2016 Washington, DC
April 1-2, 2016
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- Daniel Frankel and Gideon Frankel, editors;
Interviews by Kara Pound. Artist in Control:
Success in the New Music Business Storm Gloor, University of
- The Event Safety Alliance, Donald C. Cooper,
Editor. The Event
Safety Guide: A Guide to Health, Safety and Welfare at Live
Entertainment Events in the United States
- Ralf Schmerberg, Director; Many Ameri, Ralf
and Torsten Schmidt, Executive Producers; Easton West and Ralf
Schmerberg Writers. What Difference Does It
Make: A Film About Making Music (Video), Jason Lee Guthrie,
University of Georgia
- John C. Maxwell. Talent is Never Enough:
Discover the Choices that Will Take You Beyond Your Talent
Kristél Pfeil Kemmerer, Belmont University
- Stephen Marcone and David Philp. Music Biz 101 &
More (Broadcast, Streaming, and Podcast) Steve Leeds, SiriusXM
- UK Music, The Intellectual Property Office,
and Aardman Animations. Music Inc. (App)
(App) Stephen Marcone, William Paterson University
- Steve Winogradsky. Music Publishing: The
Complete Guide Benjamin Smith, Montreat College
is supported in
In order to seek professional
practical knowledge and
functional strategies in education, MEIEA endeavors to:
Provide resources for the exchange of information and
knowledge about all aspects of the music and entertainment
industries,Foster scholarly research on the music and entertainment
industries and music and entertainment industries
education,Assist institutions with the development of music and
entertainment industries programs and curricula,Facilitate interaction
between the music and entertainment industries and educators in
institutions,Promote student interests in the music and entertainment
industries and in music and entertainment
|Concert Promotion Centralization and the
Artist Management Response: 1990s – 2010s.
Jess White, Bay State
College and Patrick Preston, Bay State College
Centralization in the concert
promotion business affected not only the independent regional concert
promoters who made up the bulk of the industry from 1965 to 1995, it
also affected the artist and the artist manager. Prior to the
centralization, the artist manager, the booking agent, and the promoter
worked together to discover, nurture, and develop new acts, providing
different perspectives while all sharing a common goal.
|Songs As Branding Platforms? A Historical
Analysis of People, Places, and Products in Pop Music Lyrics.
Storm Gloor, University
of Colorado Denver
Artists have become
decidedly more accustomed to partnering with product marketers.
Typically, though, the relationships have involved tour sponsorships,
endorsements, or the use of the artist’s music in commercials. There
are plenty of examples of using popular music in advertising. However,
how often has there been advertising in popular music? Artists are in a
|The Protection and Licensing of Music
Rights in Sub-Saharan Africa: Challenges and Opportunities.
J. Joel Baloyi,
University of South Africa
Abstract Africa has given the world
such wonderful tunes as “The Lion Sleeps Tonight,” and Ladysmith Black
Mambazo’s “Homeless.” It inspired the 2010 FIFA World Cup official
song, “Waka Waka,” so beautifully rendered by Shakira. Africa is a
wonderful, massive source of great talent and creativity waiting for an
opportunity to express itself. Nevertheless, the business aspects of
this rich cultural heritage still, to a large extent, needs to be
|A Survey of Graduated Response Programs to
Combat Online Piracy.
Serona Elton, University
Recent studies indicate that a
significant amount of all internet traffic is generated by the use of
peer-to-peer and cyberlocker sites, and most of the activity involves
illegal file sharing. Opinions differ as to how to quantify the losses
due to online piracy, however, there is general agreement among the
copyright industries that it is a serious problem worthy of significant
effort and attention.
|Rigor, Grades, Support, and the Amount of
Time Students Spend Outside of Class: A Comparison of Full- and
Part-time Faculty in an Entertainment and Music Business Program.
Kristél Pfeil Kemmerer,
MEIEA institutional data suggest
entertainment and music business programs have historically relied
heavily on part-time “professionally-oriented” faculty for delivery of
their programs. This study analyzes faculty course evaluations and
surveys to examine the relationships between perceived course rigor,
anticipated and earned final grades, faculty accessibility and support,
and the amount of time students spend outside the classroom preparing
|Developing Information Literacy Skills for
Tomorrow’s Music Industry Leaders.
Keith Hatschek and
Veronica A. Wells, University of the Pacific
What research skills should
undergraduate music industry studies majors develop over the course of
their studies? With the non-stop proliferation of news and information
sources available, how are students being trained to do research
appropriate to their field to make informed decisions? Some employers
now screen for information literacy skills as a preferred
qualification, due to the perception that recent graduates lack
advanced research skills.
|Beyond Jamming: A Historical and Analytical
Perspective on the Creative Process.
Monika Herzig and David
Baker, Indiana University
The process of the jazz jam session
was analyzed from a historical and social perspective based on
literature reviews, oral histories, interviews, and survey results. The
analysis produced seven factors that facilitate the successful outcome
of a jazz jam session. The factors include individual competence and
knowledge of the field, practicing improvisation as the ability to
overcome self-consciousness, establishing a mentoring system and role
models, democracy and collaboration, leaders and sidemen, community
support, and a continuous evaluation system.
|Get Classy: Comparing the Massive Marketing
of Anchorman 2 to the Non-marketing of Beyoncé’s Beyoncé Album.
David Philp, William
In the fourth quarter of 2013 two
entertainment industry blockbusters were released: the film Anchorman
2: The Legend Continues and a release by recording artist Beyoncé
Knowles titled Beyoncé. While the Anchorman 2 team spent months
promoting the December 18 release by traditional (and some very
non-traditional) means, the Beyoncé album was cloaked in secrecy until
it was issued by surprise on December 13.
|Authors Influencing Others to Follow: An
Analysis of a Social Media Platform Through the Framework of Persuasion
Philip C. Rothschild,
Missouri State University
Technology has not only transformed
the music sector of the entertainment industry, it has also transformed
the book publishing sector. Just as musicians have opportunities to go
direct to the market with their music, an author has an opportunity to
reach and engage an audience directly like never before. This paper
demonstrates, through an exploratory case study, how authors can use
scientifically proven persuasion techniques to influence visitors to
reply to their online requests. <Mor
|Economy of the Ether: Early Radio History
and the Commodification of Music.
Jason Lee Guthrie, Ph.D.
Candidate, University of Georgia
The early history of radio is an
absorbing and complex saga. Often told from the narrative perspective
of its inventors, technical milestones, or regulatory developments,
little has been written about the commercial history of early radio and
its influence on the commodification of music. Using a theoretical
framework of commodification based upon the concepts of Ideologies,
Reification, and Fetishism, this article builds upon an earlier case
study of the player piano