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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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/
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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Hanover Research | March 2013
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© 2013 Hanover Research | Academy Administration Practice
39
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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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
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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.
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Hanover Research | March 2013
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