Evan begins by describing the program beginning with a ‘chicken and egg’ situation in his institution. A committee was formed to figure out how to launch a popular music degree – but no-one on the committee had a popular music background. The committee pushed ahead, based on the institutional promise from ASU that faculty would be hired when the decision had been made to launch.
I’m in Nashville, at the #apme conference, hosted by Middle Tennessee State University. Popular Music Education is still a relatively young field, at least in terms of having its own conference (launched ~10 years ago) and journal (launched last year). More about AMPE at popularmusiceducation.org. Conference schedule here.
Coming from Berklee, perhaps I’ve become too comfortable with the idea that everyone talks about popular music pedagogy all the time. A lot of colleagues here are from institutions that have a long history of classical music education, but have only recently launched popular music programs. They are often seen as mavericks in their schools, and are viewed with some suspicion by more traditional teachers and departments. So there’s a palpable sense of community here, and even during this first morning of day 1 I’ve frequently overheard the phrase: “I’ve finally found my people!”.
I’m in Seattle at the New Music Ecosystem conference, organised by the University of Washington Law School. It’s a gathering of music and law professionals, discussing the future of creators’ compensation, tech/music innovation, and copyright reform. [Grammar folks – I’ve now been in the USA for long enough, and had Oxford commas inserted into my copy so many times, that I have decided to give in and just use them from hereon].
Koos Zwaan, Sabine de Lat and Mark van Everdinck: Inholland University of Applied Sciences (presenter: Koos Zwaan)
Digital natives in the music industry? How the Internet ecosystem is creating value for artists
ABSTRACT: We will report findings from a large scale online research project looking at the value of online income streams for Dutch pop musicians. We have performed an analysis of the online activities of a diverse group of about 1100 Dutch artists, stretching the entire scope of popular music genres. By using cluster analysis we have identified a number of different archetypical artist strategies for using online possibilities for marketing, promotion and interaction with the audience. These quantitative findings have been enriched by doing interviews with a number of artist managers of artists who can be identified in one of these artist clusters. From our analysis we can conclude that different types of artists have strategic reasons for choosing a specific type of online strategy. Both theoretical and practical implications of this study will be discussed.
“I’m always up for trying something. And I tried [Spotify] and I didn’t like the way it felt. I think there should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” Taylor Swift, 2014
Beatriz A. Medeiros and Natalia Dias: Universidade Federal Fluminense
Crowdfunding is not for everybody: Performance in the Art of Asking
ABSTRACT: This paper had as main goal to understand the importance of performance inside a process of crowdfunding, from the video produced by the independent musician Amanda Palmer, for the platform Kickstarter, to promote the project for launching her album, Theater is Evil. One of Kickstarter’s main requirements are audiovisual productions that assist in the dissemination of artists and their projects. Such videos seem to be the leading engagement products to attract “backers”. However, the hypothesis is that this is not the ultimate persuasion of this model. Resorting to Reception Studies as methodological basis and using internet ethnographic as inspiration, comments relating the video of Palmer’s project, present at the Youtube and Kickstarter platforms, were analyzed. Thus, it was possible to observe that not only the audiovisual performance is important to move “backers”, but also there’s a need of previous knowledge of the artist by these financers.
[Beatriz presents this jointly-authored paper on behalf of both authors].
The research subject is Amanda Palmer, a US-based independent artist who started her career in a piano/drums punk duo (signed to Roadrunner until 2011) and is now a solo independent artist. Her first album ‘Theatre is Evil” was crowdfunded via Kickstarter and later Patreon; Beatriz shows us a screenshot of the funding page, which shows pledges of $1,192,793 against a target of $100,000.
Peter begins with some caveats; he comments that the report deals particularly with the recording industry (and does not cover other music industries – e.g. live music and music education). Second, he notes the support from Kobalt Music, whom he notes are a very particular type of publisher, with a particular interest in digital and many very large-scale song catalogues in their portfolios.
ABSTRACT: In 2004 US Time magazine named Glasgow as Europe’s capital of rock music and likened it to Detroit in its Motown heyday (Porter, 2004). In August 2008 the city was named UNESCO City of Music and the application dossier submitted in support of this title notes the importance of rock and pop for the city’s musical reputation. Given Glasgow’s recent accolades, and the number of critically and commercially successful rock/pop artists to emerge from the city over the last thirty years, there has been little research into the ways in which Glasgow has maintained such a vibrant and productive popular music scene.