MEIEA Summit 2025

                    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.

                  Benom Plumb, Moderator
1:30 - Popular Music, Political Marketing, and Pedagogy
2:00 - Rock Stars: We Teach ABOUT Them, So Should We Teach LIKE Them?

Popular Music, Political Marketing, and Pedagogy
  David Allan, Saint Joseph's University
Popular music has been successfully integrated into curriculum in numerous settings for decades (Kelstrom, 1998). It is being used in the marketing classroom as an “anchor point” (Tomkovick, 2004, p. 111); in the management classroom to “enhance the dynamism and excitement” (Wheatley, 1998, p. 342); and in the sociology classroom for teaching interactive courses (Ahlkvist, 1999). Politics can be a challenge in the classroom (McAvoy, 2024), even though some believe that’s where it belongs (Hess and Gatti, 2010). Popular music and politics have enjoyed a long history together (Dunaway, 1987). From a political marketing perspective, two ways popular music can be used are campaign anthems (rallies and advertising) and artist endorsement. The 2024 U.S. presidential election, especially in Pennsylvania, has provided the perfect case study for the classroom. “Music has played a galvanizing role on the Pennsylvania campaign trail in 2024, providing a soundtrack to the candidates’ rallies, offering high-profile endorsements, and creating spaces to encourage and mobilize civic engagement, including registering young people to vote at recent Philadelphia concerts.”

Rock Stars: We Teach ABOUT Them, So Should We Teach LIKE Them?
  Storm Gloor, University of Colorado Denver
We live in a world of decreasing attention spans where entertainment media pervades our culture more and more. Amidst all of the “noise” of social media, tech devices, and other distractions that our students experience throughout their day. Within their world, and in the classroom specifically, we as teachers are challenged to not only maintain their attention, given all those distractions, but to also assure that the material we deliver in real time is retained and thoughtfully contemplated. Traditional means of presenting learning materials might not be as useful as they once were. Understanding student expectations of what constitutes “good teaching” is key to an adoption of new practices.
One possible approach to consider, especially among music business educators, could involve what we know about a subject we already teach. In many ways, what music fans expect from musicians and artists, particularly those that are successful, relate to what they expect from educators. In their performances, these stars have demonstrated how to engage (or not) audiences effectively. How could those practices also be applied in a classroom?
This research takes into account student observations and expectations of pedagogical practices, generally understood best practices of teaching, and an understanding of current trends within academia. A comparison is then made to the practices of popular music artists to develop practices that might be adapted by classroom instructors of any discipline. For instructors, an understanding of how artists perform, how they are marketed, their fan interactions, and even how they create their content, might have application in their own work. Could success as a “rock star” in the music industry relate to a teacher’s success as a “rock star” in the classroom and within their academic environment?

              Greg Smith, Moderator
1:30 - Compilation Conundrum: The Federal Courts’ Split Views On What Constitutes a “Work” When Calculating Copyright Infringement Damages
2:00 - Collecting International Mechanical Royalties

Compilation Conundrum: The Federal Courts’ Split Views On What Constitutes a “Work” When Calculating Copyright Infringement Damages
  Stan Soocher, University of Colorado Denver
Section 504(c)(1) of the U.S. Copyright Act states that a “copyright owner may elect” to receive “an award of statutory damages for all infringements involved in the action, with respect to any one work.” In determining the amount of a statutory award—which is based on the number of works infringed, rather than the number of times those works were infringed—“all parts of a compilation or derivative work constitute one work,” the statute adds.
Most federal appeals courts that have addressed the issue of what qualifies as a “compilation” or a single creative work have applied an “independent economic value” analysis that looks at the market worth of the single creation as of the time when an infringement occurred. However, the Fifth U.S. Circuit Court of Appeals—which encompasses the music-history-rich jurisdictions of Louisiana, Mississippi and Texas—has recently rejected the “independent economic value” test in determining which individual sound recordings are §504(c)(1) “works” eligible for their own statutory awards and which are part of a compilation. The Fifth Circuit’s break with the judicial majority view aligns it with the minority position of the Second Circuit, which includes New York. This MEIEA presentation will delve into the federal appeals courts’ split on what amounts to a “work” for purposes of assessing copyright infringement damages, as well as into the enormous recovery implications in copyright cases involving the music industry and creative content owners.

Collecting International Mechanical Royalties
  Serona Elton, Frost School of Music at the University of Miami
Mechanical royalties are generated when a musical work (also known as a musical composition or song) is performed and recorded, and the resulting sound recording is reproduced and distributed as a physical record (e.g., vinyl, CD), a digital download, or an interactive stream. The term “mechanical” dates to the late 1890s and early 1900s when musical works were reproduced and distributed in the first mechanical devices such as piano rolls and music boxes and is still used when describing the digital files that most consumers access in order to enjoy music today. The U.S. Copyright Act of 1909 established both a copyright owner’s exclusive right to control mechanical uses of their music, and a limitation on the exclusive right referred to as a compulsory license. The Music Modernization Act (MMA) of 2018 amended the law with respect to the compulsory license, modernizing it to meet the needs of today. One key component of the MMA was the creation of a mechanical licensing collective, now known as The Mechanical Licensing Collective (The MLC). Since it began operating in 2021, The MLC has collected and distributed over $2.5 billion dollars in digital mechanical royalties. These royalties have been collected from the U.S. operations of digital service providers operating under the newly modified blanket compulsory license. The MLC is prohibited by law from collecting digital mechanical royalties generated outside of the U.S., so its members (music publishers, publishing administrators, and self-administered songwriters, composers, and lyricists) must pursue alternate means of collecting their international mechanical royalties. This paper will explore what options exist for U.S.-based rightsholders when it comes to collecting this revenue, including the pros and cons of each.

                 Morgan Bryant, Moderator
2:45 - Contributing Elements in the Decline of a Music City or Music Business Cluster
3:15 - The Economic Impact of Music Zones on Local Businesses in the U.S.: A Venue Concentration, Tourism, Economic, and Business Index Approach

Contributing Elements in the Decline of a Music City or Music Business Cluster
  Dan Galen Hodges, Jr., University of Colorado Denver
  Jonas Bjälesjö, University ot Inland Norway
The phenomenon of Business Clustering where businesses locate in a certain geographical area to achieve competitive advantages is displayed in many industries around the world including the sectors of manufacturing and technology. The creative industries also have shown a tendency to congregate in geographical areas to take part in the competitive advantages of their proximity to a hub business, which could be major record labels or prominent festivals. The hubs create opportunities for many facets of the music industry to locate their businesses in the same area to take advantage of the opportunities that the label or festival provides. The benefits gained by cluster membership are not only experienced by the members but also in the local community as a whole. These benefits gained by clustering are not a static phenomenon, however. Business clusters have been shown to have life cycles and they slowly evolve from one life cycle to the other over time until eventually, the cluster enters the decline stage where it loses the competitive advantages it previously embodied. This study discusses creative business clusters as they enter the decline stage by looking at the music clusters of Hultsfred, Sweden, and Nashville, Tennessee. Both display the characteristics of entering the decline stage of their life cycle. Specifically examined are the factors that contributed to each music city entering the final stage of its life cycle with the purpose of providing music business clusters with a view of what cluster elements to protect in order to keep the cluster’s core competencies and competitive advantages intact.

The Economic Impact of Music Zones on Local Businesses in the U.S.: A Venue Concentration, Tourism, Economic, and Business Index Approach
  Stan Renard, The University of Oklahoma
  Storm Gloor, University of Colorado Denver
This study investigates the impact of 108 music zones on 4,190 local businesses across the United States, using agglomeration theory to explain how the concentration of independent music venues creates a vibrant ecosystem that attracts tourists and locals, thereby boosting nearby businesses. Utilizing a concentration, tourism, economic, and business impact index approach, the study ranks the nation’s most significant live music zones by cities and analyzes their economic contributions. The methodology incorporates data from 1,423 independent music venues forming 108 music zones, each with at least five venues within walking distance, and builds on preexisting research by the authors. The findings highlight the symbiotic relationship between music venues and nearby businesses, revealing how live music hubs in cities such as Nashville, New Orleans, Oklahoma City, and Austin drive economic growth and community identity. This relationship is further supported by aggregated calculations based on the National Independent Venue Association Music Venue Economic Impact Calculator developed by Dr. Michael Seman. The results provide valuable insights for policymakers, tourism boards, and the music industry to support and promote these vibrant cultural centers.

         Jan-Olof Gullö, Moderator
2:45 - The Capstone Challenge: Re-evaluating Senior Project
3:15 - Navigating Barriers: Enhancing Visibility and Opportunities for Latin Canadian Artists in the Music Industry

The Capstone Challenge: Re-evaluating Senior Project
  Paul Linden, University of Southern Mississippi
This presentation re-evaluates presuppositions surrounding senior project, often called capstone or capstone experience. In particular, the one-semester model warrants closer inspection, given the expectations it is designed to satisfy. As a structured, culminating experience, capstones tend to synthesize all relevant coursework within the major, providing evidence of acquired skills, highlighted portfolio material and in some cases assessment material informing program evaluation and orientation. The challenge of successfully responding to these items in a single semester is compounded by the fact that students may start off without a clear idea of what they want their capstone project to be, with about ninety days to deliver it. This presentation opens the question of how a two-semester model can more adequately respond to the capstone challenge by splitting the project into two major phases of research and production. Topics will include formulating and defending a proposal, student intentionality and values, as well as resource management.

Navigating Barriers: Enhancing Visibility and Opportunities for Latin Canadian Artists in the Music Industry
  Charlie Wall-Andrews, The Creative School at Toronto Metropolitan University
      This research project was funded in part by a MEIEA Research Grant.
Latin music has had a global economic and cultural impact, but Latin Canadian artists still struggle in the Canadian music industry. This study examines the main barriers to Latin music’s growth and visibility in Canada, how identity and categorization affect Latin Canadian artists’ opportunities and recognition, and how to improve their representation and inclusion. To gather insights from Latin artists and industry members across Canada, we used a mixed-methods survey and focus groups. Despite Latin music’s global popularity, Latin Canadian artists face identity, categorization, and opportunity issues that hinder their domestic and international success. The study emphasizes the need for targeted strategies to overcome these barriers, promote inclusion, and help Latin Canadian artists succeed. Key recommendations include raising industry awareness, building supportive networks, and implementing policies that celebrate Canada’s diverse Latin music community.

                  Justin Sinkovich, Moderator
9:00 - AI in Music Business Education: A Case Study
9:30 - The AI Rabbit Hole: Music Industry Implications and Teaching Strategies

AI in Music Business Education: A Case Study
  Monika Julien, Drexel University
Artificial intelligence (AI) is one of the most relevant – and controversial – topics in the music industry today. As the technology becomes increasingly ubiquitous and unavoidable, many students have expressed hesitancy or resistance to embracing AI – particularly within creative fields like music – due to concerns about its potential to diminish the creative process, eliminate jobs, and disrupt established practices. That said, music industry educators are uniquely positioned to introduce students to AI in a way that familiarizes them with the technology in a practical way, addresses current trends, and prepares them for careers in the music business, while also teaching them how to use and approach AI meaningfully and responsibly.
This presentation discusses the integration of AI into a music business course at Drexel University to address AI’s growing presence in the industry. The curriculum was designed to create a space for open-minded exploration of AI’s role in the music industry while examining how the technology can serve as a tool to enhance both creativity and efficiency. The topic was addressed in three parts: 1.) a structured class discussion on students’ perspectives and concerns around AI’s role in the industry, 2.) a guest speaker session focused on the legal considerations of AI in music, and 3.) a group assignment that challenged students to apply ChatGPT to music business scenarios and analyze its effectiveness. By incorporating an accessible and familiar AI tool like ChatGPT, the course demonstrated how this technology can be applied meaningfully in practical music business situations. Students were also provided with foundational knowledge in prompt architecture and criteria to evaluate ChatGPT outputs for quality and accuracy, equipping them to critically assess AI applications.
This presentation will highlight how this curriculum was developed and key takeaways, including its role in shaping an AI policy for syllabi. It offers insight into ways that educators can introduce AI into their teaching and curriculum in a practical, mindful way that encourages students to explore their own perspectives and deepen their understanding of AI’s role in the music business.

The AI Rabbit Hole: Music Industry Implications and Teaching Strategies
  Jerry Brindisi, Columbia College Chicago
The rapid adoption of artificial intelligence (AI) in the music industry presents both exciting opportunities and significant challenges for educators. As AI becomes increasingly integrated into music creation, marketing, live performance, fan engagement, and distribution, educators must grapple with the implications for teaching and learning. One of the key challenges is developing clear policies on the use of AI by students in the classroom and on assignments—often in the absence of clear institutional guidelines.
This paper will explore how AI is currently being applied across various sectors of the music industry, highlighting its potential to disrupt traditional business models. Specific areas of focus will include content creation, marketing, live performances, fan engagement, and music distribution. Ethical, economic, and copyright considerations surrounding AI in the music industry will also be addressed.
Additionally, the paper will review current AI policies in higher education institutions and offer recommendations for integrating AI into the classroom. Pedagogical approaches, teaching strategies, and assignment examples will be provided to help educators navigate the challenges and opportunities AI presents in music business education.

               Yvan Kelly, Moderator
9:00 - From Creators to Engineers: Understanding the Motivations of Audio Production Students in Music Education

From Creators to Engineers: Understanding the Motivations of Audio Production Students in Music Education
  William Thompson, The University of Southern Mississippi
  Paul Linden, The University of Southern Mississippi
Academic programs in audio production offer graduates a diverse range of career opportunities, including live sound engineering, recording, mastering, game audio design, and sound design. However, the motivations driving students to pursue these degrees often diverge from the traditional professional pathways associated with audio production education. Many students in these programs self-identify as music creators, emphasizing artistic pursuits over technical production. Despite this, they frequently choose technical audio production degrees rather than artistic disciplines focusing on performance or composition.
This study aims to explore the motivations behind students’ academic and career choices in music-related fields, specifically investigating the potential misalignment between students’ creative aspirations and the technical focus of audio production curricula. Through surveys of undergraduate audio production students, the research examines their self-identification, career goals, and preferences in musical styles and creative roles. The findings will illuminate the barriers and perceptions influencing these decisions and provide insights into the evolving landscape of music education. Ultimately, this research seeks to inform curriculum design, fostering better alignment with students’ aspirations and the demands of the contemporary music industry.

                  Stan Renard, Moderator
2:00 - Beyond Keywords: AI and the Semantic Understanding of Music Metadata
2:30 - The Metrics of Music: A Field Guide to Music Research

Beyond Keywords: AI and the Semantic Understanding of Music Metadata
Jessica Muñiz-Collado, University of North Texas
The contemporary music industry, characterized by the rapid growth of streaming platforms and a rich television landscape (evidenced by the production of 481 new series in 2023 alone), presents a unique set of challenges for contemporary musicians. In this dynamic environment, the accurate and comprehensive embedding of metadata within musical works has emerged as a critical factor in securing lucrative media placements and achieving broader audience reach. This presentation delves into the significance of music metadata and tagging practices in the digital age, emphasizing the need for musicians to develop a robust understanding of these crucial elements. Effective metadata management facilitates improved self-representation, enhances discoverability, and increases the potential for synchronization licensing opportunities. Furthermore, the integration of Artificial Intelligence (AI) into music metadata management offers promising avenues for enhancing accuracy and mitigating inherent human biases often present in traditional tagging methods. Additionally, the intricacies of music metadata and tagging practices, examining how AI-driven techniques can empower musicians to accurately embed metadata, thereby optimizing the visibility of their musical works will also be discussed. The presentation further provides practical recommendations for music educators to integrate music metadata instruction into their curricula, encouraging a proactive approach to embracing the technological advancements transforming the contemporary music landscape and empowering musicians to assume greater control over their careers.

The Metrics of Music: A Field Guide to Music Research
Jeff Green, Stone Door Media Lab
Long gone are the days when a consumer heard a song on the radio, bought the album at a record store and then disappeared from view. Today, let’s say that John is in a cafe having breakfast and hears a song he likes on the speaker system. He thinks, “Shazam says it’s the new Zach Bryan. It’s pretty good; I’ll give it a ‘thumbs up’, add it to a couple of playlists and follow him. I could start a Zach playlist and see what else comes up. Maybe check out his social pages and follow him there, too. Some of his videos are great. I wonder if Zach will be coming to town for a concert.”
In the music business, John’s actions and impulses are all recognized as metrics – behavior in the form of indexes and statistics revealing important stories about how the artist and song are doing.  Today, nearly everything involving how consumers interact with artists and music is trackable, making music research a part of almost every role in the business. Various “dashboards” show which and when songs are being listened to, if they’re heard from start to finish, whether people like them and for how long, if they’re shared, if other media influenced their “consumption” and how “engaged” the consumers are.
Detailing many facets of the music industry and the roles that data plays, The Metrics of Music: A Field Guide To Music Research is a new textbook becoming available for classroom use in 2025. Its purpose is to familiarize college music business students with several forms of media, tools of the trade and myriad ways creatives and industry professionals study artistic performance and audience behavior to advance their priorities.
There are 12 sections: audio and radio; music streaming; social media; copyright and royalties; music licensing and sync; music analytics platforms, plus a separate section on Chartmetric; airplay and music charts; audience research; touring; executive “PROfiles”; and resources and reference materials.
The Metrics of Music, which lives online so that it can be continually updated, explains how music research plays a part in everyday practices, planning and decision making. Featuring colorful photos, graphs, charts and tables, The Metrics of Music currently includes more than 500 pages of content and almost 800 citations and sources.
The importance of using data to follow an artist’s progress at reaching an audience – from music discovery to becoming a follower, fan and ultimately, a super-fan – can’t be overstated. Analytics also offer defensive virtues, becoming valuable for detecting stream fraud, identifying “fake” artists and tracking unauthorized use of AI to appropriate songs, playlists and artistic individuality.
Because music data can even be predictive, understanding what the numbers mean significantly influences whether an artist gets signed to a label deal, receives radio airplay and marketing/promotion support, is chosen by streaming curators and algorithms, is able to tour strategically, generates an active following and ultimately, becomes successful.
The Metrics of Music will be free of charge to professors and students. Instead of paying for access, users will be encouraged to donate any amount to one or more of 20 renowned organizations supporting low-income music students and musicians in need.

Dan Galen Hodges, Jr., Moderator
2:00 - Steve Albini: A Study of Fierce Independence in Underground Music Entrepreneurship Through One of His Final Interviews
2:30 - Chibsons and Chenders: Counterfeit Guitars from China

Steve Albini: A Study of Fierce Independence in Underground Music Entrepreneurship Through One of His Final Interviews
  Justin Sinkovich, Columbia College Chicago
  Philippe Ravanas, Columbia College Chicago
On May 7^th, 2024, legendary audio engineer, musician, and provocateur Steve Albini went home for the night during the sessions for an album he was engineering at his studio, Electrical Audio, and died of a heart attack. Albini was best known for his dedication to analog recording, producing albums like Nirvana, The Pixies, and PJ Harvey, his Chicago-based studio complex, and as the vocalist and guitarist for the Big Black and Shellac. He is also widely known for dismantling the mainstream music business in the media with his eloquent and often polarizing disdain.
Two months before Albini’s passing, Philippe Ravanas and Justin Sinkovich conducted an interview researching the creative, economic, and sociological factors shaping one of alternative music’s most notable entrepreneurs. The interview explored how an innovator like Albini succeeded by forging his path while maintaining strict autonomy and artistic vision. The series of scheduled interviews with Albini was unexpectedly concluded after the first. Still, Ravanas and Sinkovich interviewed Electrical Audio technician and engineer Greg Norman to discuss Albini’s death and the plans for the studio. Sinkovich also started working with Albini decades prior in the studio and as the Director of Digital Distribution and Promotion at Touch and Go Records, the label representing Big Black and Shellac.
The research is framed by several theories, including Bronfenbrenner’s ecological systems model, social capital theory, and entrepreneurship theory. Through the lens of the theoretical framework, the session will provide insight into Albini’s value system and business acumen that shaped his success and notoriety. The session will discuss the history of Albini’s artistic, recording, and business practices compared to industry standards. It will also reveal how Electrical Audio plans to move forward in a rapidly shifting industry without its fearless leader, Steve Albini.

Chibsons and Chenders: Counterfeit Guitars from China
  Christopher Reali, Ramapo College of New Jersey
During spring 2024, I visited a friend’s music store. As I was about to leave he said, “Have I ever showed you the guitars from China?” I replied, “No, I don’t think so.” Before opening his office door, he casually remarked, “Once you see these, there’s no going back.” He showed me several guitars, including a stunning “Gibson” Les Paul, Jimmy Page model, and said it was actually a “Chibson,” a Chinese-made counterfeit. As a guitar player, I was initially surprised. As a researcher, I was very curious. Over the next few weeks, I fell down numerous rabbit holes in an effort to learn more about Chibson’s. In brief, the name Chibson typically refers to all Chinese-made counterfeit guitars, regardless of which company is being copied. So there are Chenders, Chibanez, Chickenbaker, Chartin, Chaylor, and others all made to look, feel, and sound like guitars manufactured by Fender, Ibanez, Rickenbacker, Martin, or Taylor, respectively. These instruments are sold to customers across the world primarily via direct message links to hidden pages on websites or openly on sites such as Ali Express, Temu, DHGate, and eBay. Much of the marketing, promotion, and appreciation for Chibson’s occurs on private Face Book group pages.
 On November 23, 2024, U.S. Customs and Border Protection (CBP) and Gibson announced the seizure of over 3,000 counterfeit electric guitars. According to the authorities, this is the “largest seizure of fake musical instruments” on record, with the guitars’ estimated value exceeding $18 million if they were authentic. The Organization for Economic Cooperation and Development recently valued the global scope of physical counterfeiting for all products at $509 billion dollars. This paper presents preliminary observations and findings about the buying habits of people who purchase “Chibsons” and the worldwide networks related to the sale of counterfeit guitars. This research draws upon survey responses from over one hundred Chibson owners, interviews conducted with musicians and guitar store owners, conversations with representatives from the U.S. Department of Commerce, and correspondence with guitar manufacturers.

                  Jeremy Polley, Moderator
3:15 - Creating a Music Industry Program In the Early Years; An Investigation of the Music Industry Studies Program at Appalachian State University and Its Relationship to the Development of This Degree Option Across the Country
3:45 - Popular Music Career Preparedness: An Analysis of Programs and Approaches

Creating a Music Industry Program In the Early Years; An Investigation of the Music Industry Studies Program at Appalachian State University and Its Relationship to the Development of This Degree Option Across the Country
  Kim L. Wangler, Appalachian State University
  Rebecca Shaw, Appalachian State University
  Veronica A. Wells, Appalachian State University
This paper researches the early adoption of music business (industry) programs and investigate the early creation of a degree at Appalachian State University and how that fit into the development of programs across the country. Research into this specific university, believed to be one of the first in the nation, will be conducted as well as music business degree acceptance in NASM and the College Music Society. A brief history and early participation in MEIEA will also be investigated. The intent of this research is to spur other schools into codifying their own unique chronicles in hopes that it might be the beginnings of a larger project to tell the stories of how this degree program option developed across the nation and in our university settings.

Popular Music Career Preparedness: An Analysis of Programs and Approaches
  Holly Riley, Middle Tennessee State University
This paper explores a diverging set of institutional approaches to college degree programs offering preparation for careers as performers in popular music. Over the past two decades, higher education degree programs in schools or conservatories offering degrees in music performance have been often criticized for their often narrowly focused curriculum centered mainly around traditions of Western Art, or “classical”, music. In these programs, many degree requirements—such as theory, history, ensembles, and individual performance instruction—are largely content-focused within the scope of classical music traditions. Although this type of specialized instruction offers value to students seeking to build careers as classical music performers, a significant downside is the identified lack of comparable training for students pursuing careers in popular or traditional/folk genres.
Some accredited music schools have addressed this issue by offering an expanding set of “non-classical” courses, instructors, and ensembles; this is most realized in jazz departments, but has grown in recent years to a growing number of programs featuring popular and/or traditional performance degree “tracks.” Alternatively, many colleges and universities have begun offering programs in various music or entertainment industry and technology areas that are departmentally housed outside of schools and colleges of music. These programs are often geared towards a more diverse body of students and offer training for a variety of careers within the entertainment industry, including performance; however, few focus exclusively on career training as a popular music performer, and many largely favor technical development and/or industry training over performance.
From an entertainment industry educational standpoint, I discuss examples and trends among these two paths to collegiate training for the aspiring performer within a broad set of popular music genres. How have entertainment industry degree programs emerged as a response to the lack of popular music performance training in “traditional” schools or colleges of music, and how have they diverged from performance studies entirely? What opportunities and requirements are afforded in either setting? These questions and analysis offer insight into the possibilities for ongoing growth and potential collaboration between both types of programs into today’s area of industry studies.

                Paul Linden, Moderator
3:15 - Improving Student Work Readiness and Graduate Outcomes through Strategic Training Partnerships
3:45 - Experiential Learning through Academic Artist Residency: A Case Study

Improving Student Work Readiness and Graduate Outcomes through Strategic Training Partnerships
  Katy Richards, Australian College of the Arts
To prepare students for careers in their chosen industries, educational institutions often partner with industry bodies to provide internships and guest speakers, offering valuable practical experience and career insights. In this presentation, however, I will explore a different type of partnership with an industry education provider designed to enhance student work readiness and graduate outcomes through targeted training and certifications. Launching in 2025, the Australian College of the Arts (Collarts) will begin a strategic partnership with the Arts Centre Melbourne (ACM) to provide training and qualifications that complement Collarts’ academic programs. ACM is a government-owned series of indoor and outdoor venues and a Registered Training Organization specializing in Creative Arts training. While their training has historically been for their venue staff, this partnership enables Collarts students to access ACM’s industry-specific certifications, such as:

• Work Health and Safety in Live Production
• Work Safely at Heights
• Arena Rigging
• Operate Flying Systems
• Develop and Implement Own Self-Care Plan for the Creative Industries

This initiative extends across various Collarts courses, including Stage Management, Music Production, Audio Engineering, Circus Arts, Performing Arts, and Event Management. Each course can select the most appropriate additional certifications for their students. These certifications are crucial for safety compliance and mandatory to work on a live production. Students will graduate with their diploma or degree from Collarts, along with the skill set and certifications required for immediate employment. By integrating these qualifications into Collarts’ curriculum, the partnership is anticipated to significantly enhance students’ work readiness and graduate outcomes by providing comprehensive skill sets and certifications. These qualifications offer clear pathways to employment, ensuring students are equipped for immediate and meaningful roles in live entertainment after they graduate. This presentation will explore the process of building a partnership with an external provider while ensuring cost efficiency. I will also demonstrate examples of embedding additional qualifications into the curriculum without compromising the quality of education.

Experiential Learning through Academic Artist Residency: A Case Study
  Joe Steinhardt, Drexel University
  Ryan Moys, Drexel University
The purpose of this paper is to discuss the value and potential for Artists Residency programs in music industry education through a case study on work we did with Keith Secola at Drexel University in 2023 and 2024. Keith Secola is Anishinabe (Ojibwa), originally from the Mesabi Iron Range country of northern Minnesota. Secola is an influential and celebrated artist, whose best known song, NDN Kars (Indian cars), has been the number-one requested song on tribal radio since 1992. In 2011, he joined the ranks of Jimmy Hendrix, Hank Williams, Crystal Gale, and Richie Valens and was inducted into the Native Music Hall of Fame.
 Starting in 2023, we have been working with Keith to record a rock opera called Seeds in residency at the Music Industry Program at Drexel University. Recording the album at Drexel allowed Keith to bring his experience and knowledge to our program and allowed us to work toward the repatriation of our resources to Indigenous artists. While Keith has been working on the rock opera for nearly a decade, and has performed part of it live, including at The Kennedy Center and The Smithsonian, we utilized a recording and production technique that aims to incorporate the recording environment into the fabric of the recording itself. Thus, this recording project not only engaged student engineers and producers, but offered them a look at and chance to be directly involved in the writing and performance process of the work. The finished album will also engage students in the marketing and label elements. Thus, students leave the experience not only with hands on practice and knowledge, but with earned industry credits. The full learning outcomes from the experience are explicated, and describe the value of this type of learning and education to the student and professional experience.