Full Description
Creative arts professions (music, media, and performance) remain in a period of flux. As the music industry and related fields adapt to changing business models, student interest in training for a career in the entertainment sector continues to rise. Though the expansion of global degree offerings in the creative industries expands each year, a "state of the field" on educational and pedagogical issues in the music business and the creative industries has yet to be created. Creative arts research encompasses a broad range of sectors in the music and entertainment industries; among these subfields include performance, technology, entrepreneurship, marketing, and social justice. Globally, formal training for such pathways happens most often in higher education.The Handbook provides a practical and engaging resource for faculty, staff, administrators, graduate students, and industry members working on the "front lines" in teaching and learning. It presents a wide range of global perspectives from academics, BIPOC voices, and ECRs from the United States, the UK, Europe, Australia, and Canada. Another factor that affects HE stakeholders is the absence of a versatile resource on the teaching and learning issues in music business and related fields. While The Handbook avoids overly prescriptive models of teaching and learning, the volume includes topical research through case studies, ethnographies, and a thorough cross-section of qualitative and quantitative methods. Such a resource may be germane particularly to educators transitioning from industry to faculty appointments in HE. Authors are encouraged to draw from their expertise and use narrative analysis to support their perspectives.
Contents
Introduction:
Editor's Welcome
Daniel
Walzer
Chapter
1: Music Business Education: A German Perspective
Martin
Lücke, Macromedia
University of Applied Sciences, Berlin
Chapter
2: Running a Student-Led Music Label-Design, Delivery and Evaluation
of Music Business and Professional Practice Training
Ian
Stevenson, Jeff Crabtree and Monica Rouvellas, all at University of
Technology, Sydney
Chapter
3: Embedding Effectual Entrepreneurship Across the Music Business
Curriculum
Jeremy
Peters, Wayne State University
Chapter
4: Thinking Out Loud: The 5Rs of Musicians' Project and Career
Decision Making
Mathew
Flynn, University of Liverpool
Chapter
5: How Do I Look? The Importance of Visual Analysis for Musicians in
Popular Music Higher Education
Helen
Elizabeth Davies, Liverpool Institute for Performing Arts
Chapter
6: Songwriting, Visuality and Technological Determinism-Exploring
Artistic Responses to Perceived Negative Effects of Streaming on
Songwriting and Production
Hussein
Boon, University of Westminster
Chapter
7: Anyone Can be a Musician: Art School Pedagogy and the Rise of the
NonMusician
Simon
Strange, Bath Spa University
Chapter
8: Scaling Up: Teaching Contemporary Music Through Repertoire
Structures
Sean
Foran, Jade O'Regan, University of Sydney, Vincent Perry, Charles
Darwin University, and Tom O'Halloran, Edith Cowan University
Chapter
9: "How NOT to land an internship": A Case Study of Experiential
Learning in Sound Recording and Music Production Education
Kirk
McNally, University of Victoria
Chapter
10: Putting Down Roots: Making Music and Embracing Messiness in
Graduate School
Taylor
Ackley, Brandeis University, and Joe Sferra
Chapter
11: Reconceptualising Higher Education Programs in Music for a
Rapidly Changing Global Creative Industries Sector: An Australian
Perspective
Ryan
Daniel, James Cook University
