Market Analysis for a Bachelor’s in Music Entrepreneurship Prepared for Clarion University of Pennsylvania March 2013 In the following report, Hanover Research analyzes the potential market for a bachelor’s degree in music entrepreneurship at Clarion University of Pennsylvania. The report analyzes degree completion trends national and regionally, examines the labor market outlook for careers related to music entrepreneurship, and profiles relevant degree programs. Hanover Research | March 2013 TABLE OF CONTENTS Executive Summary and Key Findings ............................................................................... 3 Introduction ...........................................................................................................................3 Key Findings ...........................................................................................................................3 Section I: Degree Completion Trends ................................................................................ 5 Overview of Student Demand for Music Entrepreneurship ..................................................5 Student Demand ................................................................................................................5 Overview of Music Entrepreneurship Programs ...............................................................5 Entrepreneurship and Music .............................................................................................7 Degree Completion Methodology .........................................................................................7 National Degree Completions Trends....................................................................................9 Regional Degree Completion Trends ...................................................................................10 Pennsylvania Degree Completion Trends ............................................................................10 Methodology ...................................................................................................................10 Completions Trends .........................................................................................................11 Section II: Labor Market Outlook .................................................................................... 13 Methodology .......................................................................................................................13 Academic Program-Occupational Crosswalk ...................................................................13 Other Descriptions of Music Entrepreneurship Occupations..........................................15 National Labor Market Outlook ...........................................................................................18 Regional Labor Market Outlook ..........................................................................................18 Section III: Institutional Profiles ...................................................................................... 20 Judson University .................................................................................................................20 The University of the Arts ....................................................................................................23 Appendix ....................................................................................................................... 27 © 2013 Hanover Research | Academy Administration Practice 2 Hanover Research | March 2013 EXECUTIVE S UMMARY AND KEY FINDINGS INTRODUCTION This report analyzes the potential market for a bachelor’s degree in music entrepreneurship at Clarion University of Pennsylvania. The report is organized according to the following three sections:  Section I: Degree Completion Trends examines potential student demand for a bachelor’s degree in music entrepreneurship by analyzing degree completions trend between 2007 and 2011 for related degree programs both nationally, regionally, and within Pennsylvania. This section also includes a review of secondary literature pertaining to student demand for music entrepreneurship programs.  Section II: Labor Market Outlook analyzes national and regional labor market data for occupations related to music entrepreneurship based on data from the Bureau of Labor Statistics as well as other sources.  Section III: Institutional Profiles provides information on institutions that currently offer music entrepreneurship programs. This section describes the curriculum, career opportunities, tuition, and other program characteristics of the programs at the following three institutions: o Judson University o The University of the Arts o Drexel University KEY FINDINGS  Music Entrepreneurship represents a growing segment of music education, as universities realize the need for career preparation for music students and as students in non-business majors increasingly request entrepreneurship courses. Administrators at such institutions as Julliard and the New England Conservatory have advocated for increased focus in business skills and innovation in traditional music education in order to prepare students to compete in a challenging marketplace.  Actual degree programs in Music Entrepreneurship at any award level are extremely rare. Currently, only two institutions offer bachelor’s degree options in music entrepreneurship: The University of the Arts (Bachelor of Science in Music Business, Entrepreneurship, and Technology) and Judson University (Music Business and Entrepreneurship). A variety of certificate programs, minor programs, elective options, and dedicated entrepreneurship centers also support music students.  Student demand for degree programs related to music entrepreneurship generally appears to be trending upward at a modest rate at the regional level, when examining recent degree completions data from Pennsylvania, Ohio, and New York. © 2013 Hanover Research | Academy Administration Practice 3 Hanover Research | March 2013 Furthermore, this growth outpaced national rates indicating that regional demand for entrepreneurship programs may be higher than national demand. However, degree completion trends for general music programs demonstrated slower growth than entrepreneurial programs both nationally and in Pennsylvania.  An examination of Music and Entrepreneurship degree completions by region within Pennsylvania was inconclusive, as many institutions saw fluctuations in conferrals across the examined time period. In northwest Pennsylvania, there are only two institutions that confer over 10 degrees each year in Music or Entrepreneurship. While this may indicate a new market for such a degree, state labor projections predict a stagnant or decreasing number of jobs in many related occupations.  Both examined music entrepreneurship bachelor’s programs require a mix of business entrepreneurship courses and traditional music, while also placing an emphasis on career preparation for students through senior projects or internships. For example, Judson University requires 20 percent of the overall curriculum to be completed in business and entrepreneurship. © 2013 Hanover Research | Academy Administration Practice 4 Hanover Research | March 2013 SECTION I: D EGREE COMPLETION T RENDS This section analyzes potential student demand for a bachelor’s program in music entrepreneurship with a particular focus on the region surrounding Clarion University of Pennsylvania. We analyze regional and national degree completion data obtained from the National Center for Education Statistics (NCES), as well as secondary literature describing student demand for these degrees. OVERVIEW OF STUDENT DEMAND FOR MUSIC ENTREPRENEURSHIP STUDENT DEMAND The rise of entrepreneurship programs has been well documented. Traditionally reserved for business school The recent rise in students, institutions increasingly offer entrepreneurship entrepreneurship programs as part of an interdisciplinary degree option education has been available to students campus-wide. For example, the Ewing largely student-driven. Marion Kauffman Foundation recently provided eight multimillion-dollar grants to universities for entrepreneurship programs in non-business departments such as nursing, liberal arts, and music.1 The recent rise in entrepreneurship education has been largely student-driven with requests for new courses in non-business fields originating from the student body.2 OVERVIEW OF MUSIC ENTREPRENEURSHIP PROGRAMS The College Music Society published a Summit Handbook on Music Entrepreneurship in 2010 to guide educators intending to develop a music entrepreneurship program. In this document, the authors note the absence of existing music entrepreneurship programs at the bachelor’s level at that time. Currently, the Arts Entrepreneurship Educator’s Network (AEEN) maintains a record of colleges and universities with music entrepreneurship programs. 3 Figure 1.1, on the following page, identifies these programs. Additional programs have been identified through a general scan of secondary literature and college websites. This national scan reveals that only two institutions offer bachelor’s degree options in music entrepreneurship: The University of the Arts (Bachelor of Science in Music Business, Entrepreneurship, and Technology) and Judson University (Music Business and Entrepreneurship). 1 Mangan, K. “Entrepreneurs in Every Department.” The Chronicle of Higher Education, March 1, 2013. http://chronicle.com/article/Entrepreneurs-in-Every/16250/ 2 Ibid. 3 “Music.” Arts Entrepreneurship Educator’s Network. http://www.ae2n.net/page3/page20/page20.html © 2013 Hanover Research | Academy Administration Practice 5 Hanover Research | March 2013 Figure 1.1: Music Entrepreneurship Programs in the United States INSTITUTION University of 4 Colorado at Boulder 5 Salem College Loyola University The University of the 6 Arts University of South 7 Carolina DEPARTMENT OR CENTER Entrepreneurship Center for Music School of Music The Center for Music & Arts Entrepreneurship PROGRAM OR DEGREE Certificate in Music Entrepreneurship Music Entrepreneurship Minor Minor in Entrepreneurship, Emphasis in Music Industry Studies School of Music B.S. in Music Business, Entrepreneurship & Technology Minor in Music Business, Entrepreneurship & Technology School of Music Music Entrepreneurship Minor Music Department Entrepreneurial Grants, courses, the EM Series and performance projects, the advisor network, Internship and Fellowship opportunities, in-house entrepreneurial venture, Bridge: Worldwide Music Connection Practical Foundations: Entrepreneurial Leadership Skills, Career Advising & Entrepreneurial Coaching, Advanced Practicum in Music Entrepreneurship, Internships Music Business and Entrepreneurship Major Department of Music B.A. in Music with an Elective in Business College of Liberal Arts and Sciences Certificate in Performing Arts Entrepreneurship North Carolina State 13 University Music Department Minor in Arts Entrepreneurship University of Maryland – 14 Baltimore County Department of Music in collaboration with the Baltimore Symphony Orchestra Post-Baccalaureate Certificate in Music Entrepreneurship New England 8 Conservatory Entrepreneurial Musicianship Manhattan School of 9 Music Center for Music Entrepreneurship 10 Judson University University of North Carolina at 11 Pembroke University of Iowa 12 4 “Entrepreneurship Center for Music.” University of Colorado Boulder. http://music.colorado.edu/departments/ecm/ “School of Music.” Salem College. http://www.salem.edu/music 6 “Music Business, Entrepreneurship & Technology.” The University of the Arts. http://www.uarts.edu/academics/music/music-business-entrepreneurship-technology 7 “The School of Music is Pleased to Announce the Nation’s First Music Entrepreneurship Minor!” University of South Carolina. http://www.music.sc.edu/eship/About.htm 8 “Entrepreneurial Musicianship.” New England Conservatory. http://necmusic.edu/em 9 “CME Program Offerings.” Manhattan School of Music. http://www.msmnyc.edu/Offices/Center-for-MusicEntrepreneurship 10 “Music Business and Entrepreneurship.” Judson University. http://www.judsonu.edu/Undergraduate/Music/Music_Business_and_Entrepreneurship_Program/Music_Busine ss_and_Entrepreneurship/ 11 “Bachelor of Arts in Music with Elective Studies in Business.” University of North Carolina at Pembroke, Oct. 15, 2010. http://www.uncp.edu/music/degree/bab/index.htm 12 “Performing Arts Entrepreneurship.” University of Iowa. http://www.registrar.uiowa.edu/registrar/catalog/liberalartsandsciences/performingartsentrepreneurship/ 13 “Arts Entrepreneurship.” North Carolina State University. http://www.ncsu.edu/music/artsentrepreneurship/ 14 “1-Year Post-Baccalaureate Certificate Program in Music Entrepreneurship.” UMBC. http://www.umbc.edu/music/programs/entrepreneurship.php 5 © 2013 Hanover Research | Academy Administration Practice 6 Hanover Research | March 2013 ENTREPRENEURSHIP AND MUSIC The music industry has historically rejected education in entrepreneurship, with the Career Development Director of the Julliard School explaining that the “business-y connotation… still rubs a lot of artists the wrong way.”15 In response to this common belief, many music programs offer an elective or workshop in topics of “career development” or “the music industry” to offer this content without an obvious business focus. However, recognition of the importance of this knowledge is growing quickly as the arts industries evolve. The President of the Manhattan School of Music explains that “The whole infrastructure of music is experiencing seismic shifts, and music schools have to move with those changes.” Schools of music are beginning to realize the importance of career development and business knowledge, and students acknowledge that the stigma of entrepreneurship is decreasing. The Career Services Director at the New England Conservatory in Boston echoes the importance of this education: “Whether you call it entrepreneurship or not, what it comes down to is helping young musicians see themselves as the masters of their own future – that they can create opportunities, not just waiting to be handed something.” This training is especially important as the current economic climate continues to negatively affect many areas of traditional employment in music industries. One music professor at Duquesne University explains that “The days of being just a classical violinist or jazz saxophonist are over… The musician of the future considers the whole package.”16 As the marketplace shrinks, music programs must prepare students with the right tools to prosper and develop creative alternatives to traditional jobs. DEGREE COMPLETION METHODOLOGY In order to gauge student demand for a bachelor’s degree program in music entrepreneurship, we use recent degree completion data from the National Center for Education Statistics (NCES). The NCES utilizes a taxonomic system of numeric codes to classify postsecondary academic programs, known as the Classification of Instructional Programs (CIP) system. Institutions of higher education nationwide submit degree completion data, classified by CIP code, to the NCES’s Integrated Postsecondary Education Data System (IPEDS). All degree conferral data used in this report were drawn from IPEDS.17 Examining degree completion trends over the past five years allows for an estimate of potential student demand for bachelor’s degrees in music entrepreneurship. For instance, if 15 Miller, K. “Teaching Musicians to Be Entrepreneurs.” Bloomberg Businessweek, Mar. 28, 2007. http://www.businessweek.com/stories/2007-03-28/teaching-musicians-to-be-entrepreneursbusinessweekbusiness-news-stock-market-and-financial-advice 16 “'Music Entrepreneurship' Helps Young Musicians Chart Careers in a Crowded Market.” Pittsburgh Gazette, Aug. 9, 2009. http://www.post-gazette.com/stories/ae/music/music-entrepreneurship-helps-young-musicians-chartcareers-in-a-crowded-market-352918/ 17 “Integrated Postsecondary Education Data System.” National Center for Education Statistics. http://nces.ed.gov/ipeds/datacenter/ © 2013 Hanover Research | Academy Administration Practice 7 Hanover Research | March 2013 bachelor’s degree conferrals among music entrepreneurship programs have increased over time within a certain geographical area, it is reasonable to infer that demand for such a degree is trending upward within the region. Correspondingly, if completions have decreased, then it is likely that demand is also decreasing. Accordingly, this report gauges demand for bachelor’s degree programs in music entrepreneurship as evidenced by completions data from 2007 to 2011. There are four six-digit CIP codes that correspond to academic fields closely related to music entrepreneurship . Figure 1.2, on the following page, provides descriptions of these fields as provided by NCES. Figure 1.2: CIP Codes Associated with Music Entrepreneurship MUSIC, GENERAL (50.0901) •A general program that focuses on the introductory study and appreciation of music and the performing arts. Includes instruction in music, dance, and other performing arts media. MUSIC MANAGEMENT (50.1003) •A program that prepares individuals to organize and manage music organizations, operations, facilities, and personnel. Includes instruction in business and financial management; marketing and fundraising; personnel management and labor relations; event promotion and management; music products merchandising; artist agency and promotion; music law; and applications to specific activities such as managing theaters, recording studios and companies, bands and other ensembles, individual artists, and music organizations. MUSIC, OTHER (50.0999) •Any instructional program in music not listed above. ENTREPRENEURSHIP/ENTREPRENEURIAL STUDIES (52.0701) •A program that generally prepares individuals to perform development, marketing and management functions associated with owning and operating a business. Source: NCES 18 When interpreting completions data, there are several considerations that must be taken into account: 18  Slight modifications were made in 2010 to the NCES’s classification of programs from the 2000 version of the CIP taxonomy. In particular, the title of CIP code 50.0909 changed from “Music Management and Merchandising” in 2000 to the CIP Code 50.1003 “Music Management” in 2010. It is possible that some institutions reclassified their programs in response to this title change.  Institutions classify their programs independently, meaning that two programs that are identical in all respects could hypothetically be classified under different CIP “CIP 2010.” NCES. http://nces.ed.gov/ipeds/cipcode/browse.aspx?y=55 © 2013 Hanover Research | Academy Administration Practice 8 Hanover Research | March 2013 codes. In addition, for any given institution, it cannot always be assumed that IPEDS completions data for an individual CIP classification always correspond directly to an individual music program. For instance, specialized programs related to music entrepreneurship may not be classified under the music management CIP code, but instead be placed under a different or more general classification. Therefore, the actual number of programs related to music entrepreneurship in the United States may be skewed in the IPEDS data.  Newer programs that have been created in the past one or two years may also be excluded from completions data, as these programs will not have graduated students yet. In addition to providing raw data, completions trends are presented according to three metrics:  The first measure, the compound annual growth rate (CAGR) provides a smoothed measurement of annual growth; in other words, it disregards year-to-year fluctuations in the data and instead provides an indication of overall five-year growth.  The second measure, the average annual change (AAC), provides the average number by which completions rose or fell annually. This figure offers an indication of the raw magnitude of growth, which the CAGR does not.  Lastly, the standard deviation of annual changes (STDV) gauges the volatility of annual growth. The larger the standard deviation of annual changes, the less consistent the growth from one year to the next. Inconsistent growth may reflect either annual fluctuations or accelerating growth or decline of conferrals in a particular field. NATIONAL DEGREE COMPLETIONS TRENDS Student demand for degree programs related to music entrepreneurship generally appears to be trending upward at a modest rate. In particular, Entrepreneurship/ Entrepreneurial Studies witnessed strong growth relative to music programs at 14.7 percent. Figure 1.3 presents national completions data for bachelor’s degrees according to the four CIP codes previously described. Figure 1.3: National Bachelor’s Degree Completion Trends, Music Entrepreneurship CIP CODE 50.0901 50.0999 50.1003 INSTRUCTIONAL PROGRAM Music, General Music, Other Music Management Entrepreneurship/ 52.0701 Entrepreneurship Studies Total, Related Bachelor’s Degrees 2007 7.839 691 1,068 2008 7,862 621 1,322 2009 8,043 701 1,648 2010 8,107 686 1,545 2011 8,342 710 1,316 CAGR 1.6% 0.7% 5.4% AAC 125.8 4.8 62.0 STDV 85.7 54.8 233.7 1,442 1,532 1,951 2,139 2,500 14.7% 264.5 131.8 11,040 11,337 12,343 12,477 12,868 3.9% 457.0 330.0 Source: IPEDS © 2013 Hanover Research | Academy Administration Practice 9 Hanover Research | March 2013 REGIONAL DEGREE COMPLETION TRENDS Regionally, student demand for degree programs related to music entrepreneurship displays mixed trends. Noticeably, the area of Entrepreneurship/Entrepreneurial Studies in Pennsylvania, Ohio, and New York experienced significant growth between 2007 and 2011. Furthermore, this growth outpaced national rates, indicating that regional demand for entrepreneurship programs may be higher than national demand. In Pennsylvania, degree completions for “Music, General” and “Music, Other” increased modestly, while degree conferrals in these fields declined in both Ohio and New York. Figure 1.4 below describes bachelor’s degree completion trends according to each state. Figure 1.4: Regional Bachelor’s Degree Completion Trends, Music Entrepreneurship CIP CODE INSTRUCTIONAL PROGRAM 2007 Music, General Music, Other Music Management Entrepreneurship/ 52.0701 Entrepreneurial Studies Total, Related Bachelor’s Degrees 466 20 53 50.0901 50.0999 50.1003 Music, General Music, Other Music Management Entrepreneurship/ 52.0701 Entrepreneurial Studies Total, Related Bachelor’s Degrees 50.0901 50.0999 50.1003 50.0901 50.0999 50.1003 Music, General Music, Other Music Management Entrepreneurship/ 52.0701 Entrepreneurial Studies Total, Related Bachelor’s Degrees 2008 2009 PENNSYLVANIA 420 487 24 17 48 54 2010 2011 CAGR AAC STDV 484 19 45 491 24 46 1.3% 4.7% -3.5% 6.3 1.0 -1.8 40.3 4.7 5.7 58 98 71 93 112 17.9% 13.5 24.7 597 641 673 3.0% 19.0 18.0 192 42 3 590 629 OHIO 191 198 37 42 2 1 192 31 4 183 35 10 -29.7% -41.7% 208.3% -2.3 -1.8 1.8 6.1 6.6 2.9 69 55 79 59 107 30.1% 9.5 27.9 306 286 335 -15.5% 7.3 35.4 408 51 125 285 320 NEW YORK 416 414 10 56 142 170 378 32 118 399 28 129 -0.6% -13.9% 0.8% -2.3 -5.8 1.0 21.1 32.6 31.2 81 90 240 228 268 34.9% 46.8 62.4 665 658 880 756 824 5.5% 39.8 125.5 Source: IPEDS PENNSYLVANIA DEGREE COMPLETION TRENDS METHODOLOGY The Pennsylvania Department of Labor and Industry assigns each of Pennsylvania’s 67 counties to a Local Workforce Investment Area (LWIA), which contain regions based on geographic areas of roughly proportionate populations. IPEDS degree completions have been grouped according to these WIAs for an analysis of student demand within the state. Appendix A.1 of this report details the counties contained within each specific WIA. © 2013 Hanover Research | Academy Administration Practice 10 Hanover Research | March 2013 For the tables in this section, a cell containing a dash (-) indicates that completions were not reported by the institution for that year, whereas a zero indicates that the institution reported zero completions. COMPLETIONS TRENDS Figure 1.5 on the following page describes regional trends within Pennsylvania based on WIAs. In general, it was difficult to discern any real trends in Music or Music Management programs, given the small numbers of total completions. Further, Appendix A.3 of this report includes a complete list of institutions in Pennsylvania that award degrees in music, entrepreneurship, and related degrees along with each institution’s degree completion history between 2007 and 2011. An examination of these data reveals that few other institutions offer programs in Music, Music Management, or Entrepreneurship in Clarion’s immediate region. In fact, there were only two institutions in northwest Pennsylvania that conferred more than 10 degrees in any of these areas. This included Indiana University of Pennsylvania in Music and Grove City College in Entrepreneurship. © 2013 Hanover Research | Academy Administration Practice 11 Hanover Research | March 2013 Figure 1.5: Pennsylvania Bachelor’s Degree Completion Trends, Music Entrepreneurship REGION Berks County Bucks County Central Chester County Delaware County Lackawanna County Lancaster County Lehigh Valley Montgomery County Northern Tier Northwest Philadelphia County Southwest Corner Three Rivers West Central Westmoreland/Fayette Delaware County South Central Southwest Corner Three Rivers West Central Northwest Philadelphia County Southwest Corner West Central South Central Northern Tier Central Delaware County Luzerne-Schuylkill Counties North Central Philadelphia County South Central Southern Alleghenies Southwest Corner Three Rivers West Central Westmoreland/Fayette 2007 2008 2009 2010 2011 MUSIC, GENERAL 19 15 22 34 26 10 5 9 7 6 54 63 60 50 72 47 57 76 76 56 31 16 30 16 15 1 28 31 30 37 38 44 38 54 56 47 5 6 5 3 10 24 22 35 33 39 32 26 23 21 26 10 9 11 13 8 10 5 7 5 5 15 15 11 14 17 9 16 20 10 10 4 3 6 11 5 MUSIC, OTHER 1 0 1 1 0 1 4 19 23 16 17 18 0 0 0 2 1 MUSIC MANAGEMENT 1 2 2 36 34 45 40 38 2 0 3 0 2 0 1 9 7 4 3 7 4 5 1 ENTREPRENEURSHIP/ ENTREPRENEURSHIP STUDIES 1 5 0 0 0 4 1 12 2 8 9 1 1 2 15 24 23 27 36 0 0 0 0 4 2 1 4 3 1 0 1 1 2 0 20 30 20 33 32 14 19 17 14 16 5 5 3 6 8 CAGR AAC STDV 8.2% -12.0% 7.5% 4.5% -16.6% 7.9% 1.7% 18.9% 12.9% -5.1% -5.4% -15.9% 3.2% 2.7% 5.7% 1.8 -1.0 4.5 2.3 -4.0 2.5 0.8 1.3 3.8 -1.5 -0.5 -1.3 0.5 0.3 0.3 8.1 3.2 12.2 14.5 11.8 3.0 9.7 3.5 6.3 4.0 2.9 2.6 2.9 6.4 4.2 -1.3% - -0.3 - 4.1 - 1.4% -24.0% -6.1% - 0.5 -0.5 -0.5 - 6.2 2.1 9 - 73.2% 24.5% -15.9% 12.5% 3.4% 12.5% 2.0 5.3 -0.3 3.0 0.5 0.8 7.8 4.1 1.9 9.1 3.2 1.9 Source: Pennsylvania Depatment of Labor and Industry, IPEDS, and Hanover Research © 2013 Hanover Research | Academy Administration Practice 12 Hanover Research | March 2013 SECTION II: L ABOR MARKET OUTLOOK This section of the report considers the employment outlook for the occupations most commonly associated with music entrepreneurship programs. We examine national employment projection data, as well as data for Pennsylvania and the surrounding region gathered from state labor departments. METHODOLOGY ACADEMIC PROGRAM-OCCUPATIONAL CROSSWALK In order to identify occupational groups that are associated with music entrepreneurship, the five academic program classifications specified in the previous section were matched to occupations using a degree-to-occupation crosswalk provided by the NCES. Using this matrix, Hanover identified several occupations related to music entrepreneurship. The Bureau of Labor Statistics (BLS) provides occupational profiles and employment projections for these occupations, classified by Standard Occupational Classification (SOC) codes.19 The descriptions of each occupational type were derived from the BLS’s Occupational Outlook Handbook.20 According to the CIP-to-SOC crosswalk, the following occupational classifications are associated with music- and entrepreneurship-related degrees: 19 20 “2010 SOC Major Groups.” BLS. http://www.bls.gov/soc/major_groups.htm Descriptions reproduced verbatim from: “Occupational Outlook Handbook (OOH), 2011-12 Edition.” BLS. http://www.bls.gov/ooh/ © 2013 Hanover Research | Academy Administration Practice 13 Hanover Research | March 2013 Figure 2.1: Music Entrepreneurship-Related SOC Codes CHIEF EXECUTIVES (11-1011) •Determine and formulate policies and provide overall direction of companies or private and public sector organizations within guidelines set up by a board of directors or similar governing body. Plan, direct, or coordinate operational activities at the highest level of management with the help of subordinate executives and staff managers. GENERAL AND OPERATIONS MANAGERS (11-1021) •Plan, direct, or coordinate the operations of public or private sector organizations. Duties and responsibilities include formulating policies, managing daily operations, and planning the use of materials and human resources, but are too diverse and general in nature to be classified in any one functional area of management or administration, such as personnel, purchasing, or administrative services. MANAGERS, ALL OTHER (11-9199) •All managers not listed separately. AGENTS AND BUSINESS MANAGERS OF ARTISTS, PERFORMERS, AND ATHLETES (13-1011) •Represent and promote artists, performers, and athletes in dealings with current or prospective employers. May handle contract negotiation and other business matters for clients. ART, DRAMA, AND MUSIC TEACHERS, POSTSECONDARY (25-1121) •Teach courses in drama, music, and the arts including fine and applied art, such as painting and sculpture, or design and crafts. Includes both teachers primarily engaged in teaching and those who do a combination of teaching and research. SECONDARY SCHOOL TEACHERS, EXCEPT SPECIAL AND CAREER/TECHNICAL EDUCATION (25-2031) •Teach students in one or more subjects, such as English, mathematics, or social studies at the secondary level in public or private schools. May be designated according to subject matter specialty. MUSIC DIRECTORS AND COMPOSERS (27-2041) •Conduct, direct, plan, and lead instrumental or vocal performances by musical groups, such as orchestras, bands, choirs, and glee clubs. Includes arrangers, composers, choral directors, and orchestrators. MUSICIANS AND SINGERS (27-2042) •Play one or more musical instruments or sing. May perform on stage, for on-air broadcasting, or for sound or video recording. © 2013 Hanover Research | Academy Administration Practice 14 Hanover Research | March 2013 OTHER DESCRIPTIONS OF MUSIC ENTREPRENEURSHIP OCCUPATIONS The Berklee College of Music provides the following additional definition of a Music Entrepreneur: A person who organizes, operates, and assumes the risk for a music business venture. Some common businesses started by music entrepreneurs are: recording studio facility, private teaching practice, performing band, booking agency, artist management, music retail, music publishing company, record label, etc.21 Additionally, the Berklee College of Music provides descriptions of careers in music across a variety of fields, including: performance, writing, business, audio technology, education, and music therapy. The following figure highlights the careers that Berklee identifies under its music business cluster. Although not all of the included positions are obviously related to music entrepreneurship, there are positions within each of the broad categories that may be pursued by an individual with experience in business or entrepreneurship. Figure 2.2: Positions and Salaries in the Music Industry, Business JOB TITLE Instrument Maker Instrument Repair Technician Piano Tuner Music Dealer – Sales Marketing/Advertising Specialist Music Instrument and/or Accessories Distributor Music Editor Notesetter Song Plugger (Sales Representative) Copyright/Licensing Administrator A & R Representative A & R Administrator Artist Relations Representative 21 ADDITIONAL INFORMATION MUSIC PRODUCTS Training or apprenticeship programs are required. Pay scale depends on the quality of the work, reputation, and amount of experience. Training or apprenticeship programs are required. Pay scale depends on the quality of the work, reputation, and amount of experience. Training or apprenticeship programs are required. Pay scale depends on the quality of the work, reputation, and amount of experience. Salary often tied to commissions. SALARY $15,000 - $65,000 $9 - $55/hour $100 – $185/tuning $13,000 - $50,000 Salary often tied to commissions. $28,000 - $116,000 Salary often tied to commissions. $19,000 - $75,000 MUSIC PUBLISHING English or Journalism degree helpful. Transcribes music and sound onto paper for other musicians to read and perform. Pitches compositions from their publishing house to artists and record companies to be recorded and performed. Manages all the exclusive rights related to a creative work. Business/law experience/education helpful. RECORD INDUSTRY Researches talent for the company to sign to recording contracts. Responsible for much of the clerical functions of the department. $27,000 - $85,000+ $25,000 - $65,000 Acts as a liaison between company’s artists and media, etc. $25,000 - $65,000+ $20,000 - $60,000 $15,000 - $50,000 $20,000 - $64,590 $20,000 - $60,000 “Careers in Music Business/Management.” Berklee College of Music. http://berklee.edu/careers/mbm.html © 2013 Hanover Research | Academy Administration Practice 15 Hanover Research | March 2013 JOB TITLE Regional Sales Manager Artist Manager Music Attorney Webmaster Digital Marketing Manager Website Content Producer International Department Booking Agent Tour Coordinator Road Manager Tour Publicist Advance Person Concert Promoter Concert Hall Manager Concert Hall Marketing Director Stage Manager ADDITIONAL INFORMATION Supervises the sale of the label's records to wholesalers and/or retail outlets in a specific region, creating sales campaigns and policies, and overseeing sales staff. Negotiates business relationships, advises on all business decisions, and guides creative directions for the performer they represent. Evaluates all legal issues concerning musicians, particularly issues with copyright, trademark, and contract negotiation. Designs and maintains the company’s website, dealing with site architecture and functionality. Communicates the value of a company to their customers through digital advertising channels like social media, websites, and email. Develops interesting and unique content for a label’s site including artist bios, stories about upcoming tours, announcements about new releases, and features about label artists. Oversees foreign sales and ensures effective communication between domestic and foreign affiliates CONCERT INDUSTRY Secures engagements for musical groups through building relationships with buyers (promoters, music clubs, festivals, performing arts centers). Researches and assembles tour details including travel, lodging, local services, hospitality, and budget. Supports artist on tour regarding travel, budget, merchandise sales, fan interaction, and press requests. In addition, enforces contract rider requirements for backline, sound system, and lighting setup with the venue. Announces an act's tour to both fans and the media through press releases, press conferences, and special promotions. Arrives ahead of the act on tour to prepare for a concert and assists the tour coordinator or road manager with details prior to the show. Details to confirm can include promotional material, tech needs, transportation, and hospitality. Manages all details of presenting a show (concert, club, festival) including scouting talent, marketing, fundraising, venue specs, hospitality, etc. Venue size and location influences position’s salary. Oversees all activities that happen in the facility. Duties include supervising all employees, financial accounting, advertising events, and in some cases securing talent. Develops advertising campaigns, creates marketing materials, and pitches to press outlets for their venue. Degree and/or experience with marketing, advertising, and public relations required. Supervises all technical needs for sound, lighting, electric, and staging both on stage and back stage. Communicates needs between artist and tech crew. © 2013 Hanover Research | Academy Administration Practice SALARY $35,000 - $85,000+ 10% - 50% of artist’s earnings $70,000 $150,000+ $28,000 $150,000+ $24,000 - $55,000 $28,000 - $75,000 Varies $20,000 $1,000,000+ Commissions range, typically 10% - 20% of the act’s gross income per show. $35,000 $175,000+ $25,000 $125,000+ $30,000 $100,000+ $25,000 - $48,000 $0 - $1,000,000 $26,000 - $90,000+ $25,000 $100,000+ $24,000 - $75,000+ 16 Hanover Research | March 2013 JOB TITLE Sound Technician Publisher or Editor of Music Books or Periodicals ADDITIONAL INFORMATION Working in a club, theater, concert hall, arena, performing arts center, the resident sound technician provides house sound and monitors for concerts/events. Also responsible for maintaining sound equipment. MUSIC COMMUNICATIONS Requires strong writing skills, a good contact network, and previous experience. Musicians/writers often start by writing for campus publications or by volunteering to cover events for smaller publications. Requires strong writing skills, a good contact network, and previous experience. Musicians/writers often start by writing for campus publications or by volunteering to cover events for smaller publications. Music Journalist Public Relations Specialist Music Blogger Administrative Assistant Development Associate Public Relations Executive Director Requires strong writing skills, a good contact network, and previous experience. Musicians/writers often start by writing for campus publications or by volunteering to cover events for smaller publications. Requires strong writing skills, a good contact network, and previous experience. Musicians/writers often start by writing for campus publications or by volunteering to cover events for smaller publications. NON-PROFIT ARTS ADMINISTRATION Typically, entry-level arts administration positions require organizational/interpersonal/computer skills, office work experience, and knowledge of music/arts. Previous fundraising experience is required. Experience in public speaking and database management are also necessary. These positions require relevant work experience, strong communication skills and computer skills. Salary is based on applicant’s qualifications and experience. Bachelor’s degree is required and a master’s degree is preferred. Often requires management and fundraising experience. Source: Berklee College of Music SALARY $27,000 - $65,000+ $24,000 - $100,000 $15,000 - $30,000; $50 - $150 for a review; $100 - $500 for a feature $25,000 - $200,000 $23,000 - $66,000 $20,000 - $35,000+ $36,000 - $55,000+ $30,000 - $75,000 $20,000 - $250,000 22 Finally, the Berklee College of Music provides a list of emerging career paths in the music business. As demonstrated in Figure 2.3, the majority of these positions are related to social media, digital marketing, or digital consumption of music. Figure 2.3: Emerging Career Paths in Music Business CATEGORY Social Media Digital Marketing 22       JOB TITLES Social Media Manager Macro and Micro Blogging Social Media Community Manager New Media Public Relations Mobile Marketing Integrated Marketing “Music Careers in Dollars and Cents 2012 Edition.” Berklee College of Music, pp. 5-9. http://www.berklee.edu/pdf/pdf/studentlife/Music_Salary_Guide.pdf © 2013 Hanover Research | Academy Administration Practice 17 Hanover Research | March 2013       Digital Media Branding and Sponsorship Streaming Music Source: Berkelee College of Music Content Acquisition SEO Coordinator Associate Brand Manager Audio Advertising Producer Label Relations Account Manager Strategic Advertising Account Manager 23 NATIONAL LABOR MARKET OUTLOOK Figure 2.4 below displays the 2010 employment figures and 2020 employment projections for eight occupations related to music and entrepreneurship. Nationally, careers for Music Directors and Composers (10.2 percent) and Musicians and Singers (10.1 percent) are projected to grow about as fast as the national average (14.3 percent). However, the managerial positions of General & Operations Managers and Managers, All Other are expected to see over 81,000 and 65,000 new jobs, respectively. The occupation of Secondary School Teacher is also projected to grow by nearly 72,000 positions, although this occupation is not as directly applicable to music entrepreneurship as the positions related to business. Figure 2.4: National Labor Market Outlook for Occupations Related to Music Entrepreneurship SOC CODE OCCUPATION 11-1011 11-1021 11-9199 Chief Executives General & Operations Managers Managers, All Other Agents & Business Managers of Artists, Performers, & Athletes 13-1011 EMPLOYMENT 2010 2020 BUSINESS 369,000 385,300 1,767,100 1,848,600 828,100 893,500 CHANGE 2010-2020 NUMBER PERCENT AVG. ANNUAL JOB OPENINGS 15,400 81,600 65,400 4.2% 4.6% 7.9% 11,150 41,010 24,940 27,500 3,400 14.1% 800 - - - - - 1,037,600 1,109,500 71,900 6.9% 35,560 MUSIC 93,200 176,200 102,800 194,100 9.600 17,900 10.2% 10.1% 3,220 6,070 24,100 EDUCATION 25-1121 25-2031 27-2041 27-2042 Art, Drama, & Music Teachers, Postsecondary Secondary School Teachers, Except Special & Vocational Education Music Directors and Composers Musicians and Singers Source: Bureau of Labor Statistics REGIONAL LABOR MARKET OUTLOOK Figure 2.5 on the following page include the labor market projections for the examined occupations within Pennsylvania, New York, and Ohio. Despite promising national projections, this regional examination reveals small increases or decreases in many of the 23 “Music Careers in Dollars and Cents 2012 Edition.” Berklee College of Music, p. 14. http://www.berklee.edu/pdf/pdf/studentlife/Music_Salary_Guide.pdf © 2013 Hanover Research | Academy Administration Practice 18 Hanover Research | March 2013 occupations. One of the occupations with the largest total projected growth in the national examination, General & Operations Managers, is expected to witness an overall decrease of over 1,600 in jobs by 2020, while other managerial positions will see less drastic declines or minimal growth. While managers of artists and performers are expected to increase significantly in New York, this occupation will only have 10 total new positions in Pennsylvania or Ohio. Finally, Pennsylvania had the smallest projected growth for the occupations of Music Directors & Composers and Musicians & Singers. Figure 2.5: Regional Labor Market Outlook for Occupations Related to Music Entrepreneurship SOC CODE OCCUPATION 11-1011 11-1021 11-9199 Chief Executives General & Operations Managers Managers, All Other Agents and Business Managers of Artists, Performers, & Athletes Art, Drama, & Music Teachers, Postsecondary Secondary School Teachers, Except Special & Vocational Education Music Directors & Composers Musicians & Singers 13-1011 25-1121 25-2031 27-2041 27-2042 11-1011 11-1021 11-9199 13-1011 25-1121 25-2031 27-2041 27-2042 11-1011 11-1021 11-9199 13-1011 25-2031 27-2041 27-2042 Chief Executives General and Operations Managers Managers, All Other Agents and Business Managers of Artists, Performers, and Athletes Art, Drama, and Music Teachers, Postsecondary Secondary School Teachers, Except Special and Career/Technical Education Music Directors and Composers Musicians and Singers EMPLOYMENT 2010 2020 PENNSYLVANIA 19,700 51,420 16,240 CHANGE 2010-2020 NUMBER PERCENT AVG. ANNUAL JOB OPENINGS 18,960 49,730 16,630 -740 -1,690 390 -3.8% -3.3% 2.4% 511 956 400 560 570 10 1.8% 12 3,670 4,040 370 10.1% 95 49,730 46,790 -2,940 -5.9% 1,360 3,680 5,830 NEW YORK 21,730 109,710 18,400 3,680 5,870 0 40 0.0% 0.7% 89 145 21,710 108,970 18,900 -20 -740 500 -0.1% -0.7% 2.7% 560 2,040 460 4,300 4,890 590 13.7% 140 10,250 11,750 1,500 14.6% 310 73,330 73,340 10 0.0% 2,010 8,080 13,820 OHIO 10,280 44,570 21,400 8,630 15,570 550 1,750 6.8% 12.7% 260 520 9,930 43,990 22,010 -350 -580 610 -3.4% -1.3% 2.9% 267 829 537 250 260 10 4.0% 6 33,290 33,250 -40 -0.1% 910 2,890 7,800 2,970 7,940 80 140 2.8% 1.8% 79 204 Chief Executives General and Operations Managers Managers, All Other Agents and Business Managers of Artists, Performers, and Athletes Secondary School Teachers, Except Special and Career/Technical Education Music Directors and Composers Musicians and Singers Source: Pennsylvania Department of Labor, Ohio Department of Job and Family Services, New York Department of Labor © 2013 Hanover Research | Academy Administration Practice 19 Hanover Research | March 2013 SECTION III: INSTITUTIONAL PROFILES This section of the report offers profiles of music entrepreneurship programs, including information about curriculum, program cost, and general program characteristics. This section contains information about the following two institutions:   Judson University The University of the Arts As previously noted, the Arts Entrepreneurship Educator’s Network reports all music entrepreneurship programs in higher education in the United States, and lists these as the only two institutions offering a bachelor’s degree in the subject. JUDSON UNIVERSITY PROGRAM CHARACTERISTICS Judson University is a private institution in Elgin, Illinois that offers a major in Music Business and Entrepreneurship.24 The program website notes that given the evolving nature of the music industry, aspiring musicians and managers are no longer required to work at major record labels to establish a career. The program “prepares students to be able to start their own small music business doing everything from creating a business plan to writing their own songs, recording them and marketing them.” CURRICULUM The program’s curriculum is designed to expose students to various elements of the music industry, including recording, marketing, artist promotion, management, and copyright law. Students enrolled in the Music Business and Entrepreneurship program must complete a variety of courses in music, music performance, music business, and business. Figure 3.1 on the following pages details the 65 credit course list required for the major. In completing these courses, students are given access to the new Music Computer Lab in the university’s Fine Arts Building. This Lab contains numerous resources, including: Clavinova pianos and Musical Instrument Digital Interface (MIDI) capability; Digidesign MIDI and recording modules; iMac computers and software such as Pro Tools, Garage Band, and Practica Musica; and the music notation and publishing software Sibelius. 24 “Music Business and Entrepreneurship.” Judson University. http://www.judsonu.edu/Undergraduate/Music/Music_Business_and_Entrepreneurship_Program/Music_Business_a nd_Entrepreneurship/ © 2013 Hanover Research | Academy Administration Practice 20 Hanover Research | March 2013 Figure 3.1: Course Sequence CODE MUS102-402 and MUS101/104401/404 CREDITS 16 TITLE Applied Piano and Either Applied Voice or Guitar (16: 4 x 4) (4 years of applied lessons) WOR142 3 Basic Audio/Video Production for Worship MUS143/146/150 4 Large Ensemble (4 years of ensemble) MUS151/152 6 Music Theory I & II MUS153/154 2 Sight Singing and Ear Training (Aural Skills) I & II WOR152 3 Worship Band Fundamentals MUS 173 3 Recording Techniques MUS174 3 MUS224 2 Introduction to Music Publishing & Copyright Introduction to Music Technology © 2013 Hanover Research | Academy Administration Practice DESCRIPTION Private instruction of the student in a specific musical instrument or voice, for freshmen and non-music majors, to include music majors on a non major instrument. One half-hour lesson is required each week for one hour credit; a full hour lesson for two hours credit. Public performance in a recital each term is mandatory. Adjudications by faculty committees at midterm and at the conclusion of each term. Basic Audio/Video Production for Worship will examine the rudiments of sound reinforcement, lighting, and projection, particularly as they are used in the contemporary church. Students will receive hands-on training on state-of-the-art equipment and classroom lectures from instructors that have been in the production field, both in and out of the Church, for many years. Participation in a university large music ensemble. Regular rehearsals and public performances are required. Membership is open to any student by permission of the director. Significant literature for each performance area is studied and performed. May be repeated. Students are permitted to apply up to four hours toward degree requirements; they are limited to two ensembles per semester. Note: Music majors must belong to at least one major performance ensemble (MUS143, 146 or 150) each term while in resident study. Membership in up to two organizations is allowed in a single term. Applied music. Faculty consent required. Systematic study of harmonic practice of 18th, 19th, and 20th century masters, including: fundamentals of musical notation and reading, intervals, triads, figured bass, and all diatonic and chromatically altered chords. Divided into four semesters. Must be taken in succession. A study and development of the aural skills in the experience of the student. A two semester course, one hour each term. A systematic study of the components of popular music, especially as they relate to contemporary Christian music and its subset, contemporary worship music. Students will review the fundamentals of melody, harmony, and rhythm; learn chord charts and lead sheets; and study the instrumental and vocal techniques featured in contemporary worship bands. Introduction to the equipment of the studio and its use, studio session procedures and recording production. Includes familiarization with multi-track recording, sequencing, synchronization, digital signal processing, computer based editing, and MIDI technologies. Music publishing as related to ownership and exploitation of music copyrights. Overview of copyright basics, licensing, and the process of music publishing from the creation of a song through its distribution. This course introduces the fundamental skills in digital music notation software and electronic scorewriting techniques. Course uses the Thompson Centre MIDI lab. 21 Hanover Research | March 2013 CODE CREDITS TITLE BUS250 3 Management Principles BUS255 3 Marketing Fundamentals PSY309 3 Interpersonal Relationships WOR320 3 Songwriting for Contemporary Worship BUS344 3 Personal Finance BUS347X 3 Business Communication BUS454 3 Entrepreneurship/ New Venture Management MUS473 2 Senior Music Business Project Source: Judson University DESCRIPTION Introduces the role of the administrator or manager in the business environment, emphasizing: interactions between the manager and superiors, subordinates and peers; the functions of planning, organizing, leading and controlling; and the administrative skills of communication, decision making, and team management. This course focuses on the application of internal financial data for use by management in decision making. Topics include forecasting, budgeting, cost control, quality control and performance evaluation. The study of personal relationships through the application of communication and conflict resolution theory and techniques and exposure to factors that contribute to successful relationships. Self-awareness on topics such as friendship, love and gender are used to promote understanding in interpersonal relationships. This course prepares students to analyze, critique, and write songs in the praise and worship genre utilized in contemporary worship. Emphasizes through in-class simulation the processes for handling real-life financial issues: major purchases, funding college education, and retirement. Challenges students to develop the discipline to make positive financial decisions and balance life priorities. This course integrates principles of oral and written communication with real-world business problems and opportunities to help students succeed in their chosen career fields. It enables the student to understand the foundations of business communication and to know how to plan, organize, compose and revise various forms of communication. Students will also prepare and deliver group presentations and participate in mock interviews. Covers the skills and business strategies necessary for creating a successful small business or professional practice. Additional topics include the characteristics of entrepreneurs, the analysis of the economic climate, techniques for identifying possible ideas, securing technical and financial help, and the skills required to manage a business in its early stages of growth. A business plan with team participation is required. A summation of past work plus the development of new work in the student's major field, culminating in a faculty-juried business plan presentation and faculty-juried public performance. Students will produce a record album and portfolio artifacts. Also includes cooperative work with other senior project students in artist relations, concert promotion and concert production. This is the capstone course for Music Business and Entrepreneurship. 25 25 [1] “Music Business and Entrepreneurship Courses.” Judson University. http://www.judsonu.edu/Undergraduate/Music/Music_Business_and_Entrepreneurship_Program/MBE_Courses/ [2] “Judson University Course Catalog.” Judson University. https://acadinfo.judsonu.edu/cgi-bin/public/crscatalog.cgi?cat=UG12&div=ALL © 2013 Hanover Research | Academy Administration Practice 22 Hanover Research | March 2013 CAREER PREPARATION Judson University suggests that the Music and Entrepreneurship program prepares graduates for employment along four occupational tracks: live performance, recorded music, music business, and interactive music.26 Organizations that require individuals for these positions include community theaters, professional orchestras, public and private high schools. Students are also prepared for self-employment in the music and performing arts industry. Figure 3.2 below provides examples of some typical careers for graduates of this program in the four occupational areas. Figure 3.2: Common Careers for Graduates, by Occupational Track CATEGORY Live Performance Recorded Music EXAMPLE CAREERS  Running live sound.  Organize and/or run a tour – road manager (buses, crew, production, etc).  Book, promote, and manage a concert event (promotion, marketing, ticketing, production, venue contracts, etc).  Create and perform own music in live settings.  Recording Technology in the studio and live CATEGORY Music Business Interactive Music EXAMPLE CAREERS  Management  Booking agent  Music publishing – acquisition of copyrights, management of copyrights, performing rights organizations  Record companies – from a major label to the man independent labels or starting a new label  Interactive, online companies are hiring music graduates. Source: Judson University TUITION Traditional undergraduate tuition is $26,750 per year.27 THE UNIVERSITY OF THE ARTS PROGRAM CHARACTERISTICS The University of the Arts (UArts) in Philadelphia, Pennsylvania offers a Bachelor of Science in Music Business, Entrepreneurship and Technology (BS BMET) through its School of Music in the College of the Performing Arts. UArts launched the new program in fall 2012 after the successful establishment of a minor in Music Business, Entrepreneurship and Technology in 2010.28 26 “Careers.” Judson University. http://www.judsonu.edu/Undergraduate/Music/Music_Business_and_Entrepreneurship_Program/MBE_Careers/ 27 “Tuition & Fees 2013-2014.” Judson University. http://www.judsonu.edu/Admissions/Undergraduate/Financial_Aid/Tuition___Fees/ 28 “University's School of Music Adds Business, Entrepreneurship and Technology in Music Minor.” The University of the Arts, April 15, 2010. http://www.uarts.edu/news/2010/04/universitys-school-music-adds-businessentrepreneurship-and-technology-music-minor © 2013 Hanover Research | Academy Administration Practice 23 Hanover Research | March 2013 Similar to Judson University, the program website at UArts notes that “the task of recording, producing, mixing, financing, marketing, and promoting music is becoming more entrepreneurial than corporate.” 29 In response, this program utilizes interdisciplinary coursework to prepare graduates with current and comprehensive skills for employment in the music industry. The Bachelor of Science in Business, Entrepreneurship, and Technology in Music prepares graduates who:           Possess essential business knowledge in the foundational areas of marketing, communications, and business, contract, and entertainment law; Possess essential music business knowledge in intellectual property, music licensing, media markets, and event production and management; Possess technological skills in audio production, recording, live reinforcement, digital distribution, and web/interface design; sound Possess foundational music knowledge and competencies, the understanding of music form and structure, and critical listening and assessment skills; Possess advanced writing and presentation skills; Have engaged in entrepreneurial activities relative to the production, marketing, and distribution of music and other performance and art media; Understand e-commerce and be able to identify and use emerging technologies; Collaborate and partner with other University students and departments, as well as professional organizations; and Be information literate, aware, resourceful, and problem-solving critical thinkers; Use all of the above as the basis for creative and innovative output.30 CURRICULUM The following courses comprise the major requirements of the BS BMET at UArts. In total, these courses amount to 64 credit hours. Students are also offered electives in Business & Entrepreneurship and Technology & Application.      Introduction to Advertising Business Planning and Practices Introduction to Interface Design Music Technology Survey Music Skills I      Media Industries BET Project Music Technology Survey Music Skills II Live Sound Production II 29 “Music Business, Entrepreneurship, and Technology; Bachelor of Science.” The University of the Arts. http://catalogue.uarts.edu/preview_program.php?catoid=10&poid=1509 30 Bulleted points taken verbatim from: Ibid. © 2013 Hanover Research | Academy Administration Practice 24 Hanover Research | March 2013           Live Sound Production Music Skills III Recording I Business of Music Business Fundamentals for the Artist/ Entrepreneur Music Skills IV Recording II Music Internship Storytelling Music Explorations: From Beethoven to Buckets As previously noted, the curriculum of the BS BMET program draws on courses from a variety of disciplines. The following figure displays the course distribution according to subject category. Business and entrepreneurship courses comprise 20 percent of the overall curriculum. Figure 3.3: Course Distribution Liberal Arts 5% 12% 33% Business and Entrepreneurship Elective 13% Technology and Application Creative (Music) 17% 20% Capstone Source: The University of the Arts 31 Appendix A.2 includes the complete course sequence along with course descriptions for the Bachelor of Science in Music Business, Entrepreneurship and Technology. CAREER PREPARATION UArts requires students enrolled in the BS MBET program to complete an internship for credit during the academic year. Several organizations or individuals involved in the music industry may offer internships to UArts students, including recording studios, radio stations, arts organizations, music publishers, entertainment attorneys, music therapists, and record producers.32 31 32 “Course Inventory.” The University of the Arts. http://www.uarts.edu/music/MBET/course-inventory “Music Business, Entrepreneurship, and Technology; Bachelor of Science.” Op. cit. © 2013 Hanover Research | Academy Administration Practice 25 Hanover Research | March 2013 In addition to career preparation through internship opportunities, UArts offers courses that culminate in “projects maximizing career portfolio strategies.”33 TUITION Full-time undergraduate tuition at UArts is $34,840 per year.34 33 34 Ibid. “Tuition & Fees.” The University of the Arts. http://www.uarts.edu/admissions/tuition-fees © 2013 Hanover Research | Academy Administration Practice 26 Hanover Research | March 2013 APPENDIX Figure A.1: List of Pennsylvania Local Workforce Investment Areas LOCAL WORKFORCE INVESTMENT AREA BERKS COUNTY BUCKS COUNTY CENTRAL WIA CHESTER COUNTY DELAWARE COUNTY FAYETTE-WESTMORELAND WIA LACKAWANNA COUNTY LANCASTER COUNTY WIA LEHIGH VALLEY WIA LUZERNE-SCHUYLKILL COUNTIES WIA MONTGOMERY COUNTY WIA NORTH CENTRAL WIA NORTHERN TIER WIA NORTHWEST WIA PHILADELPHIA COUNTY WIA POCONO COUNTIES WIA SOUTH CENTRAL WIA © 2013 Hanover Research | Academy Administration Practice COUNTIES Berks County Bucks County Centre Clinton Columbia Lycoming Mifflin Montour Northumberland Snyder Union Chester County Delaware County Fayette Westmoreland Lackawanna County Lancaster County Lehigh Valley Luzerne Schuylkill Montgomery County Cameron Clearfield Elk Jefferson McKean Potter Bradford Sullivan Susquehanna Tioga Clarion Crawford Erie Forest Venango Philadelphia County Carbon Monroe Pike Wayne Adams Cumberland 27 Hanover Research | March 2013 LOCAL WORKFORCE INVESTMENT AREA COUNTIES Dauphin Franklin Juniata Lebanon Bedford Blair Cambria Fulton Huntingdon Somerset Beaver Greene Washington Allegheny County Armstrong Butler Indiana SOUTH ALLEGHENIES WIA SOUTHWEST CORNER WIA THREE RIVERS WIA TRI-COUNTY WIA Source: Pennsylvania Department of Education 35 Appendix A.2: Map of Pennsylvania Local Workforce Investment Areas Source: Pennsylvania Department of Education 35 “ABLE Providers.” Pennsylvania Department of Education. http://www.portal.state.pa.us/portal/server.pt/community/find_programs/9081 © 2013 Hanover Research | Academy Administration Practice 28 Hanover Research | March 2013 Figure A.3: Degree Completions Related to Music Entrepreneurship in Pennsylvania COUNTY Adams County Allegheny County Allegheny County Beaver County Berks County Berks County Bucks County Butler County Centre County Chester County Chester County Chester County Clarion County Clinton County Columbia County Crawford County Cumberland County Cumberland County Delaware County Delaware County Delaware County Erie County Erie County Indiana County Lackawanna County Lancaster County Lancaster County Lancaster County Lawrence County Lehigh County Lehigh County Lycoming County Mercer County Montgomery County INSTITUTION 2007 2008 MUSIC, GENERAL (50.0901) Gettysburg College 6 7 Chatham University 4 5 University of Pittsburgh11 10 Pittsburgh Campus Geneva College 5 3 Albright College 4 2 Kutztown University of 15 13 Pennsylvania Philadelphia Biblical 10 5 University-Langhorne Slippery Rock University of 40 21 Pennsylvania Pennsylvania State University16 22 Main Campus Immaculata University 5 6 Lincoln University of 1 2 Pennsylvania West Chester University of 41 49 Pennsylvania Clarion University of 9 6 Pennsylvania Lock Haven University 1 3 Bloomsburg University of 14 18 Pennsylvania Allegheny College 7 6 Dickinson College 3 3 Messiah College 6 7 Cheyney University of 1 Pennsylvania Eastern University 25 12 Swarthmore College 5 4 Edinboro University of 9 9 Pennsylvania Mercyhurst College 7 5 Indiana University of 63 53 Pennsylvania-Main Campus Marywood University 1 Elizabethtown College 4 6 Franklin and Marshall College 4 2 Millersville University of 20 23 Pennsylvania Westminster College 6 8 Cedar Crest College 0 1 Muhlenberg College 18 8 Lycoming College 9 6 Grove City College 3 8 Arcadia University - © 2013 Hanover Research | Academy Administration Practice 2009 2010 2011 CAGR 8 0 8 1 12 3 18.9% -6.9% 11 13 14 6.2% 5 2 2 4 5 4 0.0% 0.0% 20 30 22 10.0% 9 7 6 -12.0% 26 25 33 -4.7% 32 27 31 18.0% 14 12 9 15.8% 2 2 1 0.0% 60 62 46 2.9% 6 7 6 -9.6% 3 1 5 49.5% 11 4 18 6.5% 3 4 5 5 3 13 4 5 2 -13.1% 13.6% -24.0% 2 - 1 - 18 10 14 2 10 4 -20.5% -5.4% 8 7 11 5.1% 6 2 5 -8.1% 43 44 55 -3.3% 7 5 9 5 7 2 15.0% -15.9% 18 23 29 9.7% 12 0 23 1 8 - 3 0 24 5 7 - 1 2 11 5 9 1 -36.1% -11.6% -13.7% 31.6% - 29 Hanover Research | March 2013 COUNTY Montgomery County Montgomery County Northampton County Northampton County Northampton County Philadelphia County Philadelphia County Philadelphia County Snyder County Tioga County Union County Washington County Westmoreland County Westmoreland County York County Allegheny County Allegheny County Beaver County Cumberland County Delaware County Lawrence County Mercer County Beaver County Clarion County Lebanon County Mercer County Philadelphia County Tioga County Allegheny County Allegheny County Allegheny County Cumberland County Delaware County Erie County Greene County Huntingdon County Lackawanna County INSTITUTION Bryn Mawr College Haverford College 2007 1 4 2008 3 3 2009 2 3 2010 2 1 2011 2 7 CAGR 18.9% 15.0% Lafayette College 3 6 7 4 7 23.6% Lehigh University 6 7 4 5 7 3.9% 17 16 20 23 20 4.1% 1 5 4 7 5 4 6 1 2 8 8 1 4 8 7 0 3 5 8 -12.0% 5.7% 3.4% 24 22 35 33 39 12.9% 7 8 5 6 5 -8.1% 5 2 2 3 0 -100.0% Saint Vincent College 1 1 1 3 0 -100.0% Seton Hill University 3 2 5 8 5 13.6% York College Pennsylvania 5 2 2 MUSIC, OTHER (50.0999) Carnegie Mellon University 2 1 0 Duquesne University 17 22 16 Geneva College 1 0 1 Messiah College Eastern University 1 Westminster College Grove City College 0 0 0 MUSIC MANAGEMENT (50.1003) Geneva College Clarion University of 1 2 2 Pennsylvania Lebanon Valley College 9 7 4 Grove City College 3 0 2 Drexel University 36 34 45 Mansfield University of 4 5 1 Pennsylvania ENTREPRENEURSHIP/ENTREPRENEURIAL STUDIES (52.0701) Carnegie Mellon University 3 8 5 Duquesne University 17 22 15 Robert Morris University 0 Messiah College 0 0 0 Eastern University 0 0 Gannon University 0 Waynesburg University 0 1 1 Juniata College 2 1 4 University of Scranton 0 0 0 5 4 -5.4% 1 16 0 1 1 2 16 4 1 0 1 0.0% -1.5% - 2 0 - - - - 3 0 40 7 1 38 -6.1% -24.0% 1.4% - - - 10 23 0 0 2 3 0 10 22 1 4 0 1 0 35.1% 6.7% - Moravian College and Moravian Theological Seminary Chestnut Hill College Temple University University of Pennsylvania Susquehanna University Mansfield University of Pennsylvania Bucknell University Washington & Jefferson College © 2013 Hanover Research | Academy Administration Practice -15.9% - 30 Hanover Research | March 2013 COUNTY Luzerne County McKean County Mercer County Philadelphia County Philadelphia County Snyder County Westmoreland County York County INSTITUTION Wilkes University University of PittsburghBradford Grove City College Temple University University of Pennsylvania Susquehanna University 2007 1 2008 12 2009 2 2010 8 2011 9 CAGR 73.2% - 1 1 - 2 - 14 15 1 19 24 5 17 23 - 14 27 - 16 35 1 - 3.4% 23.6% - Seton Hill University 5 5 3 6 8 12.5% York College Pennsylvania - 0 0 0 3 - Source: IPEDS © 2013 Hanover Research | Academy Administration Practice 31 Hanover Research | March 2013 Figure A.4: Bachelor of Science in Music Business, Entrepreneurship, and Technology – The University of the Arts36 CODE CREDITS TITLE CMMC 124 3 Introduction to Advertising CMMC 353 3 Media Industries IDES 501 3 Business Planning and Practices MBET 495 3 BET Project MMDI 111 3 Introduction to Interface Design 36 DESCRIPTION MAJOR REQUIREMENTS (64 CREDITS) This course introduces students to a history of advertising in order to provide a context for current trends and themes; they will learn about the unique characteristics, strengths and weaknesses of the different tactics and vehicles that make up the current marketing mix. They will learn the different jobs within advertising agencies, what they do, what their responsibilities are, and how they work with others. This course investigates the range of organizations and economic forces involved in media production. Includes diverse production models, from mainstream and corporate, to public sector, to alternative, and comparisons with media industries in other cultural settings. The course focuses on business and policy issues and considers examples of media practice from broadcast and cable news, advertising, Hollywood and independent cinema, public media, and new media industries. The course includes a final research project. Based on the principles of human-center design, this course introduces students in the arts and media to the principles of business - idea development, marketing, finances, and presentation skills - and develops competencies in strategic thinking problem solving, goal setting, time management, presentation skills, business writing, and financial literacy. Over the course of the semester students research, develop and prototype their ideas forming them into viable ventures. The course also introduces students to the various organizational structures used in business - small and large, start-up and established. The course culminates with public presentations and judging with the best proposals being eligible for a venture grant or participation in a summer incubator program. This is a required capstone course for all students in the Music Business, Entrepreneurship and Technology Program. With the help of an instructor, students select a project of particular relevance and interest and can work individually or as a team. Projects can be built across colleges, schools and departments and can include areas such as event production and promotion, project creation and distribution and ensemble tour construction and management. The software interface represents the focal point of user interaction with the various modes of multimedia communication. Readings by interface theorists inform discussions on the evolution of the software interface, conceptual models, prototypes, interaction design, deliverables, and basic concepts of human-computer interaction. Avenues for pursuing interactive media design in entertainment, publishing, and education are also addressed. Current technologies, including the trend from soft to hard interfaces are studied, in terms of their potential short- and long-term influence on communication and multimedia. Basic methods for rapid prototyping and testing are considered. “Music Business, Entrepreneurship, and Technology; Bachelor of Science.” The University of the Arts. http://catalogue.uarts.edu/preview_program.php?catoid=10&poid=1509 © 2013 Hanover Research | Academy Administration Practice 32 Hanover Research | March 2013 CODE CREDITS TITLE MUNM 256 3 Music Explorations: From Beethoven to Buckets MUSC 161 and MUSC 162 2 Music Technology Survey MUSC 163 3 Music Skills I MUSC 164 3 Music Skills II MUSC 260 1 Live Sound Production MUSC 261 1 Live Sound Production II MUSC 263 3 Music Skills III MUSC 264 3 Music Skills IV DESCRIPTION An introductory course to a number of musical styles, e.g. classical, jazz, gospel, rock, Brazilian, with special focus on musical styles that reflect the mission of the School of Music, CPA and the University. Emphasis will be placed on experiencing music through multiple frames: listening, creating, discussing, writing and assessing. The syllabus will integrate performers from UArts, area universities, and Philadelphia professional venues, as well as guest speakers into course experiences and requirements. Elements of music, including form, composition, texture, intensity and so forth, will serve as unifying for approaching diverse repertoire. Provides students with a working knowledge of music technology practices, definitions, and concepts. Through both lecture and lab classes, students become familiar with a cross-section of hardware and software currently in use by the school and working professionals. Music Skills I is the first in a sequence of courses designed to familiarize the student with fundamental aspects of music theory, form, structure, harmony, and melody, and to develop cognitive and aural skills. Students are introduced to the piano keyboard and begin to develop basic technique while using the keyboard as a source for visualization of harmonic and melodic structure. Music Skills II is a continuation of Music Skills I. This is a sequence of courses designed to familiarize the student with fundamental aspects of music theory, form, structure, harmony, and melody, and to develop cognitive and aural skills. Students are introduced to the piano keyboard and begin to develop basic technique while using the keyboard as a source for visualization of harmonic and melodic structure. This course will explore the technology and techniques necessary to produce concerts and live events from the perspective of the venue or theatre. Primary focus will be on audio: including discussions on signal flow, signal processing, live mixing, microphones and live recording. This course will introduce an over-arching set of techniques and principles, utilizing the Caplan Recital Hall’s state of the art digital mixing equipment as a “lab” for hands-on exploration. A continuation of the processes and technologies used in Live Sound Production I. This course will continue to explore recording techniques and principles, utilizing the Caplan Recital Hall’s state of the art digital mixing equipment as a “lab” for hands-on exploration. Students will be expected to investigate multiple solutions and sound designs for live concerts through research in industry practices. This course is a continuation of Music Skills II with more advanced study in Music Theory, form, structure, aural skills, and musical genres, styles and interpretations. Piano techniques are enhanced, along with the ability to recognize and describe tonality and changes in timbre, rhythm, pitch, and harmony. Music Skills IV is a continuation of Music Skills III. This fourth semester of Music Skills continues with more advanced music theory, scales, chords, harmonies, rhythm, melodies, form and structure, ear training, piano technique, chord melodies, instruments and instrument groups, and introduces compositional form and techniques. © 2013 Hanover Research | Academy Administration Practice 33 Hanover Research | March 2013 CODE MUSC 461 and MUSC 462 CREDITS TITLE DESCRIPTION 4 Recording I A study of the recording process and the many facets of the recording studio. Designed to familiarize the student with conventional and creative recording techniques through practical experience in the studio. MUSC 481 2 Business of Music MUSC 499 1-3 Music Internship 3 Business Fundamentals for the Artist/ Entrepreneur UA 181 WRIT 141 3 Storytelling CMMC 221 3 Advertising: Creative Concepts I CMMC 322 3 Advertising: Creative Concepts II Examination of the legal, practical, and procedural problems encountered by the practicing musician. Specific course content includes the study of music publishing, recording contracts, and copyright and intellectual property rights issues. An opportunity to participate in a workplace environment during the academic year. Students earn internship credit by completing a minimum number of hours in the field during the semester, and by satisfying the requirements of the sponsor, such as attendance, punctuality, responsibility, professionalism, tasks completed. Students may be assigned to recording studios, radio stations, arts organizations, or with music publishers, entertainment attorneys, music therapists, or record producers. A survey of basic business tools and practices designed to meet the specialized needs of individual creative and performing artists functioning within the private enterprise system. Units covered include marketing, fundraising and grant writing, record-keeping, taxes, financial decision-making, and legal issues in the arts. An exploration of the nature, use and practice of storytelling. The course encourages students to consider how various forms of narrative - from ad campaigns, greeting cards, and political campaigns to movies and rap music - convey stories and ideas; how oral, pictorial, and written narratives differ; and how medium affects narrative. Creative exercises in a range of media help students reflect on the many ways that a narrative can be manipulated and exploited to powerful effect. BUSINESS & ENTREPRENEURSHIP ELECTIVES (6 CREDITS) Whether an advertisement appears in print, on television or radio, or on the Internet, it is built around an idea. Students learn to recognize and create strong advertising ideas that are relevant to the product and the audience, with an emphasis on print advertising. Students learn how to allow their creativity to be guided by strategy. Students are exposed to outstanding creative work and readings in their texts and from studying professional work. They then apply these principles as they create advertising of their own. Having learned how to create strong individual concepts, students create broader and deeper concepts that can form the basis for a number of ads and learn how to execute an idea in more than one medium. The course begins by examining award-winning print campaigns in order to recognize suitable ideas for multi-ad campaigns; to identify elements and themes and their grounding in research; and to understand the consumer. The course then examines how interactive media are being used to build customer relationships and brand identities, and explores the strategic functions of these new media. Students develop storyboards for a product or service that reinforces that product’s existing brand personality. © 2013 Hanover Research | Academy Administration Practice 34 Hanover Research | March 2013 CODE CREDITS TITLE CMMC 324 3 Introduction to Public Relations MMDI 319 3 Innovation & Entrepreneurship MUSC 482 2 Careers in Music CMMC 205 3 Webcasting CMMC 206 3 Webcasting II MMDI 202 3 Web Design Studio DESCRIPTION This course explores the fundamentals of public relations, viewed as a marketing communications tool, with special attention to its role in the non-profit sphere. The course reviews the functions of a wide range of marketing communications tools and explores how PR can be used in conjunction with them to achieve an organization’s objectives, helping students to come to understand the role of public relations in the overall marketing communications plan. Students learn how to coordinate messages in order to allow the company to speak with one voice and reinforce one overall corporate identity, with special attention to social marketing and the public. A series of projects culminates in students developing a public relations proposal for a non-profit organization. Both the business world and the arts are built on continuous innovation. This course will identify common principles and divergent processes in these highly competitive arenas and look for a shared language to facilitate collaboration between them. Students will use a case study model for the analysis and synthesis of new ideas. Students will be expected to identify and construct fruitful ideas with which to proceed and then to apply market, operation/technological and economic metrics to them. A study in the career options available to musicians and the knowledge and craft necessary for the successful recognition and exploitation of these opportunities. TECHNOLOGY & APPLICATION ELECTIVES (6 CREDITS) Webcasting is a production workshop that introduces students to the world of streaming media (audio and video transmitted over the Internet). The course balances the technical elements of Webcasting with the creative aspects of content production, distribution, and community. Students work in teams and individually to produce pre-recorded and original material for archives and live Webcasts. WEBCASTING II is a production workshop that offers an advanced level of media production methods for different online distribution methods. Students will learn to develop all aspects of interactive streaming, from media production, to server configuration, to front-end programming and social networking. The course will focus more on the technology rather than the content. We will be experimenting with various new technologies such as FLASH Movies, JAVA based players, and Video LAN. We will also be incorporating alternative input devices for the streaming part of the class such as wireless video cameras, simple FLASH-based animation, and other methods that expand the type of streaming experience that can be created The World Wide Web is a medium where anyone with an Internet connection can view and interact with websites. This course focuses on the creation of such sites through concepts and practical application of interactivity. Comprised of both lecture and practical exercises. Individual creativity is stressed as well as understanding and use of interactive devices in the communication of ideas. Both collaborative and individual exercises are assigned. © 2013 Hanover Research | Academy Administration Practice 35 Hanover Research | March 2013 CODE CREDITS TITLE MMDI 301 3 Interactive Installation MMDI 350 3 MUCP 322 2 MUCP 363 2 MUSC 460 3 MUSC 465 2 MUSC 467 2 DACR 150 3 Contemporary Issues Media & Technology Analysis and Composition of Commercial Music MIDI Orchestration Introduction to MIDI and Electronic Technology Digital Music Production 1 Digital Music Production 2 Contemporary Art Practices DESCRIPTION The course deals with the experience of producing complete multimedia installation works in a project-based environment focusing on interactive sound and video. Lectures and meetings augment this studio course. Individual creativity is stressed as well as collaboration in the creation of works through individual and group projects. Assignments vary in scale, and focus on appropriate planning and information architecture, as well as acquisition and creation of content in various media. Authoring environments used include but are not limited to MAX MSP, Isadora, and Macromedia Director. Previously introduced concepts and technology are re-explored with an emphasis on integration and effectiveness in the communication of the concept of the piece. A seminar course focusing on the current trends and issues of media and technology. Lectures, discussions, readings, research and writing constitute the body of this course. In addition to current trends, the process of developing the media and technology of tomorrow is also addressed. An examination of compositional techniques used in pop songs, jingles, soundtracks, and underscores for radio, TV, records, films, shows, and industrials. Students investigate the ways in which music serves to enhance the overall goals of the product or project. Musical analysis serves to demonstrate how each style is created. Students produce their own musical compositions in each media context. The goal of this course is to learn to create convincing emulations of acoustic musical performances using virtual instruments. After an examination of the qualities and roles of all of the instruments and orchestral sections, students will develop skills in MIDI orchestration and mixing for the virtual orchestra. A detailed “hands-on” examination of the use of computers in the present-day composition environment. The course includes the uses of a computer, the language of MIDI, sequencing, audio sampling, analog, digital, and other forms of synthesis, and a survey of currently available music software. Strategies and technology of scoring and synchronizing to the visual image is emphasized through a final project. No prior computer or synthesis experience is needed. Students will develop an advanced understanding of MIDI, sequencing, and digital audio through the integration of in-class demonstrations, lectures, and hands-on projects and activities. This course covers advanced recording, editing, mixing, and producing music using professional digital audio software and hardware. Students will be required to complete numerous technical and creative projects, applying their skills learned. DISCIPLINE HISTORY (9 CREDITS) In this course, the ever-expanding field of contemporary art will be explored to include dance and performance through the lens of practice. Students will learn to look for and recognize shared aesthetic values and relationship within and across varying disciplines. Students will immerse themselves in screenings of video work and seek out as many pertinent performances/exhibitions as possible throughout the course. © 2013 Hanover Research | Academy Administration Practice 36 Hanover Research | March 2013 CODE CREDITS TITLE MUSC 351/MUSC 352 3 Music History I/Music History II MUSC 353 3 History of Rock Music MUSC 451 3 Jazz History MUSC 452 3 American Music History MUSC 453 3 World Music 3 Musical Theater History I/ Musical Theater History II THEA 353/THEA 354 DESCRIPTION Designed to define the major style periods from Greek times to the present in terms of their philosophies, accomplishments, and interrelationships. Composers, performers, and theorists are examined in the context of musical literature with emphasis upon styles, forms, and techniques of composition as they evolve and change. The sequence puts into historical perspective the materials presented in the Music Theory courses. Through listening assignments, students are expected to further develop their aural skills and knowledge of musical literature. This course investigates the History of Rock from its inception in the 1950s to the present. It begins with the important antecedents of Rock and Roll and then historically traces the various styles that evolved from that time to the present. There are live demonstrations and illustrations by guests in class. Study of jazz from its African and European roots through its emergence at the turn of the twentieth century as a unique and distinctive American art form. The various styles of jazz are studied (ragtime, New Orleans Dixieland, Chicago style, swing, bebop, cool, hard-bop, freeform, third stream), including their effect on the popular music with which jazz has coexisted. The course includes in-depth study of the primary exponents of the various styles. Audio and video materials are used to provide students with a better understanding of jazz and its influences on the music. The development of both classical and popular American musical styles from the 17th to the 20th century. Recordings and films as well as in-class performances help bring to life the music from our American past. Students gain a clear understanding of the social, historical, and musical time line that evolved into our current musical environment. Covers the classical and folk music of various countries in Asia, Indonesia, the Middle East, Africa, and the Western Hemisphere. Two-semester survey of the history of the American musical theater in the 19th and 20th centuries. Students develop insight into the writers, performers, and theater artists who created the legacy of the musical theater in America, and examine representative works from a variety of periods. Students undertake research projects focusing on major performers, writers, directors, and choreographers. Artists and their work are studied in print and on audio and video recordings. © 2013 Hanover Research | Academy Administration Practice 37 Hanover Research | March 2013 PROJECT EVALUATION FORM Hanover Research is committed to providing a work product that meets or exceeds member expectations. In keeping with that goal, we would like to hear your opinions regarding our reports. Feedback is critically important and serves as the strongest mechanism by which we tailor our research to your organization. When you have had a chance to evaluate this report, please take a moment to fill out the following questionnaire. http://www.hanoverresearch.com/evaluation/index.php CAVEAT The publisher and authors have used their best efforts in preparing this brief. The publisher and authors make no representations or warranties with respect to the accuracy or completeness of the contents of this brief and specifically disclaim any implied warranties of fitness for a particular purpose. There are no warranties which extend beyond the descriptions contained in this paragraph. No warranty may be created or extended by representatives of Hanover Research or its marketing materials. The accuracy and completeness of the information provided herein and the opinions stated herein are not guaranteed or warranted to produce any particular results, and the advice and strategies contained herein may not be suitable for every member. Neither the publisher nor the authors shall be liable for any loss of profit or any other commercial damages, including but not limited to special, incidental, consequential, or other damages. Moreover, Hanover Research is not engaged in rendering legal, accounting, or other professional services. Members requiring such services are advised to consult an appropriate professional. © 2013 Hanover Research | Academy Administration Practice 38 Hanover Research | March 2013 1750 H Street NW, 2nd Floor Washington, DC 20006 P 202.756.2971 F 866.808.6585 www.hanoverresearch.com © 2013 Hanover Research | Academy Administration Practice 39