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Summit 2016
April 1-2,
Washington DC
Hilton Garden Inn

Call for Papers!

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Educators Summit Archives
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Assistant Professor
Practitioner of Music Management
University of the Pacific, Conservatory of Music

Assistant Professor
Creative Media & Entertainment
College of Communication, Butler University

  • Daniel Frankel and Gideon Frankel, editors; Interviews by Kara Pound. Artist in Control: Success in the New Music Business Storm Gloor, University of Colorado Denver
  • 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 Schmerberg, 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 Radio
  • UK Music, The Intellectual Property Office, and Aardman Animations. Music Inc. (App) MDickie. Popscene (App) Stephen Marcone, William Paterson University
  • Steve Winogradsky. Music Publishing: The Complete Guide Benjamin Smith, Montreat College

MEIEA is supported in part by


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 affiliated educational institutions,Promote student interests in the music and entertainment industries and in music and entertainment industry education

In the
Concert Promotion Centralization and the Artist Management Response: 1990s – 2010s.
Jess White, Bay State College and Patrick Preston, Bay State College

images/logo-pdf.jpgCentralization 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

images/logo-pdf.jpg 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 sense “brands.”
The Protection and Licensing of Music Rights in Sub-Saharan Africa: Challenges and Opportunities.
J. Joel Baloyi, University of South Africa

images/logo-pdf.jpgAbstract 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 cultivated.
A Survey of Graduated Response Programs to Combat Online Piracy.
Serona Elton, University of Miami

images/logo-pdf.jpgRecent 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, Belmont University

images/logo-pdf.jpgMEIEA 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 for class.
Developing Information Literacy Skills for Tomorrow’s Music Industry Leaders.
Keith Hatschek and Veronica A. Wells, University of the Pacific

images/logo-pdf.jpgWhat 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

images/logo-pdf.jpgThe 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 Paterson University

images/logo-pdf.jpgIn 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 Theory.
Philip C. Rothschild, Missouri State University

images/logo-pdf.jpgTechnology 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

images/logo-pdf.jpgThe 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