Chris Reali, Moderator
1:15 - Music Streaming: Can the Spotify Model Survive?
1:45 - From Vinyl to Streaming: The Impact of Nostalgia on Music Consumption in the Digital Age

Music Streaming: Can the Spotify Model Survive?
  Yvan J. Kelly, Flagler College
Spotify was created in 2006 as a service to provide a legal method for streaming music. It quickly established itself as a market leader early in the streaming era. Despite being the industry leader, after seventeen years of operation the firm was still not profitable. Arrangements with music rights holders had forced the firm to operate on small margins and their expenses were not tightly controlled. Other firms, seeing possible profit opportunities, entered into the streaming market which added to Spotify’s profitability challenges. Spotify’s market share dropped with the increased competition, despite having an increased number of subscribers. In its efforts to become profitable, the company lowered expenses by cutting staff and also used a loophole to reduce payments to music rights holders. Further, the firm raised prices in an effort to increase revenues. A calculation of Spotify’s elasticity of demand in the U.S. reveals that their options for continuing price increases in the future are limited. Facing increased competition along with limitations on pricing, Spotify will find it increasingly difficult to be profitable as the streaming market becomes saturated. Efforts to diversify into new areas of revenue as well as new markets are being attempted by the company, however, questions remain about the prospects of the long-term profitability and viability of Spotify.

From Vinyl to Streaming: The Impact of Nostalgia on Music Consumption in the Digital Age
  Jeff Apruzzese, Drexel University
This paper presentation investigates how nostalgia influences music consumption in an era dominated by digital streaming, examining why some listeners maintain a preference for physical formats like vinyl and CDs despite the convenience of digital platforms. Using survey data from over 500 participants, the research reveals that nostalgia plays a significant role in shaping format preferences but does not solely account for the resurgence of physical media. This phenomenon is often driven by fandom and commodification strategies within the music industry, as seen in sales trends where legacy artists and current pop icons dominate vinyl sales.
The study sheds light on the complex interplay of emotional, sensory, and cultural factors in music consumption, offering insights into the lasting appeal of analog formats. Findings underscore the importance of understanding nostalgia as an influential factor in the music industry’s marketing strategies and the development of pedagogical approaches in music education. This paper will be relevant to academics, industry professionals, and educators looking to explore the role of nostalgia in contemporary music consumption.

Jessica Muñiz-Collado, Moderator
1:15 - AI Music Generators in Music Industry Curriculum
1:45 - Practical Music Theory for the Music Industry Student

AI Music Generators in Music Industry Curriculum
  Benom Plumb, University of the Pacific
Benom Plumb gives a presentation about incorporating AI music generators, particularly Suno and Udio, into Music Industry Studies curriculum. The research focuses on the results of an assignment titled, “Create an AI Song!”, from Plumb’s MMGT 11: Introduction to Music Business course at University of the Pacific from the Fall 2024 semester. Of particular interest are the resulting positives and negatives, student conclusions, and creative outputs of AI music generators, Suno and Udio. The sample size of the research information is derived from a class of 50+ students that includes music industry majors and non-music majors. The research conclusions are unique because of this mix of creative and non-creative students (due to the course being offered as a General Education requirement at Pacific). Plumb offers insight for curriculum development in the fast-paced world of artificial intelligence as it relates to student learning outcomes—and connecting those experiences to current event impacts and the legal challenges brought by major music companies against Suno and Udio.

Practical Music Theory for the Music Industry Student
  Charles Brooks, University of North Alabama
After 25 years of teaching music to middle school students, high school students, college students, and some industry professionals, I find that almost all people who take up music have issues understanding music theory as a form of study. Music is a language and learning how to use a new language is very difficult. Many music industry students wind up leaving the industry and music altogether because of the perception that understanding music theory is mysterious and daunting, far too daunting to unravel. The fact is this is just not true. When stripped down to its bare essentials, the building blocks of music can be very straightforward and easy to understand. So, that’s what my book: A Practical Guide To Understanding Music Theory is dedicated to accomplishing. It gives the music industry student music theory in a way that’s accessible and straight-forward. Many music industry and entertainment students are quite good storytellers and stumble upon a hit from time to time. However, if the independent contractor is to be consistent as a new artist they need as many tools at their disposal that they can obtain to set themselves apart from others in the industry that have similar skill sets. My methodology follows a spiral-learning model in order to introduce theory to the reader in a way that is flexible enough to slowly add more complex ideas as the student progresses. Starting with a basic, easy-to-understand concept and slowly adding to that, one piece of information at a time.

             Hal Weary, Moderator
2:30 - Learning by Recreating: Exploring the Educational Value of Cover Projects
3:00 - Three Methods to Improve Students' Music Mixing Abilities

Learning by Recreating: Exploring the Educational Value of Cover Projects
  Frank Dremel, Middle Tennessee State University
The recreation of master works, including classic recordings and contemporary hits, is a powerful pedagogical tool in audio production education. While traditional music education emphasizes that students cultivate a repertoire of significant works, audio production students are often assigned projects that primarily involve original compositions by relatively unknown artists. Although recreations are occasionally present in audio production curricula, they are frequently informal and underutilized, despite their potential to provide profound, hands-on learning opportunities. Through critical analysis and replication of iconic recordings, students can gain valuable insights into the artistic decisions, technical workflows, and collaborative dynamics foundational to professional music production.
This paper examines the pedagogical value of structured recreation projects, drawing on specific case studies, such as a recreation of The Beatles’ Abbey Road and insights from MIDI-based courses. These examples demonstrate how such activities enhance students’ critical listening abilities, expand their musical and production lexicon, and strengthen their proficiency in sound design, mixing, and arrangement. Furthermore, engaging with contemporary works enables students to grasp current musical trends, preparing them to produce competitive, market-relevant projects.
This paper advocates for the integration of structured recreations into audio production curricula, supported by case studies and practical recommendations. It emphasizes how such projects facilitate the bridging of tradition and innovation, equipping students with the skills necessary to excel in the contemporary music production industry.

Three Methods to Improve Students' Music Mixing Abilities
  Jan-Olof Gullö, Royal College of Music, Stockholm, Sweden
  Hans Gardemar, Royal College of Music, Stockholm, Sweden
  Bo Westman, Royal College of Music, Stockholm, Sweden
Innovative digital technologies have profoundly transformed the music creation landscape in recent decades. Consequently, many students, particularly in higher music education, dedicate considerable time and interest to songwriting and music production. Higher education enhances these initiatives through specialized programs and courses that empower students to create and produce their own music. Our ongoing research project, “Searching for Sophia [Wisdom] in Music Production,” explores critical factors contributing to successful music production by examining Music Production through the lenses of music education, musicology, psychology, and sociology. This study focuses on methods how to improve students’ music-mixing abilities.
A challenge that many educators encounter is that today’s digital audio workstations allow students to experiment with musical ideas easily, work on various tracks, and produce numerous alternative takes throughout their creative processes. This can sometimes result in students creating complex compositions with tons of tracks, making it a formidable task to edit and mix the music into a production suitable for presentation or publication. In this project, we have explored various approaches to enhancing students’ skills in music mixing.
In music mixing literature, the skilled mixing expert is sometimes described as having a unique insight into what is good and bad in any given situation. They can intuitively respond appropriately, both in their emotions and actions, allowing their expression to be reflected in how the music is mixed. In addition to the extensive literature on music mixing, there is a plethora of instructional videos of varying quality. These can serve as valuable sources of knowledge for students eager to learn more about music mixing. However, these resources are often technical-oriented and provide insufficient support for students to develop their judgment, critical skills, and self-confidence. Conversely, many students feel lost after engaging with instructional videos or literature. This can lead to a cognitive bias, resulting in a systematic deviation in students’ judgments away from established norms or rationality, causing them to mistrust their taste and experience when mixing. Students also often struggle to prioritize their approach methodically. For many experts, a crucial strategy for mastering music mixing is to be methodical and distinguish between facts and opinions, preferences, and dislikes while adhering to a structured plan for how the project should advance.
In this paper, we present three different methods that can be used in education to increase students’ competence in mixing music. The first method is a priority exercise that can be conducted as a preliminary study before mixing. In brief, it involves listening to music, analyzing it, and determining what is most important in the music. What is the second most important? What is the third most important? And so on. Thereafter, the students mix the music according to that priority. Exercises of this kind can be carried out in seminars but individually and can help students sort through large amounts of material. The following method is based on ancient Greek philosophy, once formulated by Zeno of Elea (c. 490 – c. 430 BC), who argued that virtue is practical knowledge (phronêsis) expressed in various forms. When phronêsis relates to what is owed to others, or, in this case, what we owe to the music we are mixing, it embodies justice (dikaiosunê); when it pertains to what ought to be chosen, it represents moderation (sôphrosunê); and when it involves what must be endured, it signifies courage (andreia). In the act of mixing, we therefore show respect for the music through justice, we mix with moderation, and, last but by no means least, we approach the music with courage. The third model involves micro-rhythm and micro-timing manipulation in digital music production during mixing and post-production. Micro-timing adjustments, which involve small temporal shifts of audio tracks, enhance phase coherency and alter groove perception, impacting the listener’s experience. Drawing on the Haas effect (1951), we conducted experiments using micro-timing strategies in drum recordings and recordings of other instruments, revealing the influence of micro-timing on groove and sound unity. Modifying the timing of different audio tracks in a mix to affect the overall feel can offer students a deeper insight into the potential for subtle and impactful micro-editing during the mixing process while also significantly improving their critical listening skills.

             Joe Steinhardt, Moderator
2:30 - This Law Was Made For You and Me: Copyright and Resistance in American Popular Music
3:00 - “It’s a Melody Played in a Penny Arcade”: Copyright and Compensation in the Music Industry

This Law Was Made For You and Me: Copyright and Resistance in American Popular Music
  Jason Lee Guthrie, Clayton State University
Popular music and popular musicians have a long history of using their art to influence public opinion and to resist political oppression in the United States. Yet copyright, the legal protection for creative work, is often perceived to be a tool used by the music and entertainment industries to exert control over individual creators, rather than as a mechanism of resistance. While the history of American popular culture is certainly replete with examples of content creators, and especially songwriters, being contractually taken advantage of, there are also important examples of musicians skillfully using copyright to maintain control over their songs and to resist appropriation by political campaigns. Beginning with an exploration of the career of Woody Guthrie, this presentation will highlight American artists who have used their work to express political opinions and have used copyright to prevent their work from being coopted by opposing political narratives. Other artists that may be discussed include Ella Fitzgerald, Phil Walden, Al Green, Dolly Parton, Tom Petty, Prince, David Byrne, K’naan, and Taylor Swift.

“It’s a Melody Played in a Penny Arcade”: Copyright and Compensation in the Music Industry
  Greg Smith, PhD Candidate, University of South Carolina
  Armen Shaomian, University of South Carolina
This study examines the alignment of current compensation models for musical works with the original intent of U.S. copyright law, specifically focusing on the fairness and equity of these models in today’s streaming and digital economy. By analyzing the various stakeholders involved, including composers, songwriters, publishers, artists, musicians, producers, and record labels, this research aims to determine whether the current revenue distribution models adequately compensate creators for their contributions.
To achieve this goal, the study will be divided into three parts:

• Creator Compensation: A deep dive into the compensation models for composers, songwriters, and publishers, assessing the impact of streaming and digital platforms on their revenue streams. This part will particularly examine the historical context of statutory mechanical royalties, which have remained largely unchanged despite significant technological advancements and inflationary pressures. For instance, the statutory mechanical royalty rate for musical works, which was first set at 2 cents per copy in the 1909 Copyright Act, has failed to keep pace with inflation. The current rate for 2024 is 12.4 cents. If this rate had been adjusted for inflation since its inception, it would now be significantly higher, at around 70 cents per copy.
• Performer Compensation: An examination of the compensation models for artists, musicians, producers, and record labels, considering the challenges and opportunities presented by the digital age. This part will delve into the complex interplay between traditional record deals, streaming royalties, and touring revenue, assessing how these factors impact the overall compensation of performers.
• Platform Revenue Structure: A dissection of the revenue structures of major streaming platforms, analyzing how royalties are distributed to creators and the implications for fair compensation. This part will explore the opaque nature of platform revenue models and the potential for negotiating more favorable terms for creators.

By understanding the historical context of copyright law and the evolving landscape of the music industry, this research seeks to shed light on the potential disparities in compensation and propose recommendations for a more equitable system that benefits all stakeholders.

             Henric Lindström, Moderator
5:00 - Harmonies of Heart: Encouraging Jazz and Pop Student Acts for Senior Care Facilities
5:30 - Mitigating the Brazilian Imperceptible Weakness: The Music and Entertainment Business Education and Research Center

Harmonies of Heart: Encouraging Jazz and Pop Student Acts for Senior Care Facilities
  Brian Wansink, Cornell University (retired)
Background: A few years ago, an old friend had to move to a memory unit in a no-frills retirement home. This rural retirement home didn’t have the budget to have musical programming, so every couple weeks I would visit and take one of my teen daughters to play a song or two for him on the cello or flute. Before long, they had expanded this to performing background dinner music for the whole facility, and then to other no-frills retirement homes. In helping them do this, we also learned a lot about set lists, gear, crowd interaction, set up, and performance – skills that would be useful to a wide range of student musicians who want out-of-school entertainment experience.
Presentation Objectives: The objective for this presentation is to present ideas that MEIEA educators can adapt to encourage students – soloists or combos of any genre of music – to share their music with seniors in a way that brings joy to everyone. This will provide educators with the following:

• The rationale as to why a student should consider such a stretch
• Insights on helping them build solo acts or combos for most genres
• Sample letters and scripts on how to approach senior care facilities
• One-page tip sheets for set up, performance, and crowd interaction

Rationale: First, there is a need for music in memory care units – and retirement homes in general – it breaks monotony, sparks memories, builds community, and brings joy. This is especially true with the facilities that do not otherwise have a budget for music or programming. When I mentioned my old friend in memory unit, only two things made his face brighten up: ice cream and music. Second, guiding student solo acts or combos to perform in these retirement homes will help them become better prepared for the performance industry. They should become comfortable at performing different music in different situations and to bring happiness or joy to others when they play. This is a tremendous “feel good” way for a young person to grow as a musician and as a caring person.

Mitigating the Brazilian Imperceptible Weakness: The Music and Entertainment Business Education and Research Center
  Fábio Sabetta-Morales, Souza Lima College-Conservatory of Music (São Paulo, SP, Brazil)
Recent research focused on cultural and creative industries (CCI) provides evidence that knowledge ecosystems will lead to business ecosystems through which individuals, groups and organizations will be mutually complementary and will realize competitive advantage. As argued by the literature, a local CCI Knowledge Ecosystem must consider three different but complementary dimensions of knowledge: symbolic, synthetic and analytical. First, the symbolic knowledge is based on cultural value and on contextual conditions as cultural identity and community belonging. From cultural value derive social and economic values that must be capable of promoting legacy, well-being, join and sustainable economic development in the long term. Second, the synthetic knowledge is generated with low or no investment in research, through new uses of available technologies, focused on the development of solutions applied to everyday market issues, often in a collaborative way. In this sense, bricolage and the entrepreneurial lifestyle emerged as social mechanisms for disseminating knowledge, alongside cultural and creative management models conceived by private organizations as their own collective capability. Finally, the analytical knowledge, provided by research and formal education, which has been highlighted in the context of technology hotspots. In fact, there are evidence that creative clusters are solid where public policy nurtures the development of analytical knowledge as a contextual capability. Further, as one of the three CCI Knowledge Ecosystem components, analytical knowledge leads to business ecosystems as well as promotes innovation and increases the visibility of creative sectors and organizations for financial support mechanisms.
Using case study as its research method, this paper aims to report and discuss one recent educational project that has been developed to mitigate the so-called imperceptible weakness of analytical knowledge and, consequently, of the Knowledge Ecosystem in the Brazilian music industries. The first section is an exposition of the current context of the music industries in Brazil in terms of identity, community, education, technology, market and financial support. The second section argues about existent social mechanisms in terms of the individual and collective levels and sheds light to the lack of music and entertainment business education. The third section provides comparisons of context and social mechanisms between Brazil and other countries. Based on the inductive method, the fourth section refers to the research methodology, with the application of a questionnaire related to the Knowledge Ecosystem in the Brazilian music industries for data collection, and content analysis and multivariate statistics to bring out the study results. The fifth section presents the design, development and implementation of the Music and Entertainment Business Education and Research Center (MEBE Center) at the Souza Lima College Music in the city of São Paulo, SP, Brazil, the first initiative of its kind in the whole country. The last section brings relevant discussion about this research and the MEBE Center.

               Katy Richards, Moderator
5:00- “XQ” – Towards a Dynamic Interplay of Intelligence Within the Experience of Learning
5:30 - Immersion in Entertainment: Is it Worth the Effort?

“XQ” – Towards a Dynamic Interplay of Intelligence Within the Experience of Learning
  Joe Miglio, Berklee College of Music
My objective is to share my (ongoing) study of experiential learning as a powerful tool for multiple levels of meaning making and demonstration—where knowledge is gained through direct experience, reflection, and the synthesis of active participation—and how this model (XQ) creates subject matter and self (as subject) knowledge. The goal of this study is to investigate, analyze, and assess instructional design and delivery being utilized as the educational ‘event’ and as ‘experience’ leading to discovery and ‘explanation’ Emphasizing the aesthetic of artistry—the interaction activities within the learning can be defined as ‘practice’ and the demonstrable integration of the teaching learning collaboration (“TLC”) in its outcomes as ‘performance.’ My hypothesis is that this serves dual purposes in the way learning as intelligence (“-Q”) is both a visible demonstration of content and learned skills (externalized demonstration defined as “IQ”) and a less visible journey of self-discovery (internalized discernment as “EQ”), creating a bridge between content-action and context-awareness for all members of the “TLC”—both faculty and student as lived and learned ‘experiencers.’ The synergy between external demonstration and internal discovery is what makes experiential learning so powerful. These two dimensions—doing and discovering—feed into each other. The activity itself, whether it’s a simulation, a collaborative project, or hands-on practice, serves as a mirror reflecting back to the learner not only what they know but who they are in the learning process. This dynamic interplay nurtures both skill acquisition and self-awareness, laying the groundwork for a form of learning that is not only “skill-deep” but “skin-deep” as self-transformative.

Immersion in Entertainment: Is it Worth the Effort?
  Ray Eddy, University of Central Florida
Immersion is understood to be a heightened state of focus, causing everything outside of the movie, concert, video game, sporting event, or theme park to “disappear” from the user’s consciousness. Designers seem to believe that many activities need to promote themselves as “the most immersive experience ever.” However, because immersion often requires a certain amount of effort from the consumer, this article challenges the assumption that immersion is every patron’s goal in an activity. Immersion can be enjoyable, but there are certainly circumstances where individuals simply want to relax and spend time with friends without the imposition of technological interactions or “staying in character.” 
Starting with a definition of immersion that brings it into the modern era and modifies the ways it should be measured, this research article goes on to examine immersion from various perspectives, such as the quality of the immersive experience, the effort the user must expend, whether immersion is optional or forced, and crucially, how much the user actually enjoys the experience of being immersed. The paper concludes with recommendations for entertainment designers on how to best incorporate immersive options into their experiences, maximizing both consumer attraction and potential repeat visitation.