April 1, 2016 10:30 am -­‐ 11:30 am 11:45 am -­‐ 12:45 pm 11:45 am -­‐ 12:45 pm 1:00 pm -­‐ 2:00 pm 2:15 pm -­‐ 3:15 pm Plenary Session: Legal Update: 2015 Year in Review Join top industry attorneys as they discuss some of the major cases of 2015 and their impact on the entertainment industry. Topics will include the DOJ review of the ASCAP and BMI Consent Decrees, the RIAA’s new certification standards for Gold and Platinum albums, the Copyright Royalty Board’s new rates for Internet radio and non-­‐interactive digital music services, and new issues relating to termination rights for master recordings. Moderator: Lita T. Rosario, Esq. (Principal, WYZ Girl Entertainment Consulting) Panelists: Todd Brabec (Entertainment law attorney, award winning author, consultant, and Adjunct Associate Professor, University of Southern California); Gary R. Greenstein, Esq. (Partner, Wilson Sonsini Goodrich & Rosati); Colin Rushing, Esq. (Senior Vice President and General Counsel, SoundExchange) Academic Papers: Session 1 Moderator: Bruce Ronkin (Vice Provost for Undergraduate Education and Professor of Music, Northeastern University) •
Pop Songs on Political Platforms -­‐ Courtney Blankenship (Assistant Professor, Director of Music Business, School of Music, Western Illinois University); Stan Renard (Assistant Professor, Coordinator of the Music Marketing Program, University of Texas at San Antonio) •
Music Scene Mechanics: Toward a Predictive Process Model -­‐ David Bruenger (Director -­‐ Music, Media, & Enterprise Program, The Ohio State University) Academic Papers: Session 2 Moderator: Patrick Preston (Department Chair, Entertainment Management, Bay State College) •
Berklee’s Fair Music and Transparency Report: A Critique -­‐ Peter Alhadeff (Professor, Berklee College of Music); Luiz Augusto Buff (CEO, 1m1art.com) •
Shoppable Music Videos: Smash Hit or Big Miss? -­‐ David Allan (Professor of Marketing, Saint Joseph’s University); Janée N. Burkhalter (Associate Professor of Marketing, Saint Joseph’s University); Feng Shen (Assistant Professor of Marketing, Saint Joseph’s University); Natalie T. Wood (Chair & Associate Professor of Marketing Saint Joseph’s University, and Associate Professor of Marketing Edith Cowan University, Australia) Luncheon Keynote Speaker: Richard James Burgess, Ph.D. (CEO, American Association of Independent Music [A2IM]) Astor / Paint Branch Stansbury Fremont (3rd Floor) Astor / Paint Branch Astor / Paint Branch 11 12 MEIEA Friday, April 1, 2016 3:30 pm -­‐ 4:30 pm 3:30 pm -­‐ 4:30 pm 4:45 pm -­‐ 5:45 pm 4:45 pm -­‐ 5:45 pm Academic Papers: Session 3 Moderator: Melissa Wald (Associate Professor, Department of Recording Industry, Middle Tennessee State University) •
Audio Logo Common Core Attributes: An Analysis of Sonic Modality Cues -­‐ Stan Renard (Assistant Professor, Coordinator of the Music Marketing Program, University of Texas at San Antonio) •
The Seven Secrets of Organizational Innovation: The Jam Session Model -­‐ Monika Herzig (Senior Lecturer, Arts Administration, Indiana University); Maksim Belitski (Henley Business School, University of Reading) Academic Papers: Session 4 Moderator: Robert Garfrerick (Professor and Eminent Scholar in Entertainment Industry, University of North Alabama) •
Music Crowdsourcing: Redefining the Relationship between Organization, Artist, and Audience -­‐ Richard Strasser (Associate Professor, Northeastern University) •
Blockchain Technology and The Arts -­‐ George Howard (Associate Professor, Music Business/Management, Berklee College of Music) Academic Papers: Session 5 Moderator: Patrick Preston (Department Chair, Entertainment Management, Bay State College) •
Access Verses Substantial Similarity: Copyright Issues in Three Boys Music v. Michael Bolton and Vince P. v. Kanye West -­‐ Brian Gaber (Professor of Commercial Music, Florida State University) •
The Monopoly of Protection vs. the Presumption of Permission: Is Copyright Law an Analog Ship Adrift in a Digital Sea? -­‐ Jeffrey Izzo (Assistant Professor of Recording Industry, Middle Tennessee State University) Academic Papers: Session 6 Moderator: Timothy Channell (Music Business Program Director and Associate Professor, Radford University) •
Tone of Voice Can Make or Break Social Media Marketing Success -­‐ Stephanie Kellar (Assistant Professor, Berklee College of Music) •
Managing Musician’s Social Media Campaigns Through Analytics -­‐ Mark Carpentieri (Assistant Professor of Music Business, Five Towns College) Fremont (3rd Floor) Stansbury Fremont (3rd Floor) Stansbury 2016 Educators Summit Saturday, April 2, 2016 8:00 am -­‐ 9:00 am 8:00 am -­‐ 9:00 am 9:15 am -­‐ 10:15 am 10:30 am -­‐ 11:30 am Academic Papers: Session 7 Moderator: Wesley Bulla (Professor, Audio Engineering, Mike Curb College of Entertainment & Music Business, Belmont University) •
Going for the Gold: Articulating Standards and Best Practices for Experiential Learning -­‐ Joe Miglio (Associate Professor of Music Business/Management, Berklee College of Music) •
Educators Achieving Reflective Competence in Music Related Instruction -­‐ Todd D. Gardner (Associate Professor of Music Business/Management, Berklee College of Music) Academic Papers: Session 8 Moderator: Jennifer Fowler (Associate Professor of Economics and Music Business, Mike Curb College of Entertainment & Music Business, Belmont University) •
Practical Music Theory for Songwriting Students -­‐ Odie Blackmon (Assistant Professor/Songwriting Concentration Coordinator, Middle Tennessee State University, and Lecturer in Music, Blair School of Music, Vanderbilt University) •
Intermediaries: Necessity, But Not A Necessary Evil -­‐ David Philp (Assistant Professor, William Paterson University) Keynote Speaker: Ralph Peer II (Chairman and CEO, Peermusic) Topical Session: Music Supervision in Film and Television Panel discussion focusing on the role of the modern music supervisor and other related topics including, but not limited to: How music is selected or created for film and television; How music supervisors work with directors, music publishers, record labels, and recording artists to create memorable soundtracks; Major synchronization deal points for both the musical work (composition) and the sound recording (master recording). Moderator: Don Gorder (Chair, Music Business/Management, Berklee College of Music) Panelists: Pilar McCurry (Senior Vice President, Music Creative Affairs, Sony Pictures Entertainment); Jonathan McHugh (Film/TV Producer and Music Supervisor, Song Stew Entertainment) Stansbury Fremont (3rd Floor) Astor / Paint Branch Stansbury 13 14 MEIEA Saturday, April 2, 2016 10:30 am -­‐ 11:30 am 11:45 am -­‐ 12:45 pm 11:45 am -­‐ 12:45 pm 1:00 pm -­‐ 3:00 pm Academic Papers: Session 9 Moderator: Jennifer Fowler (Associate Professor of Economics and Music Business, Mike Curb College of Entertainment & Music Business, Belmont University) •
Current “Best Practices” in Music Industry Education -­‐ Dave Kopplin (Professor of Commercial Music, Cal Poly Pomona) •
A National Survey of the Expectations of Employers Hiring Entertainment Industry Program Graduates -­‐ Clyde Philip Rolston (Professor, Curb College of Entertainment and Music Business, Belmont University); Tish Stewart (Sr. Career Development Specialist, Curb College of Entertainment and Music Business, Belmont University) Topical Session: The State of Online Music Industry Education Panel discussion focusing on the implementation of new hybrid online-­‐
onground music business programs (graduate and undergraduate), accreditation and resource management issues, and independent operators. Moderator: Peter Alhadeff (Professor, Music Business/Management, Berklee College of Music) Panelists: Luiz Augusto Buff (CEO, 1M1Art, Brazil); Serona Elton (Associate Professor and Chair, Music Media & Industry, University of Miami); Carin Nuernberg (Dean of Continuing Education, Berklee College of Music) Fremont (3rd Floor) Academic Papers: Session 10 Moderator: Melissa Wald (Associate Professor, Department of Recording Industry, Middle Tennessee State University) •
Event-­‐based Research for Music Industry Learning Environments: Two Case Studies -­‐ Kristina Kelman (Lecturer – Music Industry, Music Education, Musicology and Performance, Queensland University of Technology); Philip Graham (Professor – Creative Industries, Queensland University of Technology); Yanto Browning (Associate Lecturer – Creative Industries, Queensland University of Technology) •
Student-­‐run Enterprises and the Advancement of Music Cities -­‐ Storm Gloor (Associate Professor, University of Colorado Denver) Luncheon and MEIEA General Meeting Fremont (3rd Floor) Stansbury Astor / Paint Branch 2016 Educators Summit Saturday, April 2, 2016 3:15 pm -­‐ 4:15 pm 3:15 pm -­‐ 4:15 pm 4:30 pm -­‐ 5:30 pm 6:30 pm -­‐ 10:00 pm Academic Papers: Session 11 Moderator: Wesley Bulla (Professor, Audio Engineering, Mike Curb College of Entertainment & Music Business, Belmont University) •
The Music Business Workshop: Applying Game Theory to Pedagogy -­‐ Jerry Brindisi (Assistant Professor, Music Business BA Coordinator Columbia College Chicago); Justin Sinkovich (Assistant Professor, Media Management BA Coordinator Columbia College Chicago) •
GrouponLive: A Case Study -­‐ Carey Christensen (Assistant Professor, Mike Curb Chair in Music Industry Studies, California State University, Northridge); Armen Shaomian (Assistant Professor, Sport and Entertainment Management, University of South Carolina) Academic Papers: Session 12 Moderator: Bruce Ronkin (Vice Provost for Undergraduate Education and Professor of Music, Northeastern University) •
Does a MEIEA Core Curriculum Exist? A Survey of Practice -­‐ Robert Garfrerick (Professor and Eminent Scholar in Entertainment Industry, University of North Alabama) Roundtable Session: Student-­‐run Music Enterprises Roundtable discussion that 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: Cutler Armstrong (Lecturer, Creative Media & Entertainment, Butler University) MEIEA Board Meeting: Session 2 Stansbury Fremont (3rd Floor) Paint Branch Astor 15 16 MEIEA BIOGRAPHIES KEYNOTE SPEAKERS David Israelite President and CEO National Music Publishers’ Association (NMPA) David M. Israelite is President and CEO of the National Music Publishers’ Association (NMPA), a position he has held since February 2005. Israelite is responsible for overseeing all aspects of the NMPA’s operations, from legal strategy and implementation to government affairs and advocacy. His tenure to date has produced landmark legal successes on behalf of publishers, groundbreaking industry collaboration in royalty rate agreements and raised the profile of the publishing community within the music industry. He has been named to Billboard’s Power 100 multiple times and serves on several boards including the Songwriters Hall of Fame and Special Olympics DC. Prior to leading NMPA, Israelite held senior positions in various capacities for the U.S. government including at the Department of Justice where he was appointed Chairman of the Department’s Task Force on Intellectual Property and in the U.S. Senate where he was chief of staff for Missouri Senator Kit Bond. Israelite earned his Juris Doctor from the University of Missouri and his undergraduate degree from William Jewell College. Richard James Burgess CEO American Association of Independent Music (A2IM) CEO for the American Association of Independent Music (A2IM), Richard James Burgess Ph.D. has produced, recorded and performed on many gold, platinum, and multi-­‐platinum albums. He was previously head of business at Smithsonian Folkways Recordings where he produced Jazz: The Smithsonian Anthology, chronicling the history of jazz. His career path includes: studio musician, recording artist, producer, manager, and label owner. He is known for his pioneering work with synthesizers, computers, sampling, EDM, New Romantics, early house music, as the inventor of the SDSV drum synthesizer and for coining the music genre terms EDM and New Romantic. His current books are, The Art of Music Production: The Theory and Practice, 4th Edition and The History of Music Production (Oxford University Press). Burgess has received awards as a producer and musician from Music Week, the British Arts Council, the Greater London Arts Association, the Park Lane Group, and most recently he won the 2016 British Council’s Education UK Alumni Award for Professional Achievement. Ralph Peer II Chairman and CEO Peermusic Ralph Peer, II, Chairman and CEO of Peermusic, oversees a global network of music publishing companies operating from 30 offices located in 28 countries. He is Vice-­‐President and Director of the National Music Publishers’ Association (USA), has served on the Boards of MCPS (UK), HFA (USA), ASCAP (USA), and the GRD (UK) and is a lifetime Board member of the Country Music Association. Peer is past Chairman and a longtime Director of the Brussels-­‐based International Confederation of Music Publishers (ICMP/CIEM). He was a founding Board Member of e-­‐Music serving from its inception until its sale to Vivendi. Peer received his Bachelor’s degree in economics and MBA from Stanford University. In 1999, he was awarded an honorary Doctorate of Philosophy from Witten/Herdecke University in Germany. Peer has received numerous recognitions for his service to songwriters and publishers including awards from the Songwriters’ Hall of Fame, the National Music Publishers Association, the Music Publishers Association (USA), MIDEM and the International Confederation of Music Publishers (Brussels). Founded by Ralph S. Peer in 1928, Peermusic is the largest privately-­‐owned music publishing company in the world. With well over a quarter of a million titles in its catalogue, Peermusic works in all genres including pop, Latin, country, classical, jazz, blues and rock. 2016 Educators Summit BIOGRAPHIES MODERATORS | PANELISTS | PRESENTERS Peter Alhadeff Peter Alhadeff is a Professor and a founding faculty member of the Music Business/Management Department at Berklee. He is a distinguished Oxford economist and historian who has a made his own unique and successful career in the US music business. Alhadeff has published and been engaged by the National Academy of Recording Arts and Sciences, the Harvard Berkman Center, the Latin Grammy, the Interamerican Bank at the Di Tella Institute in Buenos Aires, and the Business and Economics Society International, for which he delivered the keynote address on the state of the music trade in Athens, Greece. He has been a speaker at Midem, Rethink Music, SIM Sao Paulo, and Conference Chair at the Music & Entertainment Industry Educators’ Association, Boston. He is the Executive Director of Berklee’s Music Business Journal (http://www.thembj.org). David Allan David Allan, Ph.D. is Professor of Music Marketing at Saint Joseph’s University in Philadelphia, Pennsylvania. Allan brings to his academic career the experience from a twenty-­‐year-­‐plus career in radio broadcasting that began as a disc jockey in Oxford, Ohio at 97X in 1981 and ended as a VP/GM for Clear Channel where he left in 2002. Allan has a BA in Communications from American University, an MBA in Marketing from Saint Joseph’s University, and a Ph.D. in Mass Media & Communication from Temple University. Allan has published in the Journal of Consumer Research, Journal of Business Research, and the Journal of Advertising Research, Allan has been quoted in the Wall Street Journal, Philadelphia Inquirer, Washington Post, and Billboard Magazine. Contact: [email protected] or follow him at www.marketingmusicology.com Cutler Armstrong Cutler Armstrong teaches a variety of courses across Butler University’s Recording Industry Studies degree, including the two-­‐semester capstone experience in which students work with an artist 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. Odie Blackmon Odie Blackmon is one of Nashville’s most talented and diversified creative forces. On Music Row, he is a Grammy-­‐nominated songwriter with more than 20 million in sales and the CMA’s Single of the Year to his credit, as well as a successful producer and publisher. Within the halls of two renowned universities, he is a popular teacher whose innovative approach is helping to launch a new generation of songwriters and musicians toward their own careers. He is himself a student of musical history whose “The Life and Times of George Jones” course at Middle Tennessee State University incorporates his own archival and interview research, as well as an author whose textbook “Music Theory and the Nashville Number System: For Songwriters & Performers” is available in paperback and whose instructional DVD “The Craft of Writing Hit Songs” is carrying songwriting knowledge to an international audience via amazon.com. Blackmon, whose success has been lauded in publications ranging from CMT.com to The New York Times, has been cited by American Songwriter as “not only a great song craftsman and hit writer, but also an accurate, understandable communicator of the songwriting process and its flow.” In 2014, he became Assistant Professor and Coordinator of the Commercial Songwriting Concentration for the Recording Industry Program at MTSU, and was named the program’s “Faculty Member of the Month” during his first semester. He created and teaches a three-­‐course curriculum, including regular and advanced commercial songwriting, and the course on George Jones. 17 18 MEIEA 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.” Courtney Blankenship Courtney Blankenship, B.S. in Marketing (Miami of Ohio), M.A. in Arts Administration (Indiana University), joined the faculty of Western Illinois University in 2008 as the Director of the Music Business Program in the School of Music. She is a member of Music and Entertainment Industry Educators Association (MEIEA), the National Academy of Recording Arts & Sciences (NARAS), the College Music Society (CMS) and Association of Arts Administration Educators (AAAE). She has held previous 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. Currently, she serves as president of Macomb Band Boosters for Macomb High School and as a board member for the Al Sears Jazz Festival. She is a classically trained pianist and ballet dancer. Todd Brabec Todd Brabec, former ASCAP Executive Vice President and Worldwide Director of Membership, is an Entertainment Law attorney, a Deems Taylor Award winning author of the best selling music business book Music, Money and Success: the Insider’s Guide to Making Money in the Music Business (7th edition, 560 pages/Schirmer), an Adjunct Associate Professor at USC where he teaches the course on Music Licensing, Music Publishing and Film, Television and Video Game scoring and song contracts and is a Governing Committee member and former Music Chair of the American Bar Association Forum on the Entertainment and Sports Industries. He is a recipient of the Educational Leadership Award from MEIEA and the Texas Star Award from the State Bar of Texas for significant contributions to the practice of entertainment law. During his 37 year career at ASCAP, he was responsible for signing most of ASCAP ‘s successful songwriters, songwriter/artists and film and television composers, for significantly changing most of ASCAP’s payment, distribution and survey rules, for significantly increasing the payments to writers of hit songs and the themes and scores to successful television shows and for eliminating most policies and provisions which were not in the best interests of songwriters and composers or which negatively affected their earnings. Through his efforts, ASCAP’s annual revenue increased from 60 million dollars to 995 million dollars and an all media market share increase from 20% to market share competitive dominance in radio, broadcast and cable television and worldwide top grossing box office feature films. Website: musicandmoney.com ; Contact: [email protected] Jerry Brindisi Jerry Brindisi is an assistant professor and Music Business degree coordinator in the Business & Entrepreneurship Department at Columbia College Chicago. Previously he was a sales and marketing research analyst for Sony Music Entertainment’s Global Digital Business Group in New York, has worked with Warner Music Group’s Asylum Records, and was a studio manager for Anders Music (AMI). 2016 Educators Summit David Bruenger David Bruenger is Director of the Music, Media, and Enterprise (MME) Program, a collaboration of the School of Music, Fisher College of Business, and the School of Communication at the Ohio State University. The MME Program provides an interdisciplinary curriculum connecting music, technology, media, and business for students interested in entrepreneurial careers in music and entertainment. Bruenger’s research focuses on the interrelationships between and among music, media, economics, and culture, with a particular focus on complexity theory, process models, and adaptive expertise in music business education and entrepreneurship. Luiz Augusto Buff Luiz Augusto Buff de Souza e Silva is an attorney licensed both in California and Brazil, holding a masters degree in Entertainment, Media and Intellectual Property Law from UCLA School of Law, and a degree in Music Business and Management from Berklee College of Music. Luiz is the CEO 1M1Art, a production and management company in Brazil, with focus in rights management and music for motion pictures. He developed experience in the music industry both as a musician, and also working at companies such as Warner Bros. Studios, Ted Kurland Associates, Soundtrack Group. As a Director of Operations at the consulting firm Digital Cowboys Luiz Buff worked closely with Dave Kusek in EdTech projects for a diverse range of clients, including the development of the online course New Artist Model. Luiz teaches extension and graduate courses at Faculdade Souza Lima, and is the instructor, and co-­‐developerof the Music Business Finance course at Berklee Online. Luiz is the co-­‐author of the article “Budgeting for Crowdfunding Rewards” alongside Professor Peter Alhadeff, published in the Music & Entertainment Industry Educators Association (MEIEA) Journal. Wesley Bulla Active in the Nashville music community for more than 30 years, Wesley’s credits include producer/engineer double Grammy nominated “In Bright Mansions” with world-­‐renowned Fisk Jubilee Singers (Dove award); mix engineer Fairfield Four “Wreckin the House (Live at Mt. Hope)” and most notably, quality control engineer “The Complete Hank Williams” boxed set (4 Grammy awards). Wesley’s experience is diverse; Yamaha sponsored vibraphone artist, session musician on Darrell Scott’s “Aloha from Nashville” and songs published at 1010 Music, Millhouse Music, and EMI Music. Originally from N.C., Wesley is a member of the AES, the Society for Music Perception and Cognition (SMPC), and a voting member of The Recording Academy. He served on the selection committee for the Library of Congress 2014 and 2015 Gershwin Award for Popular Song; serves on the Steering Committee of the P&E Wing of The Recording Academy; is former treasurer and a current board member of MEIEA. Wesley received his Ph.D. with a specialty in auditory perceptual research and hearing science from the Vanderbilt University School of Medicine in Nashville TN. He is the former dean and currently a Professor of Audio Engineering primarily teaching in the graduate and undergraduate audio programs in the Curb College at Belmont University. Wesley is a creative and academic author published in AudioMedia-­‐USA, -­‐Europe, and -­‐Asia, Mix Magazine, Hearing Review, the Journal of the Audio Engineering Society (JAES), the Journal of the Percussive Arts Society (JPAS), and the Journal of the Music and Entertainment Industry Educators Association (MEIEA). Janée N. Burkhalter Janée N. Burkhalter, Ph.D. is an Associate Professor of Marketing at Saint Joseph’s University, USA. Her research interests include consumer relationships, entertainment and new media. Her work has appeared in journals such as Journal of Advertising, Journal of Marketing Communications, Business Horizons and the Journal of Promotion Management. Dr. Burkhalter holds both a B.S. an M.B.A. from Florida A&M University as well as a Ph.D. in Marketing from Georgia State University. 19 20 MEIEA Mark Carpentieri Mark Carpentieri’s musical career started in college radio in 1984 where he worked for ten years. Mark started M.C. Records in 1991 and they have released over 45 recordings and have been nominated for five Grammy Awards. Mark’s been nominated as producer, label and musician. He’s produced such artists as Odetta, Madeleine Peyroux, Phoebe Snow, Susan Tedeschi, and The Holmes Brothers. Mark Carpentieri is currently an Assistant Professor of Music Business at Five Towns College. In 2015 he created the course “Social Media Basics For Musicians.” In 2011 he received his MS in Media Arts and Journalism from Clarion University. Timothy L. Channell Timothy L. Channell, Associate Professor and Music Business Program Director at Radford University, has over 25 years experience as a music educator, arts administrator, fundraiser and in concert promotion. Dr. Channell has worked to bring nationally recognized performers to various concert venues in the mid-­‐atlantic reagion. He has performed on or produced multiple recordings and has been very involved in working to raise funds, market, promote, and develop relationships for various constituencies. Additionally, he has vast experience in event planning, contract negotiation, and budget development and has presented numerous workshops on fundraising throughout the east coast. Dr. Channell serves as the advisor to the RU-­‐Grammy U., Radford Records (a lab based student record label), and the Radford University Music Business Student Association. He also oversees the Covington Center Performance Hall providing all audio and video recordings. Dr. Channell is a sought after adjudicator/clinician and is president of Channell Consulting Services; a firm providing specialized consulting for various arts organizations helping them better understand their current position and potential for financial and artistic growth. Carey Christensen Carey Christensen is the Mike Curb Chair in Music Industry Studies at California State University, Northridge (CSUN) where he serves as the head of the Bachelor of Arts in Music -­‐ Music Industry Studies degree option. Additionally, he is the Co-­‐Founder and former Academic Director of CSUN’s Masters of Arts in Music Industry Administration degree program. Prior to joining the CSUN faculty in 2008, he worked for the National Academy of Recording Arts and Sciences, Inc. (NARAS aka The Recording Academy) where he spent the majority of his eight-­‐year tenure as their Senior Manager of Ticketing for both the GRAMMY® and Latin GRAMMY® Award telecasts. He holds a Master of Science degree in Interdisciplinary Studies (M.B.A. and Music Industry Studies) and a Bachelor of Music degree in Double-­‐Bass Performance from California State University, Northridge. 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, recently serving as president of the Music and Entertainment Industry Educators Association (MEIEA), on the Recording Academy, Florida Chapter, Board of Governors, and on the Copyright Society of the U.S.A. Advisory Council. She has also published numerous articles about the music industry, and directed several industry conferences. 2016 Educators Summit Jennifer Fowler Dr. Jennifer Fowler is an associate professor of economics and music business at Belmont University. She teaches courses for the Jack C. Massey College of Business and the Curb College of Entertainment and Music Business. A native Tennessean, Jennifer earned her Ph.D. in 2005 in the field of economics from Middle Tennessee State University in Murfreesboro, Tennessee. She also holds a MA degree in economics and finance as well as a BBA from the same institution. Professor Fowler’s teaching and research interests include entertainment industry economics, consumer expenditures, and macroeconomic theory. She has published in the International Journal of Monetary Economics and Finance, MEIEA Journal, the Journal of Economics and Economic Education, the Academy of Entrepreneurship Journal, and currently has a paper under revise and resubmit at Economic Modelling. Dr. Fowler recently completed economic impact studies for the Nashville Zoo and the Nashville Chapter of the Recording Academy. Additionally, she completed a white paper for City National Bank entitled Georgia Film Study and Industry Analysis. She is currently involved in research with respect to entertainment mergers, intermediation in the music industry, and artist/label optimization behavior. She serves as an economic consultant to the advocacy committee of the Nashville Chapter of the Recording Academy and is a member of the American Economic Association, the Southern Economic Association, and the Music and Entertainment Industry Educators Association. Brian Gaber Brian Gaber, Professor of Contemporary Media, earned his Master of Music degree from the Eastman School of Music in Rochester, New York, and soon after toured the U.S., Canada, and Japan with the Glenn Miller Orchestra. Mr. Gaber has produced music and other audio for radio, television, video and multimedia for clients world-­‐wide including Compuserve, Inc., and Kawai America, Inc. Active as a composer and arranger, Gaber has had his works, Jam Session for Symphony Orchestra, There’s a Meetin’ Here Tonight!: A Celebration of African American Spirituals, and Three American Voices, performed by more than forty professional orchestras across the country. His compositions and arrangements for jazz ensemble are published by Increase Music and have been performed by college and professional bands across the U.S., Europe, and Russia. Mr. Gaber directs the Florida State University Bachelor of Arts in Commercial Music program and teaches courses in music business, music technology, and audio production. Todd Gardner Todd Gardner, Associate Professor, Music Business/Management Department at Berklee College of Music, teaches accounting, taxation and business start-­‐ups. Todd has over twenty years experience as business consultant, litigator, mediator, facilitator, lecturer and problem solver in contexts as varied as contracts, environmental and health law, administrative enforcement, entertainment law, after-­‐
school media and arts programs for at-­‐risk youth, litigation in both civil and criminal cases, interagency negotiations, community disputes, workplace conflicts, business development, licensing, land use disputes and as an Official NGO Observer in the United Nations Framework Climate Change Convention in Copenhagen, Denmark. He is also the drummer for the JD Moffat Quartet. He strives to instill in students the ability critically and creatively think, problem solve, communicate and collaborate. Robert Garfrerick Dr. Robert Garfrerick, Professor and Eminent Scholar in Entertainment Industry, teaches entertainment industry and songwriting classes at the University of North Alabama. Additionally, he oversees all department facilities and a performance venue, The Mane Room. His research interest is in creative process, songwriting, and curriculum development. He presents and publishes this research regularly. He is a voting member of the National Academy of Recording Arts & Sciences (NARAS), The American Society of Composers, Authors, and Publishers (ASCAP), the Muscle Shoals Music Association (MSMA), MEIEA, and NSAI. He has written songs recorded by Crystal Gayle, T. G. Sheppard, Marie Osmond, Johnny Lee, Gus Hardin, David Slater and others. 21 22 MEIEA Mitch Glazier Mitch Glazier is the Senior Executive Vice President of the Recording Industry Association of America (RIAA). RIAA is the music trade association whose member companies are responsible for creating, manufacturing, or distributing approximately 85 percent of all legitimate music sold in the United States. He serves as the principal officer under the Chairman and CEO. In that role, Glazier guides the industry’s strategic initiatives and helps coordinate the activities of the association. In his 15-­‐year tenure at the RIAA, Glazier has helped manage a variety of public policy initiatives that have played a vital role in the music industry’s transition to the digital age. Before joining RIAA, Glazier served as Chief Counsel for Intellectual Property to the Judiciary Committee in the U.S. House of Representatives, where he helped draft and steer into law a series of key intellectual property bills. A native of Illinois, Glazier served as law clerk to the Honorable Judge Wayne R. Andersen, United States District Court for the Northern District of Illinois, and practiced law at the Chicago firm Neal, Gerber & Eisenberg as an associate in commercial litigation. He graduated from Northwestern University and Vanderbilt Law School. Glazier serves on the boards of Musicians on Call, the charity that brings the healing power of music to the bedsides of patients in hospitals and health care facilities around the country, and the Internet Education Foundation. Storm Gloor Storm Gloor, MBA, is an associate professor in the department of Music and Entertainment Industry Studies in the College of Arts & Media at University of Colorado Denver. He teaches courses in music marketing, the future of the music business, and other subjects. In 2010 he was the recipient of the College’s Excellence in Teaching award. He has presented instructional sessions at numerous events and programs, including the education-­‐focused portion of South By Southwest (SXSW.edu), South By Southwest Music, the Denver Music Summit, the Underground Music Showcase, and various MEIEA summits. 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 online 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. 2016 Educators Summit Gary R. Greenstein, Esq. Gary Greenstein is a Partner in the Washington, D.C., office of Wilson Sonsini Goodrich & Rosati, where his practice focuses on intellectual property, technology licensing, and commercial transactions, with specialized expertise in the digital exploitation of intellectual property. He represents a wide range of technology companies in licensing transactions with copyright owners in the music, film and television industries, including large public companies and early-­‐stage startups. He also regularly advises companies in litigation, audits, settlement negotiations, mergers & acquisitions, and initial public offerings. Prior to joining Wilson Sonsini, Gary served as general counsel and corporate secretary of SoundExchange, Inc. (2005-­‐2006) and the vice president of business and legal affairs at the Recording Industry Association of America (“RIAA”) (2001-­‐2005). Before joining the RIAA, he was an associate in the Washington, D.C., office of Arnold & Porter (1996-­‐
2001) where he represented, among others, Universal Music Group, the RIAA, and the Office of the Commissioner of Baseball. Prior to his legal career, Gary was the director of planned giving at The Wilderness Society and a fiduciary real estate asset manager at The Boston Company. Gary is a 1996 graduate of the George Washington University Law School, where he graduated with high honors and was a member of the Order of the Coif, the Moot Court Board, and an Articles Editor of The Environmental Lawyer. He received a BA in history from the University of Pennsylvania in 1987, where he graduated cum laude. Gary is licensed to practice law in the District of Columbia and California. Monika Herzig Monika Herzig holds a Doctorate in Music Education and Jazz Studies from Indiana University where she is a Senior Lecturer in Arts Administration. She is the author of David Baker – A Legacy in Music, published in 2011 by IU Press. Forthcoming is Chick Corea: A Listener’s Companion with Rowan & Littlefield, 2016. As a touring jazz artist, she has performed at many prestigious jazz clubs and festivals. Her newest project “The Whole World in Her Hands” features the world’s leading female jazz instrumentalists including Leni Stern, Jamie Baum, Jane Bunnett, Linda Oh, and more and will be released June 10 on Whaling City Sounds. Thomas Garner from Garageradio.com writes, “I was totally awed by the fine musicianship throughout”. More info and sound samples at www.monikaherzig.com 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. Via his consulting firm, Mr. Howard advises a wide range of clients on how to integrate technology with strategy in order to increase awareness and revenue. A partial list of clients includes: National Public Radio, CVS/pharmacy, Easter Seals, Alticor/Amway, Ora, Inc., Composer Mark Isham, Snowbird Ski and Summer Resort, Wolfgang’s Vault, Brown University, Paste Magazine, The Estate of the Platters, Rednote, and Daytrotter. Mr. Howard is the founder of Music Audience Exchange, former 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). Mr. Howard 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. Jeffrey Izzo Jeffrey Izzo is an experienced entertainment lawyer, an accomplished composer and lyricist, and a full-­‐time university instructor. He holds a Juris Doctor from Seattle University School of Law, as well degrees in Composition from Berklee School of Music and the University of Edinburgh. In addition to over twenty years representing musicians, filmmakers, authors, and media companies, Jeffrey composes in an array of genres, but especially enjoys writing for musical theatre. He is currently Assistant Professor of Recording Industry at Middle Tennessee State University near Nashville, Tennessee, where he teaches legal and business aspects of music such as copyright, contracts, and publishing. LinkedIn profile: https://www.linkedin.com/in/jeffrey-­‐izzo-­‐367b9a3?trk=hp-­‐identity-­‐name 23 24 MEIEA Stephanie Kellar Stephanie Kellar is a faculty member in the Music Business Department at Berklee College of Music in Boston, Massachusetts where she teaches introductory and advanced digital marketing, business communication, and music product development. As a branding and integrated marketing communication expert, she brings over twenty years of professional experience in high tech, consumer electronics, and the music industry to her academic practice. Ms. Kellar focuses on aligning theory with best practices to prepare students for managerial roles in all sectors of the music industry with emphasis on merging artistic and business development, strategic planning, and project management. She also serves as a social media spokesperson for the college. Her past clients include Intel, Polaroid, D’Addario, Sabian, and Gretsch, among many others. Her past employers include Catapult Thinking, Boston Acoustics, and the McCourt Company. Stephanie holds a B.A. in Communication with a minor in vocal performance, and an M.S. in Communication Management. Kristina Kelman Dr. Kristina Kelman is a lecturer in Music and Sound at the Queensland University of Technology, Australia teaching music education, music industry, performance, and musicology. She has 23 years experience working as both a professional jazz musician and an educator in both the high school and tertiary sectors. Her recent research project, “From music student to industry professional: An entrepreneurial learning design,” addresses the gap between music education curricula and the knowledge and skills intrinsic to the music industry. Kristina’s research focuses on the role of authentic, student-­‐led business ventures in creating the enabling conditions for young musicians to develop an entrepreneurial mindset. Kristina is currently looking at emerging music markets in India and recently ran a recording project with emerging Independent musicians in Chennai. As a jazz artist, Kristina has just released “One Bright Star”, an album in tribute to the late Frank Pooler that explores original and standard repertoire in contemporary jazz. Dave Kopplin Cal Poly Pomona music professor Dave Kopplin received his Ph.D. in composition from UCLA where also gained expertise in musicology and ethnomusicology. He writes extensively, including program notes and essays for performing arts organizations across the country. Kopplin has had his compositions performed internationally including concert music and film scores. Additionally, he has been active in several professional organizations, most notably the Music and Entertainment Industry Educators Association in which he served on the Board of Directors. Kopplin is also a jazz educator and composer, and has taken Cal Poly Pomona jazz ensembles to numerous competitions and festivals, including the Ensenada Jazz Festival and the Monterey Next Generation Jazz Festival. Pilar McCurry Pilar McCurry is a Music Supervisor for both film and television, best known for her work on Love Jones, Men In Black, Hitch, and Stomp The Yard. From 1998-­‐2000, she oversaw soundtracks at Will Smith’s Overbrook Entertainment, including Love & Basketball and Wild Wild West. In 2000, she joined the Sony Entertainment family as Senior Vice President of Music Creative Affairs. Not only did she oversee all music creative and business aspects of the Sony Picture Entertainment’s Screen Gems division, she also personally music supervised over 20 feature films including Columbia’s critically acclaimed Seven Pounds and Pursuit Of Happyness and dance cult classic You Got Served. At present, she is supervising Nickelodeon’s #1 live-­‐action music driven Make It Pop, Roots for A&E and The Chi for FOX21/ Showtime with Music Supervision partner Common. 2016 Educators Summit Jonathan McHugh Jonathan McHugh is a producer and music supervisor for Song Stew Entertainment — an independent Film, Mobile, Digital and TV production/Music Supervision company. As founder of Song Stew Entertainment, McHugh co-­‐wrote and produced “Snoop Dogg’s Hood of Horror” (Jason Alexander & Anson Mount), Lifetime’s “Flying By” (David Zayas & Billy Ray Cyrus), and the Discovery TV show “Battle Ground Earth” (Cedric The Entertainer & Ludacris). Currently he is producing the Mobile TV show “Japan Confidential” for Major League Baseball and co-­‐producing the film’s “Christmas In Compton (Keith David & Omar Gooding) and “Ping Pong Summer” (Susan Sarandon & Amy Sedaris). Formerly as Senior Vice President at Island Def Jam/Universal Music, he co-­‐produced “Justin Bieber’s Never Say Never” (the 2nd highest grossing documentary of all time), and Morgan Spurlock’s documentary “The Greatest Movie Ever Sold.” Prior to that, McHugh spent eight years as Vice President of Visual Media at the Jive/BMG where he started his production career by helping to launch Zomba Films. There he co-­‐produced the film “Crossroads” (Zoe Saldana, Justin Long & Britney Spears) as well as soundtracks for films including Nickelodeon’s “Wild Thornberry’s” and “Jimmy Neutron.” Prior to that as Vice President of Soundtracks at New Line Cinema, McHugh co-­‐produced many platinum and gold soundtracks such as “The Wedding Singer”, “Rush Hour,” “Austin Powers”, “Blade”, “Mortal Combat 2”, “Love Jones”, and “Lost In Space.” McHugh has music supervised over thirty feature films including the “Saw” film series “Son of Morning” (Heather Graham & Danny Glover), the upcoming “Hot Bot” (Directed by the Polish Brothers), “I Break For Gringos” and “West of Memphis” (Produced by Peter Jackson/Directed by Amy Berg). McHugh is PGA member and a founding member of the Guild of Music Supervisors. He also serves on the NARAS TV Committee for the CBS TV show “The GRAMMY® Awards.” Joe Miglio Dr. Joseph (Joe) Miglio is currently in his eleventh year as a faculty member at Berklee College of Music and is an Associate Professor of Music Business Management. His areas of specialization are business design and delivery strategy, organizational development, and competency-­‐based learning assessment. In 2012, Joe received the Distinguished Faculty Award for the Professional Education Division at Berklee, based on his outstanding commitment to teaching, dedication to his students, and contributions to the curriculum. Joe has participated in numerous sessions at the MEIEA Summit, including “How to Teach the Millennial Student” in 2009, “Institutional versus Program Assessment” in 2011, “Assessing the Assessment Process and Its Impact on Teaching and Learning Dynamics” in 2012 and serving as Coordinator-­‐Facilitator of the Roundtable Session on Pedagogy at Summit 2013. At MEIEA Summit 2014, Joe presented “Name It, Claim It; Tag It; Bag It: Towards a Model of Competency Based Music Industry Education”. The purpose of the session was to investigate a model to address common challenges in designing and delivering a competency based common body of knowledge, including competency based degree options and related business models. Growing out of the initial interest and insights from MEIEA members at Summit 2014, Joe presented: “Re-­‐Viewing Competency Based Education and Assessing Institutional Readiness” at Summit 2015. The results of that session led to an investigation and analysis of existing frameworks utilizing Competency Based Education, culminating in the redesign of his course: MB 345 Advanced Management Techniques. It is that course redesign and the implications on teaching and learning methods, which will serve as this year’s focus of standards articulation and instructional best practices. Joe has a Doctorate in Education from National Louis University in Chicago and is the creator of the Reflexive Engagement Method, a model of inquiry based on self-­‐
knowledge construction and transpersonal understanding. Carin Nuernberg Carin Nuernberg is the Dean of Online and Continuing Education at Berklee College of Music where she oversees academic programming and services for Berklee Online, including courses, certificate programs, and bachelor degree programs in music production, business, performance, and songwriting. Carin joined Berklee in 2001 as a foundational team member of the online school, responsible for the instructional design model, course development, and learning experience. Under her leadership, Berklee Online has been recognized with the Strategic Innovation in Online Education award from the University Professional & Continuing Education Association. Prior to Berklee, Carin developed the University of Washington’s first web-­‐based courses and then oversaw technology curriculum for CNET.com. Carin holds a master’s degree from the University of Washington and a bachelor’s degree from the University of Massachusetts at Amherst, which included studies at the Sorbonne in Paris. She speaks fluent Portuguese, a language she pursued to better understand lyrics in bossa nova music. 25 26 MEIEA David Philp David Philp is a full-­‐time Assistant Professor in the Music Management & Pop Music programs at William Paterson University, teaching about music in social media, entrepreneurship, and music & entertainment industry structure. He has over twenty years of experience working for the Universal Music Group, PolyGram Video, Greater Media Broadcasting, and start-­‐ups Game Six Entertainment and YouChoose Music. Philp, who graduated from William Paterson University and also earned an MBA in Marketing from Pace University, is the co-­‐host with Dr. Stephen Marcone of the Music Biz 101 th
& More radio show and podcast. Philp and Marcone are also co-­‐authors of Managing Your Band – 6 Edition, set to be published by Hal Leonard/HiMarks Publishing in Fall, 2016. Professor Philp has one wife and two children, all of whom are left-­‐handed. Patrick Preston Patrick Preston, L.P.D., is the Department Chair and an Associate Professor of the Entertainment Management Department 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. His primary fields of interests include the production, financing and distribution in the Film & Television industry and concert promotion in the Live Music Industry. Most recently, at the MEIEA 2015 Summit in Austin, TX, he presented the paper, co-­‐written with Jess White “Examining Traditional and Paperless Ticketing Systems and their Value to Artists and their Fans from an Artist Management Perspective”. Patrick currently serves as the Director of Membership for MEIEA. Stan Renard Dr. Stan Renard is the University of Texas at San Antonio’s new Assistant Professor and Coordinator of the Music Marketing Program in the Music Department. This fall, 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 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. 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 his Bachelors and Masters degrees from Louisiana State University and a Ph.D. in Marketing from Temple University. He has taught merchandising and marketing to music business students for over twenty years. His research interests include music marketing, music acquisition and consumption, international music business and consumer behavior. For three years he co-­‐produced a show with Dan Keen for Music City Roots featuring alumni and current students from Belmont University. He has published articles on the music industry in the MEIEA Journal, the Journal of Arts Management, Law and Society, the NARAS Journal as well and numerous conference proceedings. 2016 Educators Summit 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. Lita T. Rosario, Esq. Lita T. Rosario, Esq. is principal of WYZ Girl Entertainment Consulting, an entertainment law firm in Washington, DC. With over 20 years experience in entertainment law, Rosario serves on the Board of Governors for the DC Chapter of Grammy’s. Rosario serves on the DC Bar’s “Arts, Entertainment, Media and Sports Law Section” and the Board of the Black Entertainment and Sports Lawyers Association. Rosario has taught “The Business of Music” at the University of the District of Columbia for 20 years and currently teaches in American University Kogod School of Business’ Business and Entertainment Program. Rosario is barred in New York, Massachusetts, DC and the Federal Court Bars for the District of Columbia, New York and the Supreme Court of the United States. She has litigated copyright ownership and royalty collection disputes involving such iconic hits as “Who Let The Dogs Out,” “Blame It on the Alcohol” “Planet Rock,” “Empire State of Mind,” “Suit & Tie” and “Thong Song.” She has represented multi-­‐platinum artists and producers including Missy Elliott, Crystal Waters, Tank, Chucky Thompson, Sisqo, Dru Hill, Peaches & Herb, Afrika Bambaataa and Soul Sonic Force, The Moments, Mr. Cheeks, George Clinton/Garry Shider/Parliament Funkadelic and the Estate of Christopher Rios p/k/a “Pig Pun.” Colin Rushing, Esq. As Senior Vice President and General Counsel of SoundExchange, Colin Rushing oversees the company’s legal, regulatory, and corporate affairs, supervises rate setting proceedings, directs the company’s enforcement program, and plays a key role in shaping SoundExchange’s strategic development. Colin originally joined SoundExchange in the role of Senior Counsel for Licensing and Enforcement, in which position he developed a comprehensive enforcement program, advised the company on regulatory matters, and helped manage rate-­‐setting proceedings. Colin graduated from James Madison University and the University of Virginia School of Law. After law school, he clerked for the Hon. T.S. Ellis III in the United States District Court for the Eastern District of Virginia. Before he joined SoundExchange, Colin was an attorney at Wilmer Cutler Pickering Hale and Dorr LLP Washington, D.C., where he focused on intellectual property and media law. 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. 27 28 MEIEA Feng Shen Feng Shen is assistant professor of marketing at Saint Joseph’s University. His research interests are cognition and emotion in marketing communications. His work has appeared in Journal of Advertising Research, Journal of Product & Brand Management, Journal of Marketing Communications, Journal of Nonprofit & Public Sector Marketing, among others. John Simson John L. Simson has been involved in the music industry since his 1971 signing as a recording artist. His career has included stints as a manager: managing Grammy-­‐winning artists; an entertainment lawyer: currently of-­‐counsel to the firm, Lommen Abdo; an executive: assisting in the creation, branding and launch of SoundExchange, which he ran from 2001-­‐2010 and as a special consultant for artist and business development for Kobalt Music (2012-­‐2013); a creative: Simson received an Emmy nomination in 2001 for his music supervision of American Roots Music and executive produced a number of audio-­‐visual programs; an advocate: Simson testified before Congress and prepared testimony for other artists who testified before Congress on artist’s rights issues; and an educator: Simson is currently Executive-­‐in-­‐Residence and Program Director of the Business and Entertainment major at the Kogod School of Business at American University and had previously taught Entertainment Law at Georgetown University, Washington College of Law and Columbus School of Law (Catholic University). He has participated in projects that have secured 15 Grammy nominations and won 5 Grammies and represented a Grammy Lifetime Achievement recipient. In 2013, Simson received the inaugural Future of Music Coalition “Voices of Advocacy” award for his work on artist’s rights. He is currently President of the Music and Entertainment Industry Educators Association (MEIEA), a past President of the Washington, D.C. Recording Academy chapter, past Chairman of the Board of the National Recording Preservation Foundation, past Chairman of the D.C. Bar Association’s Art, Entertainment, Media & Sports Law Steering Committee and serves on the National Recording Preservation Board of the Library of Congress. He also serves on the boards of CINE, Video Culture, the Musicianship, and the Music Managers Forum US and the Advisory Boards of the New Music Seminar and Musician’s On Call. Simson was named the Outstanding Volunteer Attorney by Washington Area Lawyers for the Arts on th
their 10 Anniversary celebration and is a graduate of Leadership Music (94). Simson has been featured on CNN, NBC, PBS, BBC, the New York Times, WSJ, LA Times and other news outlets on issues affecting artist’s rights and compensation. He is a frequent lecturer at music industry programs around the world. Regan A. Smith Regan A. Smith is Associate General Counsel for the U.S. Copyright Office. In this role, Regan has been involved on a wide range of legal matters including copyright litigation, policy studies, and regulatory proceedings. Regan is one of two attorneys leading the Office’s current public study to assess the operation of section 1201 and was one of the principal attorneys involved in the Office’s comprehensive study, “Copyright and the Music Marketplace.” Regan also provides legal advice and assistance to the Licensing Division of the USCO and to other agencies such as the Department of Justice. Regan joined the Copyright Office in 2014 following several years of private practice in Chicago, IL where she represented clients in matters concerning copyright, technology, media, advertising, and related intellectual property issues. Regan received her J.D. from Harvard Law School. 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 2016 Educators Summit Richard Strasser Richard Strasser is an Associate Professor of Music Industry at Northeastern University. Dr. Strasser is a graduate from the Australian National University with a Bachelor of Music (distinction) and a Graduate Diploma in Music. He received a Master of Music and Doctor of Musical Arts degree. Richard Strasser also has an arts administration degree from New York University. Dr. Strasser has served as a faculty member of numerous universities including John Cabot University in Rome, Clarion University of Pennsylvania, and as Coordinator of the Music Business program at the University of Massachusetts Lowell. He is author of “The Savvy Studio Owner” published by Hal Leonard books, “Music Business: The Key Concepts”, and “The Music Business and Recording Industry” with Routledge. Richard is the recipient of the 2008 Excellence in Teaching Award at Northeastern University. 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 serves as the Music Business Area Coordinator as well as the Internship Coordinator for the Music Business and Commercial Songwriting concentrations. 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 Jim McBride. She continues her involvement in the industry by providing consulting and administrative services to several artists and songwriters in the areas of licensing, royalty calculation and collection. 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. Natalie T. Wood Natalie T. Wood, Ph.D. is Associate Professor of Marketing at Saint Joseph’s University, USA and Edith Cowan University, Australia. Dr. Wood’s teaches social media and consumer behavior. Her work in this area has published in journals such, as The Journal of Consumer Behaviour, Journal of Marketing Education, Marketing Education Review, The International Journal of Internet Marketing and Advertising, Journal of Marketing Communications and Business Horizons. She is the author of Marketing in Virtual Worlds, published be Pearson (2010), co-­‐editor of Virtual Social Identity and Consumer Behavior published by M.E. Sharpe (2009), and Maximizing Commerce and Marketing Strategies through Micro-­‐blogging published by IGI Global (2015). Dr. Wood is currently exploring how social word of mouth via second screen devices contribute to the success of television programs. She is also investigating how social media can be used to raise awareness of and increase financial support for social causes. 29 30 MEIEA ACADEMIC PAPER SESSIONS SESSION 1: FRIDAY | 11:45 A.M. | STANSBURY Moderator: Bruce Ronkin Courtney Blankenship Assistant Professor Director of Music Business, School of Music Western Illinois University Stan Renard Assistant Professor Coordinator of the Music Marketing Program University of Texas at San Antonio Pop Songs on Political Platforms The presentation reviews the use of music in the campaigns of current presidential hopefuls. Many candidates remain in the presidential race and each campaign has its unique sonic identity. The authors will analyze certain criteria for each candidate in order to assess the presence of any correlation between them, including their target demographics, the candidate’s age, amount/selection of music (with title, tune, composer and lyricist, publisher, copyright year), the genre of music, related songs, relevant information about their party, and the resulting success in polls. In addition, the authors will proceed with an event study to consider whether copyright infringement of music negatively affects the candidates’ polls. David Bruenger Director -­‐ Music, Media, & Enterprise Program The Ohio State University Music Scene Mechanics: Toward a Predictive Process Model Music happens somewhere. The importance of local music communities, where performers, listeners, and institutions come together to support and synergize musical creation, production, and public presentation has long been recognized. The roles and relationships of Sun Records in Memphis, Motown in Detroit, and SubPop in Seattle, to name but three, have been amply explored. But much of this work focuses on historical narrative rather than critical or empirical analysis. While understanding what happened is of great value, the economic and social mechanisms of the scenes in question—the how and why of them—is less clear. In 2008, Richard Florida and Scott Jackson’s study, Sonic City, applied economic metrics and social demography to th
st
illustrate how traditional 20 century music scenes differed from those emerging in the early 21 century. They were particularly concerned with the movement and geographic concentration of musicians in North America as indicators of music st
scene development. Florida and Jackson identified three essential trends that defined music scenes on the cusp of the 21 century: a concentration of musicians in a given place, a decline in the importance of cities that were transportation and manufacturing centers as music scenes, and an increase in those that were home to large universities and/or high tech industries. While providing an elegant descriptive framework, the Sonic Cities model suffers the same limitation that Florida’s earlier Creative Class model did: it was not a reliable predictor of success. In other words, much as communities that struggled to attract the “creatives” of the creative class with appropriate infrastructure and amenities often found that it did not necessarily work to spark local economies, so too did cities attempting, for example, to “seed” a local music scene find that neither creativity or opportunities for monetization increased. While the elements of success could be precisely defined, the process for achieving it was not. In 2015 Dell introduced the Future Ready Economies Model, based on the Strategic Innovation Summit: Enabling Economies for the Future at Harvard University. The Dell model uses three primary indicators: human capital, commerce, and infrastructure. In a broad sense, these align with the Sonic Cities description of music scenes as places that “provide the diversity of people and the institutional and social infrastructure required to commercialize cultural products like music.” But, while comparable to the Sonic Cities framework, the Dell model is a specifically predictive tool, designed to use the three broad indicators (plus 23 sub-­‐indicators) to assess cities in terms of “how closely they are structured to optimal future readiness.” The presentation will explore how Florida’s Sonic Cities framework can be combined with Dell’s Future Ready model to move beyond descriptive analysis and provide a basis to develop an adaptive and predictive model for nascent and emerging music scenes. 2016 Educators Summit SESSION 2: FRIDAY | 11:45 A.M. | FREMONT Moderator: Patrick Preston Peter Alhadeff Professor Berklee College of Music Luiz Augusto Buff CEO 1m1art.com Berklee’s Fair Music and Transparency Report: A Critique Berklee’s Fair Music Report has made headlines by highlighting much opacity in the engagement of talent by a variety of music intermediaries. This is a long standing grievance by musicians. Yet a reality check on the report is called for. In particular, the authors believe that more scholarship is needed to support the claims made in the report. Fairness, for example, is a contractual issue that is not solved just by advances in the technology of reporting. Neither can new technology solve the problem of the international “black box” of undistributed money to music creators. A federally reliant music trade, with a common back-­‐end technology standard, has not worked and for good reason. In addition, comparisons of the music trade to the banking system can only go so far, as is the use of Blockchain technologies and a cryptocurrency to track online payments through the value chain from fans to music creators. The talk is meant to inform and present a more complex and vibrant picture of the music business. Its protagonist has always been talent, and music intermediaries have their own battles to fight staying abreast with technology at a time when delivering music to the ears of consumers is fraught with difficulty and expense. Janée N. Burkhalter David Allan Associate Professor of Marketing Professor of Marketing Saint Joseph’s University Saint Joseph’s University Natalie T. Wood Feng Shen Chair & Associate Professor of M arketing Assistant Professor of Marketing Saint Joseph’s University, and Saint Joseph’s University Associate Professor of Marketing Edith Cowan University, Australia Shoppable Music Videos: Smash Hit or Big Miss? Music has a proven influence on consumers’ shopping behaviors. From type (Baker et al. 1992) to fit (North et al. 2000), from tempo (Milliman 1982) to volume (Smith & Curnow 1996), studies show that music influences consumer purchase both in-­‐store and online (Eroglu et al. 2001). Beyond playing musical tracks, some brands such as Foot Locker, instead play music videos. Music videos were originally introduced as “brief promotional video clips designed to showcase the recordings of the singers and musical groups appearing in them” (Gow 1992). Now, music videos are not only played on a variety of television networks, but also across the web. Consumers often share new music using official or unofficial music videos (Burkhalter 2009). Music videos’ ability to connect consumers with artists and one another has influenced the growth of music video product placement and introduction of new marketing communications outlets such as shoppable music videos. A shoppable music video is interactive and allows viewers to purchase some or all of the products contained in the video. This research presented here explores the potential of shoppable videos to promote products online. Critical determinants of consumers’ desire and intention to use this new technology were examined, as well its impact on perceptions of artists and their music. Experiment participants were recruited through Amazon’s Mechanical Turk. Previous research has indicated that Amazon’s Mechanical Turk samples are better representative of the U.S. population than undergraduate student samples (Buhrmester, Kwang, and Gosling 2011). Participants were randomly assigned to one of the three experimental conditions: limited instructions, detailed instruction, and control. After watching the video, participants were asked to report on a series of seven-­‐point scales their familiarity with the artist, song, and music video, their opinions on the artist, song, and music video, performance expectancy (Venkatesh, Thong, and Xu 2012) toward shoppable music video, and demographics including gender and age. A total of 1,451 individuals participated in the experiment with 479 participants in the limited instructions condition, 31 32 MEIEA 461 participants in the detailed instructions condition, and 511 participants in the control conditions. The mean age was 27.84 with a standard deviation of 4.82, and 54% of the participants were male. A multivariate analysis of variance of experimental condition (limited vs. detailed vs. control) by gender (male vs. female) with covariates (age, familiarity with the artist, familiarity with the song, and familiarity with the music video) was conducted to assess the effects of these variables on performance expectancy toward shoppable music video as well as opinions on the artist, song, and music video. Consumers’ perceptions of the artists and receptiveness to shoppable music videos influenced responses to the video. Recommendations and implications for marketers and artists are offered. This research was funded by a MEIEA Faculty Research Grant. SESSION 3: FRIDAY | 3:30 P.M. | FREMONT Moderator: Melissa Wald Stan Renard Assistant Professor, Coordinator of the Music Marketing Program University of Texas at San Antonio Audio Logo Common Core Attributes: An Analysis of Sonic Modality Cues This study will treat the topic of audio branding and intends to assess the presence of common core attributes among corporate audio logos. This article builds upon the author’s work on brand marketing strategies as well as upon the seminal work of Van Leeuwen (1999). The proposed study will concentrate on the analysis of a relatively large sample of corporate audio logos (n>100) that will be transcribed and analyzed in terms of sonic modality cues. In addition to the transcriptions, and to offer another set of perspectives, several interviews will be conducted in person, over the phone or via Skype with recording studios and composers specializing in audio logo creation and production. The author expects to see several audio logo common attributes emerge from this study. The results from this work could have several industry applications beyond their academic validity. One possible application, would involve the use of an algorithmic virtual composer computer program that could populate a music production library with an infinite sample of audio logos based upon the data collected for this study. This research was funded by a MEIEA Faculty Research Grant. Monika Herzig Maksim Belitski Senior Lecturer, Arts Administration Henley Business School Indiana University University of Reading The Seven Secrets of Organizational Innovation: The Jam Session Model This paper builds on the analysis of factors observed at jazz jam sessions facilitating team creativity and improvisation as a model for organizational innovation. In doing so it extends the discussion originated in the special issue of Organization Science on Jazz Improvisation and Organizing (Vol. 9, No. 5, 1998) and responds to the critiques (Hatch and Weick 1998; Zack, 2000; Vera and Crossan 2005) with new theoretical and empirical evidence. The seven factor Jam Session Model for Group Creativity and Organizational Innovation was extended beyond the organizational science and music literatures. Our findings offer theoretical and practical insights by indicating that the seven factor model of jam session and innovation in organizations can be examined within the same conceptual and theoretical framework for group collaborations with the goal of innovation and exploration thus contributing to the organization science literature. This research was funded by a MEIEA Faculty Research Grant. 2016 Educators Summit SESSION 4: FRIDAY | 3:30 P.M. | STANSBURY Moderator: Robert Garfrerick Richard Strasser Associate Professor Northeastern University Music Crowdsourcing: Redefining the Relationship between Organization, Artist, and Audience Crowdsourcing has transformed art audiences from passive consumers to empowered co-­‐creators. Given the current state of the performing arts sector, many institutions are showing increased interest in developing participatory projects to meet financial, programmatic, and audience demands. Even with this goal in mind relatively few organizations are able to integrate crowdsourcing projects into sustainable business models. This article analyzes numerous crowdsourcing activities to identify specific criteria required to integrate the processes into successful operational business models. The results will provide guidance for managers who need to create new or transformative art organizations to meet current and future internal and external demands. George Howard Associate Professor, Music Business/Management Berklee College of Music Blockchain Technology and The Arts In the past year, Blockchain Technology has moved from something that – if spoken of at all – was relegated to conversations about bitcoin. Now, Blockchain is a dominant conversation topic, not only around finance, but as it relates to the arts, generally, and the music business, specifically. The reasons for this increased level of discourse are many, but relate to three key components of Blockchain Technology: 1. It is a distributed ledger 2. Because of the distributed nature of the ledger, it is immutable, and accessible to all 3. A core component of Blockchain technology is the concept of Smart Contracts, which allow for transactions to occur at scale and without intermediaries Still, confusion around the plausibility and relevance of Blockchain Technology remain; with some viewing it as a panacea to all things that plague the 2016 music industry, and others viewing it as without merit. Over the past year, I have authored dozens of articles on Blockchain Technology and the Arts, conducted dozens of interviews with key thought leaders in the Blockchain Tech space, spoken at dozens of events on Blockchain Tech, and consulted with numerous companies and entrepreneurs in this space. Additionally, I have introduced Blockchain Technology into many of my classes at Berklee – from Copyright Law to Emerging Business Models – and have found widespread interest from students. This paper will consolidate my findings and offer recommendations with respect to: •
How best to understand Blockchain Technology, generally •
How best to reconcile Blockchain Technology with artistic endeavors •
How best to integrate the concepts of Blockchain Technology in the classroom 33 34 MEIEA SESSION 5: FRIDAY | 4:45 P.M. | FREMONT Moderator: Patrick Preston Brian Gaber Professor of Commercial Music Florida State University Access Verses Substantial Similarity: Copyright Issues in Three Boys Music v. Michael Bolton and Vince P. v. Kanye West A study and comparison of two music copyright court cases: The 2000 case of Three Boys Music v. Michael Bolton and the case of Vince P. v. Kanye West, the former ending with a 5.4-­‐million-­‐dollar settlement in favor of the plaintiff, the latter ending with dismissal and exoneration of the defendant. The paper explores the question what constitutes substantial similarity, what constitutes access and what elements are considered protected under copyright. The issue of substantial similarity is explored through melodic, harmonic, and rhythmic analysis. The case against Bolton hinged both on substantial similarity of musical elements and what the jury determined what adequate evidence of access. In Vince P. v. Kanye West, access was never in question. Vincent Peters delivered a recording of his song “Stronger” to West’s friend and producer, John Monopoly with the hopes of starting a business relationship. Within a year, West released his own track of the same name. Proving substantial similarity is problematic when one considers the limited and shared vocabulary and grammar of American popular music. This is compounded by the industry’s desire to emulate anything that is financially successful. The law makes distinction between willful and unconscious copying as well as the possibility of independent creation by more than one person. There are currently no scientifically proven ways to measure similarity. This is in spite of the prevalence of experts in music theory, musicology, acoustics and digital audio processing frequently appearing before judges and juries. The question remains, whose standard of similarity is used in deciding cases; the untrained ears of the jury, the judge who has the best understanding of the law or musical expert witnesses? Jeffrey Izzo Assistant Professor of Recording Industry Middle Tennessee State University The Monopoly of Protection vs. the Presumption of Permission: Is Copyright Law an Analog Ship Adrift in a Digital Sea? It is safe to say that a good many legal scholars, record industry figures, music journalists, and other commentators believe that U.S. copyright law in its current incarnation has shown itself to be somewhat ill-­‐equipped to handle the ever-­‐
growing onslaught of digital exploitation of music. Despite numerous attempts at fixes, the law appears to be playing a constant game of “catch up.” Critics claim that authors maintain too firm a stranglehold on society, and protective controls on existing works need to be relaxed so they can be used more freely as building blocks for new creations. Many authors, conversely, favor the tight restraints on how others may use their works -­‐-­‐ certainly the direction toward which the legal scale is currently tipped. But with today’s comprehensive and effortless consumer access to music in such an array of forums and formats, is tight artistic control a viable state of affairs for the 21st century? Or is the copyright law overdue for a thorough re-­‐examination of its purported balance between promoting the “useful arts” and “securing for limited Times to Authors…the exclusive Right to their…Writings…” If so, such a rethink could result in a seismic morphing from the Age of the Author to the Era of the Consumer, with composers, recording artists, et al., sacrificing the monopolized hold on their creations in the name of freer consumer access and use. If this were to be deemed an acceptable path to follow, inevitably several challenging questions would arise. How can this even be accomplished? Do we abolish the current statutory scheme and begin anew, or continue with Band-­‐Aids and quick fixes? In light of the 9th Circuit’s recent decision in Lentz v. Universal et al., should Fair Use (or some development thereof) be the focal point of copyright law? What would the implications of such a “re-­‐boot” be on an international level? This paper will explore, from both legal and artistic perspectives, these and other questions by imagining two opposing realities: the first being essentially the world in which we now live, whereby the artist/author owns his or her original work from the moment of tangible expression, and an “alternate universe” in which there is no such immediate ownership rights, but instead a “presumption of permission,” which will automatically allow others to use those works as they see fit. The copyright law, conceived in an age of magnetic recording tape and vinyl LPs, has historically existed in the space between these two extremes. The question is, can it continue to do so, or is it merely an analog ship adrift in a digital sea, seeking a safe harbor and calmer waters from which it may chart a new course? 2016 Educators Summit SESSION 6: FRIDAY | 4:45 P.M. | STANSBURY Moderator: Timothy Channell Stephanie Kellar Assistant Professor Berklee College of Music Tone of Voice Can Make or Break Social Media Marketing Success Social media outlets—Facebook, Twitter, YouTube, and many others—play a vital role in music marketing, especially in the early years of a young artist’s career when DIY promotion is the compulsory first step to building a fan base. However, a comprehensive audit of social media postings by a variety of new artists and bands reveals a compound problem—the majority use social media as a broadcast channel on top of a counter-­‐productive tone of voice that compromises the goal of engaging new fans. This outcome is shown by low page likes and low post engagement. This objective of this presentation is to shine a light on the problem and help faculty create classroom exercises to help students, both artists and managers, develop a positive and effective tone of voice and better understanding of the nature of social media. Specifically, it a) states the observed problem, b) underscores the difficulty of teaching the concept of tone of voice, c) compares and contrasts the basic human communication model (a two-­‐way looped system incorporating feedback) and broadcast media (a one-­‐way system sans feedback), d) shows multiple examples of good (engaging, compelling, interesting) and bad (begging, demanding, excluding) postings, then e) proposes a classroom methodology to better teach students how to analyze and master tone of voice while using social media correctly to achieve the goal of growing a fan base. Mark Carpentieri Assistant Professor of Music Business Five Towns College Managing Musician’s Social Media Campaigns Through Analytics As musicians, artists and bands use social media more each day to market themselves, understanding what works and what doesn’t is paramount. According to eMarketer* the entertainment industry spent 1.5 billion dollars in mobile advertising in 2015. For musicians, being able to connect with fans on a deeper level can be the difference in having a successful career or one that underperforms. There will always be some trial and error management in social media for musicians. This is due to the fact that what works for one type of musician may not work for another. This can be due to various demographic differences. The point is to reduce the amount of error by finding out via analytical tools how to improve and manage campaigns. Many social media platforms have their own built-­‐in tools like Facebook, YouTube and Twitter. Some do not like Instagram. There are three types of analytical tools that will be discussed: free built-­‐in, free external and fee based. Understanding how these tools work is important if musicians want to increase their audience engagement. By utilizing and investigating the outcomes with these tools, the artist has a much better chance of succeeding in creating social media plans that create desired outcomes. * (http://www.emarketer.com/Article.aspx?R=1012497&ecid=MX1086) 35 36 MEIEA SESSION 7: SATURDAY | 8:00 A.M. | STANSBURY Moderator: Wesley Bulla Joe Miglio Associate Professor of Music Business/Management Berklee College of Music Going for the Gold: Articulating Standards and Best Practices for Experiential Learning The purpose of this session is to offer an overview and methodology for assessing the current instructional practices and program designs associated with Problem/Project-­‐Based and Experiential Learning. Recognized as authentic or real-­‐world learning, problem/project-­‐based learning and experiential learning are used in a variety of “next gen learning environments” to help students apply the core content they acquire. Through an interdependent design built on inquiry, project-­‐based learning, internships, service-­‐learning, and entrepreneurial innovation, students directly witness the relevance of academic content and simultaneously develop their skills in critical thinking, communication, collaboration, and creativity. These “4 C’s skills” are integral in student learning, providing a cognitive connection for theory into practice, and in their demonstration of employability preparedness. Are there unifying principles and practices that are essential and imperative to this model of learning? Can we create a model of excellence in experiential learning that insures the comprehension, application, and synthesis of knowledge that is both person-­‐ and profession-­‐centered? These questions will be addressed in this session and will also include an analysis of my Music Business Management course – Advanced Management Techniques – that has been redesigned to investigate these areas of investigation. Todd D. Gardner Associate Professor of Music Business/Management Berklee College of Music Educators Achieving Reflective Competence in Music Related Instruction The purpose of this paper is to make educators aware of a theory of stages in which students learn new skills and the associated risk of educator complacency. This learning theory is known as, “Conscious Competence Learning Model.” This model has been reported for several decades and is equally helpful in understanding how students learn to play a musical instrument or how they learn any other subject, such as taxation or accounting, in music business. This paper will also attempt to outline potential skills and strategies to overcome educator complacency. The theory of Conscious Competence Learning Model suggests that there are four stages that an educator should be aware of to help facilitate the teaching of a new skill to a learner. Learners usually begin at stage 1 or, “unconscious incompetence.” This stage states that the learner does not even know that the skill exists. Learners then move onto stage 2 or, “conscious incompetence.” In this stage the learner is aware of the skill, but cannot yet do the skill. Learners then pass to stage 3 or, “conscious competence.” With this stage learners know or can achieve the skill but have to fully concentrate in order to achieve the skill. As learners progress, the goal is to pass to stage 4 or, “unconscious competence.” With this stage learners can achieve the skill without concentration and in a sense cease to be learners. The theory also holds that none of these stages can be skipped and that a learner may actually regress to lower stages at times. Unfortunately, many educators, because of their high competency and mastery in a given skill or subject, run the risk of less than optimal instruction or complacency. Ironically, this may be due to the fact that they have mastered the very subject they are teaching and have become “unconsciously competent” themselves. This has led some educators to suggest that there is or should be a 5th stage. This 5th stage is sometimes termed as, “Conscious Competence of Unconscious Competence” or, “Reflective Competence.” This describes an educator’s ability to recognize and develop unconscious incompetence in learners as well as being “highly conscious” or “enlightened” of their own consciousness such that they become better educators. By identifying the four or possibly five stages of learning, educators of music, with all of its various appendages, can hopefully eliminate the assumption that all learners are actually learning what is being taught. Further, by being aware of these stages, educators can develop skills and strategies to help them become highly conscious of what and when instruction is needed so that the educators themselves do not become complacent or unconscious due to their mastery. This allows for more individual consideration of learners and may direct future research on how students learn and teachers should teach. 2016 Educators Summit SESSION 8: SATURDAY | 8:00 A.M. | FREMONT Moderator: Jennifer Fowler Odie Blackmon Assistant Professor/Songwriting Concentration Coordinator Middle Tennessee State University, and Lecturer in Music, Blair School of Music Vanderbilt University Practical Music Theory for Songwriting Students Reading and writing traditional music notation have become outdated in popular music songwriting. As a professional songwriter working with songwriting students in the classroom, I have found that replacing traditional notation with the “Number System” and visual and playing based instruction allows students to learn at a faster pace and retain more information. Applying playing based methods of teaching theory to songwriting students with instruments in hand fosters greater and more efficient creativity. As a result, mastering music theory is no longer treated as a prerequisite for song creation; the two become interconnected skills, and songwriting students learn as they play. David Philp Assistant Professor William Paterson University Intermediaries: Necessity, But Not A Necessary Evil Intermediaries, those people, services, and/or companies that stand between artist and consumer, are a necessary component of the music industry. There are the obvious ones, such as personal managers, business managers, booking agents, publishers, and record companies. There are also the not so obvious intermediaries: SoundExchange, Merlin, international agents, independent merchandising contractors, and music business consultants. The spectrum ranges from the completely professional (Harry Fox Agency) to the somewhat questionable (SonicBids). What happens when the intermediary finds you but not with the best of intentions? This MEIEA presentation will tell two tales about intermediaries who approached independent artists with hype, vague promises, and requests for large upfront payments. Lessons for two groups, music industry educators and DIY musicians, will round out these true stories. Through screenshots of email exchanges, quotes from industry professionals, and a mix of images, memes and GIFs, this presentation will inform and also incite further discussion. 37 38 MEIEA SESSION 9: SATURDAY | 10:30 A.M. | FREMONT Moderator: Jennifer Fowler Dave Kopplin Professor of Commercial Music Cal Poly Pomona Current “Best Practices” in Music Industry Education Based on a 2014-­‐15 survey of MEIEA members, individual conversations with willing survey participants, and in-­‐
person interviews with administrators, faculty, students, and alumni at universities across the U.S., this project offers an overview of what music industry programs are teaching and what leaders in music industry education consider to be the current “best practices.” Additionally, this presentation will endeavor to suggest the kinds of environments that show the most promise for preparing students for life after the university. The paper will also explore what factors contribute to growing and thriving music industry programs. By choosing university programs in similar music markets, and by investigating both private and public institutions in those markets, the data will also show how public programs can best use their resources, and can help private institutions consider what current or proposed programs are worth further investments. The site visits have included interviews with administrators, faculty, students, or alumni at the following music industry programs: U-­‐Mass Lowell, Berklee College of Music, Northeastern University, Belmont University, Middle Tennessee State University, Tennessee State University, Jacksonville University, University of Miami, and California State University Northridge, among others. This research was funded by a MEIEA Faculty Research Grant. Tish Stewart Clyde Philip Rolston Sr. C
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niversity A National Survey of the Expectations of Employers Hiring Entertainment Industry Program Graduates The purpose of this survey was to examine the personal attributes, professional skills, and technical knowledge of an entertainment industry graduate desired by prospective employers and to assist in identifying the critical elements of a profession-­‐ready graduate in the entertainment industry. Over 280 responses were obtained from a national survey of persons working in entertainment related companies. One hundred eighty-­‐three respondents completed the questionnaire. This presentation will provide a general description of the persons and the companies that responded to the survey, and their companies’ practices in regard to recruiting interns and entry-­‐level employees. Emphasis is placed on personal and professional attributes desired in entry-­‐level employees as well as the academic preparation of those students. This research was funded by a MEIEA Faculty Research Grant. 2016 Educators Summit SESSION 10: SATURDAY | 11:45 A.M. | FREMONT Moderator: Melissa Wald Philip Graham Kristina Kelman Professor – Creative Industries Lecturer – Music Industry Queensland University of Technology Music Education, Musicology and Performance Queensland University of Technology Yanto Browning Associate Lecturer – Creative Industries Queensland University of Technology Event-­‐based Research for Music Industry Learning Environments: Two Case Studies Scholars in the music education field argue that skills and knowledge required for success include entrepreneurship, professional networks, technology skills and community development. However, there are few studies of learning environments that are designed for this purpose and which could test their claims. In addressing this gap, this paper presents two case studies of innovative, real-­‐world learning designs that have been deliberately engineered to foster collaboration, with grounded, realistic opportunities. The first case study, Youth Music Industries (YMI) is an organization, operating since 2010 that was established by the teacher/researcher in collaboration with her high school students. The teacher’s aim was to establish a social learning environment where students could develop music industry and entrepreneurial skills experientially in a community of practice. The students’ aims were to create opportunities for young musicians across Queensland to perform, record, publish and network, with a bigger vision of building a youth music scene. Some of their initiatives included running an all-­‐ages venue for emerging bands (Emerge), an annual four-­‐stage, ten-­‐hour music festival (Four Walls Fest), regular networking sessions, and an annual youth music industry conference (Little BIGSOUND). The second case study is a practice-­‐led, large-­‐scale annual event called Indie 100 led by the Queensland University of Technology since 2010. The event produces one hundred new songs in one hundred hours over five days. It involves local and national industry figures, between three hundred to four hundred local musicians, and around seventy students from music, management, marketing, law and entertainment industries. The aim of the exercise is to bring students into personal contact with professional producers, local artists, to induct them into the intensity of a commercial production environment, and to showcase and promote their efforts globally following the event. Our cases use iterative cycles of development, implementation and study, allowing us to gather more information that might lead to improve future iterations. In this paper we use the experience of both YMI and Indie100 in which we acted as both researchers and educators to observe the interconnections between learning and industry practice in this work. These studies have both a pragmatic element and a theoretical orientation with the researchers’ intent to produce new theories, artifacts and practices that potentially impact learning and teaching in naturalistic settings. Communities of practice theory, in particular the concepts of engaging, imagining and aligning (Wenger 1988) and social capital concepts -­‐ bonding, bridging and linking capital as explained by Putnam (2000) not only informed our designs but provided a lens for our investigations. Our research has found that both “classrooms” welcomed triumphs, failures and the challenges of professional musicianship in creating a learning ecology where new relationships were formed, insights into student motivations and potentials were gleaned firsthand by faculty, and students’ positioning within their chosen field of professional practice were accurately gauged by both the students themselves and by the faculty. 39 40 MEIEA SESSION 10 (cont.): SATURDAY | 11:45 A.M. | FREMONT Moderator: Melissa Wald Storm Gloor Associate Professor University of Colorado Denver Student-­‐run Enterprises and the Advancement of Music Cities The particular focus of this research is centered on potential opportunities for “student-­‐run enterprises”: record labels, publishing companies, booking agencies, and other entities operated primarily by college students as part of their music or music business degree curriculum. In recent years more and more universities have been adding these types of programming to their offerings as hands-­‐on experiences in which students apply their knowledge in real-­‐world situations. For instance, their creativity and entrepreneurial skills, among other factors, can affect the level of success of an artist, public concert, or a recording. Meanwhile there has been much work done in promoting a focus on the importance of a sustainable music economy to cities. The advancement of a music community can do so much more than simply provide more entertainment options for citizens and tourists. With the notion of a university’s role within its community, how could those with music business programs better support the local music economy? Could student-­‐run enterprises provide such support, as well as a unique and meaningful learning experience for its participants? An exploration of such questions might yield new approaches to improving learning outcomes and accomplishments of student-­‐run enterprises. It might also provide a basis for better partnerships between higher education institutions and their communities. It might also have relevance in developing more leading-­‐edge curricula that could address the challenges of attracting quality students in an age in which the value of a college degree and higher education as a concept is even being questioned. SESSION 11: SATURDAY | 3:15 P.M. | STANSBURY Moderator: Wesley Bulla Jerry Brindisi Assistant Professor, Music Business BA Coordinator Columbia College Chicago Justin Sinkovich Assistant Professor, Media Management BA Coordinator Columbia College Chicago The Music Business Workshop: Applying Game Theory to Pedagogy New technology and the rapid convergence of entertainment related disciplines requires that students are equipped with a strong knowledge base in their field as well as the ability to be adaptable to rapidly changing environments. Students must be prepared to think entrepreneurially, adapt to teams, show leadership skills, and take strategic initiative to launch and maintain careers in entertainment related fields. Simulation experiences applied to related management programs can provide students with opportunities that tie multiple components of management curricula together as building blocks for practical experience that are guided by faculty and allow students to navigate real world scenarios and dilemmas in controlled environments on campus. This paper presentation explores gaming pedagogy where students are motivated by the documented mechanics that foster leadership and creativity through game theory. These mechanics include the implementation of a points system, leaderboards, earned badges and statuses, and more. This session will also outline the psychology behind the success of gaming pedagogy. As an example of how to implement game mechanics and industry simulations, the session will provide an overview of a course the co-­‐presenters have developed and taught over the past several years. The Music Industry Immersion is a one-­‐
week intensive, multi-­‐course collaboration. An introduction to this experience will be presented in addition to learning outcomes for this type of course format, the benefits for student and challenges for faculty engaging in this type of learning experience. This presentation will be of interest to music and entertainment instructors and program directors looking to incorporate “real-­‐world” examples, spontaneous challenges to students, and motivation gaming techniques. 2016 Educators Summit SESSION 11 (cont.): SATURDAY | 3:15 P.M. | STANSBURY Moderator: Wesley Bulla Armen Shaomian Assistant Professor Sport and Entertainment Management University of South Carolina Carey Christensen Assistant Professor Mike Curb Chair in Music Industry Studies California State U niversity, Northridge GrouponLive: A Case Study In 2010, North American concert ticket sales dropped for the first time since 1995, falling 8% to $4.25 billion, according to Pollstar. In response, Live Nation and Groupon boldly announced in 2011 a joint venture called GrouponLive, which offered aggressively discounted Live Nation tickets to Groupon customers in order drive sales and expand the concert-­‐
going audience beyond the “super fan”. Since its inception, numerous artists ranging from classic rock acts such as The Who, Van Halen, and Motley Crue, to more contemporary urban acts such as Janet Jackson, Babyface, and Snoop Dog have all offered tickets through GrouponLive. By 2015, North American concert ticket sales set new records and climbed to $6.9 billion, a 62% increase from 2010. Though this increase in concert revenues is mainly attributed to the proliferation of large multi-­‐day music festivals and the continued escalation of average ticket prices, value partners such as GrouponLive have become an increasingly important sales channel for the concert industry at-­‐large in their on-­‐going effort to move unsold tickets and reach a larger “casual fan” customer segment. Despite this trend towards value partners however, there are promoters and artist alike who continue to harbor concerns over the effect these discounters may be having on their relationships with existing fans and their perceived brand equity. Intended as a teaching case for upper-­‐division undergraduate music business students, this case study provides opportunities to 1) analyze the points of synergy and points of conflict between the business objectives of GrouponLive and the artist, concert promoter, and/or venue, and 2) examine the potential effects the use of GrouponLive may have on concert promoter’s and/or artist’s brand equity. SESSION 12: SATURDAY | 3:15 P.M. | FREMONT Moderator: Bruce Ronkin Robert Garfrerick Professor and Eminent Scholar in Entertainment Industry University of North Alabama Does a MEIEA Core Curriculum Exist? A Survey of Practice Programs and curricula in music business and entertainment industry exist in music departments, communication departments, colleges of business, and some other arrangements such as stand-­‐alone departments and colleges. Because of this diversity, there may be the anecdotal perception that a core curriculum is hard to identify. This brief study will attempt to identify a core curriculum by what MEIEA member institutions do in actual practice. The database of Music and Entertainment Industry Educators Association (MEIEA) schools’ websites will be used to determine if a common core is implicated. Course titles as well as topic analysis will be considered. The limitations of the study will be to the music and entertainment business programs. No detailed analysis of audio or technology programs will be included, unless the program is broad enough to include both areas. 41 42 MEIEA HILTON GARDEN INN – U.S. CAPITOL Fremont Room located on 3rd Floor 2016 Educators Summit MEIEA 2016 EUROPEAN SUMMIT (June 27-­‐28, 2016) As European Liaison, I would like to invite you to attend the second MEIEA® European Summit on June 27-­‐28, 2016 at the beautiful Missenden Abbey in Great Missenden, England, located just outside of London. The primary goal of MEIEA is to facilitate an exchange of information between educators and practitioners in order to prepare students for careers in the music and entertainment industries. The 2016 MEIEA European Summit will bring together educators and practitioners, especially those based in the UK and Europe, and provide a unique opportunity to share good practice, experiences, challenges, and opportunities for this educational field. At our first European Summit in 2014, we produced high quality panels, keynotes and paper presentations and we look forward to repeating the same level of content this coming June. Further program details will be announced closer to the event. Registration: The two-­‐day Summit registration fee is £79.99 for all attendees. Registration will be via the MEIEA website. Hotel: For those planning to stay, the 2014 MEIEA European Summit Attendees (June 24, 2014) room rates at the Abbey are as follows: •
Summit nights of the 27th and 28th -­‐ £90 + VAT per room, per night, which includes breakfast, lunch, and dinner. •
All other nights between the 24th and 30th, £70 + VAT which includes breakfast. Note for those thinking of sharing a room: with respect to meals included in the price above, the rates assume one person per room. So, there is an additional meal fee for the second person of £10 for breakfast, £16 for lunch, and £20 for dinner, respectively. In order to make your hotel reservation, send an e-­‐mail to Suze Ward at the Abbey ([email protected]) with Ray Sylvester on copy ([email protected]), providing information about which nights you will be staying. MEIEA European Liaison Ray Sylvester Buckinghamshire New University 43 2016
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