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Proceedings 2020 International Summit Music & Entertainment Industry Educators Association

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Proceedings 2020 International Summit Music & Entertainment Industry Educators Association Proceedings of the 2020 International Summit of the Music & Entertainment Industry Educators Association – October 2 & 3, 2020 – Proceedings of the 2020 International Summit 1 Contents Academic Papers Presented at the 2020 International Summit of the Music & Entertainment Industry Educators Association October 2-3, 2020 Papers are listed alphabetically by author. 4 Integrating Audio Branding into the Marketing 40 Literature, Lemonade, and DAMN.: A Historical Curriculum: A Model Perspective on Popular Music Awards (abstract only) David Allan, Saint Joseph’s University Jason Lee Guthrie, Clayton State University 8 The Crossover: Evaluating Mainstream Consumption 41 Preparing Global-Ready, and Interculturally of Urban Music Concerts (abstract only) Competent Graduates for the Music and Morgan M. Bryant, Saint Joseph’s University Entertainment Industries Eric Holt, Belmont University Kristina Kelman, Queensland University of Technology 10 The Musician’s Profit Umbrella™ and Women as 48 Summer Camp: Developing a Recruiting Hotbed That Musician-Entrepreneurs (abstract only) Teaches High School Students Music Production Fabiana Claure, University of North Texas Steven Potaczek, Samford University 11 Measuring Folk 52 Skip, Burn, Seek & Scratch: Young Adults’ Compact Michelle Conceison, Middle Tennessee State University Disc Usage Experiences in 2020 (abstract only, full 23 Tools of the Craft: The Value of Practicums in Arts article available in the 2020 MEIEA Journal https:// and Music Management doi.org/10.25101/20.4) Mehmet Dede, The Hartt School, University of Hartford Waleed Rashidi, California State University, Fullerton 27 Dude, Where’s Your Phone?: Live Event Experience 53 Legends and Legacy: Musical Tourism in Muscle in a Phone-Free Environment (abstract only) Shoals (abstract only) Matthew Dunn, University of South Carolina Christopher M. Reali, Ramapo College of New Jersey Armen Shaomian, University of South Carolina 54 Noise, Restrictions, and the Live Music Sector: 28 All Access: A Backstage Pass to a Collaborative, A Case Study of the Musical Soundscape of San Undergraduate Music Journal Antonio (abstract only) Michele Gibney, University of the Pacific Stan Renard, University of Texas at San Antonio Keith Hatschek, University of the Pacific Nicole Wasnock, University of the Pacific 55 Music Industry Digital Marketing Strategy Case Study: Joe Ely (abstract only) 35 Music and Tourism: What’s in the Mix? (abstract Justin Sinkovich, Columbia College Chicago only) Storm Gloor, University of Colorado Denver 56 Bonnaroo University: A Blueprint for Teaching Music Festival Culture (abstract only) 36 Preparing Community College Students for Internship Ken Spring, Belmont University Success Sarita M. Stewart, Belmont University Denise Grupp-Verbon, Owens Community College 58 Jamaican Popular Music In Transition (abstract only) Kai-Yaneeke Tapper, University of the West Indies 2 Music & Entertainment Industry Educators Association 59 Do What Works: Using the Scholarship of Teaching and Learning to Improve Student Engagement in Group Projects Marcus Thomas, The Hartt School, University of Hartford 64 The Denniz PoP Model: Core Leadership Skills in Music Production as Learning Outcomes in Higher Education David Thyrén, Royal College of Music, Stockholm Jan-Olof Gullö, Royal College of Music, Stockholm Peter Schyborger, Royal College of Music, Stockholm 73 Building the North American Graduate Music Business Database: Pedagogical, Philosophical, and Theoretical Implications (abstract only) Daniel Walzer, Indiana University-Purdue University Indianapolis 74 A Necessary Evil: An Overview of the Pitch Correction Course Offered at Northern Vermont University-Lyndon Brian Warwick, Northern Vermont University-Lyndon 80 Music Entrepreneurship and Access to Social and Cultural Capital: Your Network is Your Net Worth (abstract only) Hal Weary, Sarah Lacy, and Jennifer Brodmann California State University, Dominguez Hills 82 Sharing Lyrics in Singalong Groups Robert Willey, Ball State University 88 Career Challenges Musicians Face in the United States Ying Zhen, Wesleyan College Music & Entertainment Industry Educators Association 1900 Belmont Boulevard Nashville, TN 37212 U.S.A. www.meiea.org © Copyright 2020 Music & Entertainment Industry Educators Association All rights reserved Edited by Bruce Ronkin, MEIEA Journal Editor Proceedings of the 2020 International Summit 3 Integrating Audio Branding into the Marketing Curriculum: A Model David Allan Saint Joseph’s University This paper was presented at the 2020 International Summit of the Music & Entertainment Industry Educators Association October 2-3, 2020 https://doi.org/10.25101/20.14 reach $7.4 billion, contributing 75% of total revenues for 2018 (RIAA 2019). The global recorded music market grew https://www.youtube.com/watch?v=g3tiCiVPQI8 by 9.7% in 2018, the fourth consecutive year of growth. IFPI’s Global Music Report 2019 showed total revenues for Abstract 2018 were US$19.1 billion. Want to turn the volume up in the Marketing classroom? Podcasting has added to the resurgence of audio. “It’s the Use audio. It’s attention getting and engaging. Where should hot thing in audio. Ad spending is forecast to grow to $534 it be added? In branding. million in 2020” (Ely 2018). The 2019 Infinite Dial Study Keywords: audio branding, marketing education by Edison Research and Triton Digital showed that among the U.S. population ages 12 and older, the total number of people who have ever listened to a podcast passed 50% for the first time. “This is a watershed moment for podcast- ing—a true milestone. With over half of Americans 12+ Introduction saying that they have ever listened to a podcast, the medium Music has been successfully incorporated into curricu- has firmly crossed into the mainstream,” noted Tom Web- lum in numerous settings (Kelstrom 1998). It is being used ster, Senior Vice President at Edison Research. One-third of in the management classroom where “music is becoming the population reported having listened to a podcast in the more and more widely utilized to enhance the dynamism last month, representing 90 million monthly listeners (Edi- and excitement of any management education in this age of son Research 2019). infotainment” (Wheatley 1998, 342) and in the sociology Justifications, Definitions, and History classroom where popular music is used for teaching interac- tive introductory sociology courses (Ahlkvist 1999). Music Justification Audio branding is hot… can be an anchor point for teaching principles of market- ing (Tomkovick 2004, 111). Why? Because boredom in the The Best Audio Brands Ranking 2019 has been classroom is on the rise. It has been shown to reduce aca- developed by global sound branding agency amp, demic engagement, motivation, and attention in a market- using a rigorous analytical process which quantifies ing classroom (Mercer-Lynn et al. 2014). Elements of the audio brand performance against a range of criteria marketing classroom environment such as the individual such as trust, recognition, engagement and efficien- professor and the nature of the classroom are attributed as cy. The analysis provides a picture of how effec- principal causes of boredom and the use of experiential ac- tively brands are extending their audio presence tivities as a solution (Dugan et al. 2019). Audio (including beyond advertising, sonic logos or “jingles” into music) is both engaging and experiential (Rozen 2019). interactive digital platforms where audio enhances The volume on audio has been turned up with the ad- brand recognition, engagement and findability. Mc- vent of streaming music and podcasting. Edison Research Donald’s and Disney were ranked as joint top per- reports 67% of Americans (189 million persons age 12 or formers in the Audio Brand Index, each achieving older) listen to streaming audio (including AM/FM) each a score of 51/100 points available. Intel, Apple and month; the figure is highest among persons 12-24 at 91% Coca-Cola rounded off the top five audio brands, (Edison 2019). The RIAA reports revenues from streaming whilst the likes of Shell, Netflix, Nescafé, Google music platforms grew 30% year-over-year (2017-2018) to and Amazon made the top ten, with Amazon and 4 Music & Entertainment Industry Educators Association Google profiting greatly from the impact of their (2015) provided an extensive review of sound branding lit- interactive voice technologies. erature. In 2017, Kotler said that today’s atmospherics mu- sic should be designed for devices (like smart speakers) as Brands such as Spotify, Facebook, Huawei, Honda, well as spaces and called from more attention. Minsky and Adobe and Visa, ranked amongst the least recog- Fahey (2017) began with a new definition of audio (sound, nizable audio brands, despite the growing range of sonic, acoustic, branding) branding. It is “the language of digital platforms across which they interact with the brand based on its “essence, voice, values, promise, consumers. (amp 2019) and personality” (3). The future of audio branding also in- cludes smart speakers (Amazon, Google, etc.). The future of branding strategy is audio. Definitions (w/Table) Course Integration and Implementation Audio Branding describes the process of brand development and brand management by use of Part 1: Target Audience and Course(s) audible elements within the framework of brand Who: Undergraduate Marketing majors and minors communication. It is part of multi-sensory brand Where: Principles of Marketing and/or Consumer Behav- communication
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