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The Handbook on Music Business and Creative Industries in Education

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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.

Published: Aug 30, 2024

Book Contributors

Series


Section Chapter Authors
Introduction
Editor’s Welcome Daniel Walzer
Chapter 1
Music Business Education: A German Perspective Martin Lücke
Chapter 2
Running a Student-Led Music Label-Design, Delivery and Evaluation of Music Business and Professional Practice Training Ian Stevenson, Jeff Crabtree, Monica Rouvellas
Chapter 3
Embedding Effectual Entrepreneurship Across the Music Business Curriculum Jeremy Peters
Chapter 4
Thinking Out Loud: The 5Rs of Musicians’ Project and Career Decision Making Mathew Flynn
Chapter 5
How Do I Look? The Importance of Visual Analysis for Musicians in Popular Music Higher Education Helen Elizabeth Davies
Chapter 6
Songwriting, Visuality and Technological Determinism–Exploring Artistic Responses to Perceived Negative Effects of Streaming on Songwriting and Production Hussein Boon
Chapter 7
Anyone Can be a Musician: Art School Pedagogy and the Rise of the Non-Musician Simon Strange
Chapter 8
Scaling Up: Teaching Contemporary Music Through Repertoire Structures Sean Foran, Jade O'Regan, Vincent Perry, Tom O'Halloran
Chapter 9
“How NOT to land an internship”: A Case Study of Experiential Learning in Sound Recording and Music Production Education Kirk McNally
Chapter 10
Putting Down Roots: Making Music and Embracing Messiness in Graduate School Taylor Ackley, Joe Sferra
Chapter 11
Reconceptualising Higher Education Programs in Music for a Rapidly Changing Global Creative Industries Sector: An Australian Perspective Ryan Daniel