This course will introduce students to basic skills in the business and management of arts and music. It focuses on themes of audience development, the rise of participatory music making and active audiences, and evolving strategies for positioning and branding. Contemporary issues of ownership, marketing and distribution for music will be explored. Recently, the rise of digital technologies and cloud computing has challenged these formats and generated much legal, economic and social discussion.  Many of the sessions will be delivered by practitioners in the fields of arts and festival management, the freelance music business, and music IP.

By the end of the course, you should be able to:

1. Understand practical and theoretical issues in the business of music.
2. independently critique these theoretical perspectives, and apply practical knowledge, to a number of specific musical case studies
3. compile a portfolio of music business and arts management documents - CV, promotional materials, business case, risk assessment
4. demonstrate research, analysis, discussion, and writing skills through written assessment tasks

1. Written project (3000 words) (60%), [Learning Outcomes 1,2,4]
2. Business portfolio (2000 words - compiled of several documents such as CV, promotional materials, business case, risk assessment) (40%), [Learning Outcomes 1,2,3,4]

A mixture of seminars and workshops equivalent to three hours per week, plus seven hours of independent study per week.

Nil

None

A reading brick will be available to all students enrolled in this course at the start of the teaching semester. Indicative texts include:

• Rosalind Williams. “The Dream World of Mass Consumption” in Rethinking Popular Culture. Eds. Chandra Mukerji and Michael Schudson. Berkeley: University of Chicago Press, 1991.
• Trentmann, F. (2007). “Citizenship and Consumption.” Journal of Consumer Culture, 7 (2), 147-158.
• Stuart Ewen. Chapter 5: The Dream of Wholeness. In All Consuming Images: The Politics of Style in Contemporary Culture. New York: Basic Books, 1988.
• David Harvey. “Fordism.” Excerpt from The Condition of Postmodernity. Cambridge:Basil Blackwell, 1989, pp. 125-140.
• Stuart Cosgrove. “The Zoot Suit and Style Warfare.” In Zoot Suits and Second-Hand Dresses. Ed. Angela McRobbie. Boston: Unwin Hyman, 1988.Film Clips: Modern Times
• Bill Osgerby. Youth Media. Abingdon: Routledge, 2004.
• Naomi Klein, “Alt.Everything: The Youth Marketplace and the Marketing of Cool.” In No Logo. New York: Picador, 2000.
• Dominic Strinati. “Mass Culture and Popular Culture.” In An Introduction to Theories of Popular Culture. London: Routledge, 2004.
• Benjamin, W. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations: Essays and reflections. H. Arendt (Ed.), (H. Zohn, Trans.). New York: Schocken Books, 1968, pp. 217-251.
• David Harvey. “Modernity and Modernism.” Excerpt from The Condition of Postmodernity. Cambridge: Basil Blackwell, 1989, pp. 10-38.
• Dominic Strinati. “Postmodernism and Popular Culture.” In An Introduction to Theories of Popular Culture. London: Routledge, 2004.
• Smith, Z. (2010, Nov 25). “Generation why? The New York Review of Books”. Available at:http://www.nybooks.com/articles/archives/2010/nov/25/generation-why 
• George Lipsitz. “Diasporic Noise: History, Hip Hop, and the Post-Colonial Politics of Sound” in Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. London: Verso, 1994
• Guins, R. (2008). “Hip hop 2.0.” In A. Everett (Ed.), Learning race and ethnicity (pp. 63-80). Cambridge, Mass: MIT Press.
• Martin Laba. “’Pirates,’ Peers and Popular Music.” In Mediascapes. Eds. Paul Attallahand Leslie R. Shade. Toronto: Nelson, 2007.
• Ursula M. Franklin. The Real World of Technology (Revised Edition). Toronto: House of Anansi Press, 1999.
• Robert Goldman and Stephen Papson. (2000) “Advertising in the Age of Accelerated Meaning.” In The Consumer Society Reader. Eds. Juliet B. Schor and Douglas B. Holt. New York: New Press.
• Aronczyk, M., & Powers, D. (2010). “Introduction: Blowing up the Brand.” In M. Aronczyk & D. Powers (Eds.), Blowing up the brand: Critical perspectives on promotional culture (pp. 1-26). New York, NY: Peter Lang.
• Henry Giroux. (1994). “Consuming Social Change: The United Colours of Benetton.” In Disturbing Pleasures: Learning Popular Culture. New York: Routledge.
• Littler, J. (2009). Chapter 2 – Cosmopolitan Caring: Globalization, Charity and theActivist-Consumer. In Radical consumption: Shopping for change in contemporary culture. Maidenhead, UK: Open University Press.
• Poyntz, S. R., & Hoechsmann, M. (2011). Chapter 4 – Media Literacy 1.0.1. In Medialiteracies: Between past and future. Malden: Wiley-Blackwell Publishing.
• Kenway, J., & Bullen, E. (2008). “The Global Corporate Curriculum and the Young Cyberflaneur as Global Citizen.” In N. Dolby & F. Rizvi (Eds.), Youth Moves: Identities and Education in Global Perspective. London: Routledge, pp. 17-32.