I am Still Living With Yr. Ghost: A ’90s Song Sing-Along
90s song sing-along, March 2, 2019
Ethnography in Creative Industries
In this course, we consider the various roles that ethnography can play in creative industries. What do we learn from ethnography? For what purposes is ethnographic research best suited? How might ethnography contribute to strategic decision-making? What unique methodological issues might ethnographic research in creative industries pose? In what ways could ethnography enrich creative practice and artmaking? How have the social sciences reacted to the ethnography of creative industries?
Introduction to Music Industry
This course introduces students to a wide array of standard business practices, roles, and norms in the music industries, with a focus on U.S. markets. We address a variety of content areas and business sectors: artist relationships and management, entrepreneurship, intellectual property, international markets, the live music industry, music and other forms of media or entertainment (radio, TV, film, video games, advertising, etc.), and the recorded music industry.
Worship Capital: On the Political Economy of Worship Music
American Music (2018). Scholars and scholar-practitioners from a wide variety of disciplinary and faith backgrounds have enriched our understandings of the ways in which music functions in worship contexts around the world. Yet, the political economy of worship music remains underexamined and undertheorized. In this article, I develop the theory of ‘worship capital’ as a corrective.
Archival Research Methods and Music Industry Pedagogy
Proceedings of the 2018 MEIEA International Summit (2018). In this article, I discuss the value of archival research and primary document sources to pedagogy in music industry education. I describe the archival methods I have employed in a research project documenting contemporaneous discourse about the corporate consolidation of Christian record labels within (secular) major record labels in the early 1990s.
Concentration, Diversity, and Consequences: Privileging Independent over Major Record Labels
Popular Music (2018). A meta-analysis of popular music literature on record labels reveals an ‘indie prejudice’: a preference for (and even a bias in favour of) independent labels coupled with a dismissive approach to the study of major labels and musical mainstreams that impacts our ability, as a scholarly field, to speak with authority about the largest segments of the commercial record industries. What larger implications for our scholarship might confronting this prejudice reveal? What master narratives have structured popular music studies’ preference of independent over major record labels?
Music Industry Research Methodology
This course introduces students to a number of research methodologies and analytical approaches used in music industry studies and the music industry itself. As an interdisciplinary area, music industry methods draw from disciplines in the social sciences, humanities, and business. Success as a scholar of or professional in the music industry frequently depends upon one’s ability to collect, interpret, and analyze data from a variety of sources and perspectives.
Selling Out or Buying In? Archival Research of Consumer Discourse about Christian Record Label Consolidation
MEIEA conference presentation (2018). In this paper I consider the role of archival research in music industry studies to address fan discourse as a barometer of anxieties over corporate consolidation. As a result of MEIEA-funded research into CCM magazine (at Middle Tennessee State University’s Center for Popular Music), I discuss methodological approaches for discerning the diverse range of opinions expressed by committed fans (as a kind of historical ethnography and reception study) and present my findings not only in light of their importance to the historical record but also in terms of their practical significance to music and entertainment industry decision-makers considering an acquisition today.
Tuning in to Locality: Participatory Musicking at a Community Radio Station
The Routledge Companion to the Study of Local Musicking, Routledge (2018). This chapter examines how marketplace factors affect programming decisions made within radio stations at the macro level, and illustrates their local impacts through a case study of the Chicago Independent Radio Project (or CHIRP). I argue that stations like CHIRP facilitate public intimacy and personal relationships in local spaces and places via imagined communities that are more social than they are imaginary. Through participatory musicking, their staff, volunteers, and listeners help construct musical locality together.
“As for me and my house”: Nashville, the Home of Christian Music
IASPM-US roundtable (2018). For this roundtable, current and former Christian music professionals who have worked in A&R, executive leadership, higher education, music ministry, publishing, and radio promotions, among other roles, address the unique challenges that face Christian music. With many combined decades of experience in organizations large and small, our panelists are well-attuned to the city’s centeredness to the Christian music industries. We consider how Christian music has impacted Nashville, address the difficulties of maintaining a profitable business while conducting a ministry, and consider the boundaries of Christian music—increasingly porous as they are—in the broader contexts of globalized entertainment.
Sound as Religion
AAR conference roundtable panelist (2017). While interdisciplinary interest in the phenomenon of sound has been growing apace, understanding the diverse ways in which sound is implicated in religious practice and spiritual experience remains under-researched in the field of religious studies. This lacuna can be attributed in part to the dominance of textual, visual, and liturgical paradigms in the field, but also the challenges of conducting research on sound (including music), noise, and silence. At this juncture, we feel the need to team up and share resources in order to promote more research and theoretical reflection on the auditory and acoustic dimensions of religion.
Resistance, Renewal, and Congregation at Christian Music Festivals
AAR conference presentation (2017). Based on interviews with festival staff and attendees, historical research, ethnographic fieldwork at Cornerstone in 2009–2012 (including two summers volunteering as festival staff), and fieldwork at AudioFeed and Wild Goose in 2017, this paper examines the production of space, place, and community at Cornerstone, AudioFeed, and Wild Goose.
The Ethnomusicology of Religion: Fieldwork Methods and Ethics
SEM conference roundtable panelist (2017). Ethnographic fieldwork is often shaped by logistical issues including access, documentation, rapport, and fluency (both cultural and linguistic). Ethnomusicologists researching musics within religious or sacred contexts, however, face additional challenges. For example, moments of spiritual transcendence complicate participant-observation, both for ethnographers who belong to the faith tradition they are researching and for those who do not. Similarly, the varied expectations of the researcher’s audiences problematize documentation and representation. In this roundtable, participants consider these and other issues, addressing the ethical and methodological challenges of fieldwork posed by the ethnomusicology of religion.
Despacito and One Sweet Day: How pop culture “reflects the fabric of our society”
News@Northeastern (2017). This month, “Despacito” came precipitously close to being the longest-running No. 1 song on the Billboard Hot 100 chart. Andrew Mall, assistant professor of music industry and ethnomusicology, said that the increasingly heterogeneous listening patterns of an increasingly diverse U.S. population means it’s not surprising Carey held on to the title for so many years. He added that this new, splintered listener base means that more variety is showing up on big charts like the Billboard Hot 100.
Music Industry Co-op Seminar
This directed study is designed specifically for graduate students in the Masters of Science in Music Industry Leadership program who are working on co-op. The course content and activities will help you reflect on the ways in which you are learning, the attitudes and behaviors that influence how you approach professional challenges, the motivators that influence your decision-making, and how this experience relates to your overall career goals. Your overall objective is to gain a deeper and broader understanding of your role’s importance within the music industry. By doing so, you will begin to see interactions and intersections with other professional areas, your academic work, and your prior background and professional work experience.
Festivals and Musical Life
SAM seminar (2017). In this seminar, we examine the multiple ways in which festivals—understood as music communities (or scenes) concentrated into limited temporal and geographic frames—affect musical life in the Americas at the micro and macro levels, both historically and in the ethnographic present. Seminar participants should be prepared to present case studies that investigate and discuss the cultures, histories, values, and spaces developed in music festivals in the Americas.
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