Academic Paper Sessions

Friday 11:30-12:30
Presentation of Academic Papers 2 (Terrace C)
Kristél Kemmerer, Moderator

Historical Changes in the Music Industry Supply Chain: A Perception of the Positioning of the Artist Musician

Stan Renard
Special Lecturer in Music Industry, Adjunct in Management
Providence College
University of Connecticut, Doctoral Candidate

Peter Spang Goodrich
Associate Professor of Management
Providence College

Philip Vos. Fellman
Lecturer in Management
Suffolk University


     The present study will explore the historical changes of the music industry supply chain. It will consider propositions such as the vertical integration of the historical music industry, the revolution in technology and the positioning of the artist within the music industry supply chain. Several questions will be tackled: What is the positioning of the artist in the new digital era? And given the changes of position of the major labels and the positioning of the artist what are the descriptive and prescriptive possibilities should the majors disappear and be replaced by alternative elements in the music industry supply chain? Social Netwok Analysis (SNA) will be utilized as a methodological tool in the creation of nonlinear and adaptive models.

Stan Renard, D.B.A., recently completed his doctoral dissertation “Unbundling the Supply Chain for the International Music Industry” at Southern New Hampshire University, in Manchester, New Hampshire where he has served as an adjunct faculty from 2006 to 2009. Renard also holds two Masters in Music from the Versailles Conservatory, France and the University of Massachusetts, Amherst as well as an MBA from Providence College. He is the musical director of the Bohemian Quartet and the ensemble NOVA Musica which is in residence at the University of Connecticut, Storrs where he is completing a second doctorate in music performance. Renard is currently the Special Lecturer in Music Industry at Providence College. He has made Romani music and the music business his areas of expertise.

Peter Spang Goodrich is an Associate Professor in the School of Business, Management Department, Providence College. He teaches Principles of Management and uses his main research area of Entrepreneurship in the Folk Music Industry to provide numerous case studies for his undergraduate students. He is closely affiliated with Club Passim, in Cambridge, Massachusetts, perhaps the “Hub of the Folk Music Universe”.  He has published numerous research papers in this field. In order to facilitate his research, he decided to study music and perform music under the stage name “Doktor Krankheit” in order to better understand the artists he was interviewing.

Philip Vos. Fellman is formerly Professor at Southern New Hampshire University/New Hampshire College, Graduate School of Business (1993-2011). He was Visiting Scholar at Harvard University, Belfer Center for Science and International Affairs (1997-2001), Stanford University, Hoover Institution of War, Revolution and Peace (1995-1996), Cornell Law School (1991-1993), and Yale University, Intelligence and Foreign Affairs (1992). He has also served as Visiting Assistant Professor at Dartmouth College in American Politics.

A Historical Analysis of the Effects of Marketing on Popular Song Lyrics

Storm Gloor
Assistant Professor, Music and Entertainment Industry Studies
University of Colorado Denver


     How much a song’s lyrics and/or lyrical structure matters in determining whether it will be a hit has been a matter of some debate.  Some studies of commercially successful hit songs have indicated that the actual words utilized in songs matters very little.  On the other hand, other research has shown that lyrics are not only the most memorable aspect of a hit song, but the language of pop songs might also be useful to marketers of other products in increasing brand recall.

     There is at least some level of importance for lyrics in popular songs, as evidenced by not only their use as marketing devices for the songs themselves, but also by their use in promoting non-music brands as well. Moreover, lyrical patterns and placement within songs could potentially affect a song’s hit potential, a fact that surely figures into the work of songwriters and producers.

     How has one aspect of songwriting, the use of lyrics, been affected by marketing strategies? This study analyzes the empirical use and structure of lyrics in hit songs over the last fifty years to determine the effect of marketing from two perspectives.  First of all, it’s an investigation into what extent marketing messages have been utilized in popular songs to promote the song and/or artist, or other brands.  For instance, what patterns exist in terms of the use of brand names or certain words intended to promote an artist and/or non-music products? Additionally, the study analyzes how general music marketing strategies may have affected the language and lyrical structure of hit songs.  Hit songs through the years have, for example, transformed in terms of the sheer number of words utilized, as well as their repetition patterns.  What role might marketing activities have played in these variances?

Storm Gloor is an Assistant Professor in the College of Arts and Media at the University of Colorado Denver, where he serves as Area Head of the Music Business program. Along with teaching various music business courses, Gloor oversees the college’s award-winning record label, CAM Records. He’s also developed the Music and Entertainment Marketing and Music and Entertainment in the Digital Age courses at the college. He holds an MBA degree from West Texas A&M University. Prior to academia, Professor Gloor spent many years in the retailing of recorded products industry.


Kristél Kemmerer is the Chair of Commercial Music at Lamar State College Port Arthur. Her teaching and administrative experience includes stints with several colleges and public school districts in Pennsylvania, New Jersey, and New York. Most recently, she was Dean of Students at Alvernia University (PA); Acting Dean of Undergraduate Studies and Dean of Students at Albright College (PA); and prior to that was assistant professor of music (music business) at Albright. She is a board member of MEIEA and holds membership in AES, ASCD, and NACADA; has published several articles on music industry curriculum; has been a reviewer for McGraw-Hill, ACPA, MEIEA, and Houghton Mifflin; and has presented at many professional conferences. Her undergraduate and masters degrees are from Ithaca College (NY), teaching certification credits from Kutztown University (PA), audio forensics credit from University of Colorado at Denver, and a doctorate in Curriculum and Instruction from Lehigh University (PA).

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