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Proceedings 2018 International Summit Music & Entertainment Proceedings of the 2018 International Summit of the Music & Entertainment Industry Educators Association – Los Angeles – 2018 March 22 – 24, 2018 • Embassy Suites by Hilton • Los Angeles/Glendale Proceedings of the 2018 International Summit 1 Contents Academic Papers Presented at the 2018 International Summit of the Music & Entertainment Industry Educators Association March 22-24, 2018 March 23, 2018 4 Integrating the Humanities into Entertainment and 66 The Music Products Industry as Part of a Collegiate Music Business and Performing Arts Students’ Music Industry Program Curriculum (abstract only) Learning Through Artists’ Biography and Andrew Surmani, California State University, Northridge Autobiography Carl Anderson, Bradley University Beverly Schneller, Belmont University 68 Play, Rewind, Play Again: Experiences of 7 Do Lyrics Objectify Women? (abstract only) Millennials’ Usage of the Cassette Tape as Music Alyssa Klinksiek, Radford University Media Timothy L. Channell, Radford University Waleed Rashidi, California State University, Fullerton 9 What Music Industry Education Can Learn from 81 Archival Research Methods and Music Industry Threshold Concept Theory Pedagogy Julie Viscardi-Smalley, Johnson & Wales University Andrew Mall, Northeastern University 13 Applying Modularity Theory to Music Business 86 The North Carolina Symphony: An Analysis of the Programs or How I Learned to Innovate Strategic Financial, Social, and Political Implications for a Planning Processes to Align Mission, Vision, and State Supported Arts Organization Values to Shifting Market Needs and Expectations Kim L. Wangler, Appalachian State University and Create Better Business Models in Higher 92 Mapping Music Cities: A Case Study of the Musical Education (abstract only) Landscape of San Antonio (abstract only, full Joseph J. Miglio, Berklee College of Music article available in the MEIEA Journal https://doi. 15 Learning Music Entrepreneurship by Doing: How to org/10.25101/18.5) Develop Experiential Learning Opportunities in an Stan Renard, The University of Texas at San Antonio Academic Setting 93 Equilibrium Ticket Pricing in the U.S. Concert Fabiana Claure, University of North Texas Industry (abstract and slides only) 22 Club Management: Practicum: A Case Study Terry Tompkins, Hofstra University in Evidence that Practicums are “Better” than 105 Content ID as a Solution to Address the Value Gap Internships (abstract only, full article available in the MEIEA Joe Bogdan, Columbia College Chicago Journal https://doi.org/10.25101/18.4) 39 Road to Somewhere: Understanding Factors Victoriano Darias, Berklee College of Music and Influencing Study Abroad Participation Universidad Internacional de La Rioja Darren Walters, Drexel University 106 The Greatest Show on Earth: Applying the 56 Bridging the Gap: Music Business Education and the Psychology of Peak Performance to Live Music Music Industries Rob Cannon, Australian Institute of Music Andrew Dyce and Richard Smernicki, University of the Highlands and Islands, Perth College, Scotland 61 The Impact of Recent Tax Code Changes on Arts Organizations Courtney Blankenship, Western Illinois University 2 Music & Entertainment Industry Educators Association March 24, 2018 112 “Guided by Commercial Motives”: Selling 142 Noise and Neurons: Effects of Background Music on Songwriting (abstract only, full article available in the Reading Comprehension MEIEA Journal https://doi.org/10.25101/18.1) Olivia Adams, Belmont University (B.S. in Christopher M. Reali, Ramapo College of New Jersey Entertainment Industry Studies, 2018) Meredith McNair, Belmont University (B.S. in 113 Ready Student One: Adventures in the New World of Entertainment Industry Studies, 2017) Virtual Pedagogy (abstract only) James Tealy, Belmont University 153 Managing Organizations in the Creative Industries: Organizational Behavior for the Cultural Sector 114 Institutionalizing the Internship (abstract only) Robert Garfrerick, University of North Alabama Paul Saintilan, Collarts and Macleay Colleges Janna Malone, University of North Alabama David Schreiber, Belmont University 119 A Work of Art in the Age of Technological Disruption: The Future of Work in the Music Industry (abstract only, full article available in the MEIEA Journal https://doi.org/10.25101/18.3) Shawn David Young, York College of Pennsylvania 120 Team Teaching Artist Management (abstract only) Rush Hicks, Belmont University Dwayne O’Brien, Belmont University 122 Using Radio as a Tool for Teaching Music Industry Robert Willey, Ball State University 125 The Missing Stream: Fostering Music Products Education Through Applied Technology Paul Linden, Butler University 133 After Hultsfred: Cultural Entrepreneurship in the Aftermath of the Hultsfred Festival (abstract only) Jonas Bjälesjö, Linnaeus University School of Business & Economics 134 The Results Are In: Identifying Marketing Demographics for a Mid-sized Performing Arts Venue in Multicultural Miami Tyler Franz, Hornets Sports & Entertainment Armen Shaomian, University of South Carolina Music & Entertainment Industry Educators Association 138 Challenges in Quantifying a Community’s Music 1900 Belmont Boulevard Scene Nashville, TN 37212 U.S.A. Storm Gloor, University of Colorado Denver www.meiea.org © Copyright 2018 Music & Entertainment Industry Educators Association All rights reserved Proceedings of the 2018 International Summit 3 Integrating the Humanities into Entertainment and Music Business and Performing Arts Students’ Learning Through Artists’ Biography and Autobiography Beverly Schneller Belmont University This paper was presented at the 2018 International Summit of the Music & Entertainment Industry Educators Association March 22-24, 2018 https://doi.org/10.25101/18.13 In the fall semester of 2017, I designed and piloted a Hu- manities elective in our General Education Program (called Abstract the BELL Core) on the theme “Entertaining Lives: Biogra- This presentation will describe how I created and teach a phies and Autobiographies of Noted Entertainers.” Working Humanities elective in the General Education Core at Bel- with the University Registrar and my college, we populated mont University in Nashville, Tennessee called “Entertain- the class mainly with students enrolled in the Mike Curb ing Lives: Life Stories of Artists, Celebrities, and Fame.” College of Entertainment and Music Business, who are The course enrollment is restricted to students in our under- pursuing a range of undergraduate degrees—the BBA, BA, graduate programs in Audio Engineering Technology, Mu- BS, and BFA. In Curb, students may earn degrees in Music sic Business, Entertainment Industry Studies, Business, and Business, Audio Engineering Technology, Entertainment the Performing Arts degrees. The course enables students Industry Studies, Motion Pictures, Publishing, and Media to study life writing and narrative (humanities) through the Studies. One of my goals for teaching is to engage students stories of noted figures in music, television, sports, dance, in the General Education program with coursework that and the entertainment industry (King, West, D’Amboise, meets them at their main areas of interest in creativity and Jackie Robinson, L. Russell Brown, and others). The first in the arts and entertainment fields—either through the lens edition of the course was a standalone elective and the of business or as a performer, or both. To that end, “Enter- second was in a linked cohort with a course in the music taining Lives” enabled students to examine the lives of a industry on film, team-taught with Dr. Clyde Rolston of range of celebrities in a broadly defined field of entertain- Belmont University. Through innovative applied projects to ment. Readings were supplemented with assigned YouTube augment the readings (storyboards, fantasy artist drafts, and artifacts—music videos, movies, documentaries, and inter- other team projects), I am able to teach students more about views to give a more intimate vision of each subject. the entertainment and music business through a lens that To make the course appropriately focused as the Human- connects with them as Gen Z learners—personal stories of ities elective, I concentrated on the genres of biography and career journies and discernment. In this way, the require- autobiography, teaching the students the elements of nar- ments of the General Education Core are customized to the rative life writing augmented with critical examinations of largest undergraduate majors in our university, and students the psychologies of fame, celebrity, and reputation as those are able to find relevance in the Liberal Arts curriculum as social constructs of success intersected with the life writing. well as in their desired professional education. Understanding authorial intent was essential to the course, Keywords: biographical writing, applied learning, enter- as writers’ choices determine how we know the biographi- tainers, professional course pedagogy, general education, cal and autobiographical subjects. humanities, music industry pedagogy, entertainment indus- The fall version of the course featured James Weldon try pedagogy Johnson, Barbara Stanwyck, Jacques D’Amboise, Nan- cy Dickerson, Jackie Robinson, Carole King, L. Russell Brown, and Kanye West. We had two guest speakers, one from our dance program at Belmont who led a master class 4 Music & Entertainment Industry Educators Association in her graduate program with D’Amboise, and the other was lem” the project presented, extrapolate significances from singer-songwriter,
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