Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association最新文献

{"title":"Utilizing Active Learning and Backwards Design to Articulate Learning Outcomes and Maximize Student Learning: An Integrating Model of Formative and Summative Assessment","authors":"Joseph Miglio","doi":"10.25101/19.27","DOIUrl":"https://doi.org/10.25101/19.27","url":null,"abstract":"Active learning is becoming a popular catch-phrase in education but it is much more than a fad or a bunch of “tips and tricks” on how to get students engaged in class. Active Learning is nothing less than a full-fledged paradigm shift in teaching and learning. This evidence-based approach is grounded in research about how the human brain learns and calls for significant changes to the way college courses are designed and to the roles of students and teachers in these courses. This session will explore the context of the emerging shift in education away from the Transmission of Knowledge paradigm toward the Active Learning perspective, with a detailed focus on the cornerstone of Active Learning: Backwards Design. Backwards design uses carefully articulated course learning outcomes as the basis to create a course that includes the necessary opportunities for practice, assessment, and feedback that will foster real learning and student success. In a collaborative conversation, participants will discuss strategies to analyze the relationship between the “content” or topics of a course and the learning outcomes for that course, in an effort to delineate a process of developing meaningful and worthwhile course outcomes and unpacking these outcomes to uncover cognitive ability and implantation agility. In an active learning course, the teacher’s primary job is to design formative assessments that allow students to practice skills and make connections and then to use these “teachable moments” to offer feedback to steer students toward efficient and productive learning. Teachers, then, need to design authentic and relevant summative assessments where students can showcase what they have learned. In our time together in this interactive session, we will: • Investigate several formative → summative assessment schemes and models • Discuss five Active Learning formative assessment techniques that can be adapted to any course and used in-class and/or out-of-class • Consider the sorts of summative assessments that make the most sense in an Active Learning class. • Provide a case analysis of a successful course that employed this model • Offer resources and citations for additional information and instructional application","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"152 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133994258","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Kahoot!: A Tool in the Effective Teacher’s Toolbox","authors":"Eric Holt, Amy Bryson Smith","doi":"10.25101/19.26","DOIUrl":"https://doi.org/10.25101/19.26","url":null,"abstract":"The desired outcome for instructors who seek to competently teach students can often be summarized in two words: student success. Although, the input necessary to achieve student success varies dramatically with each class, one constant is the effective teacher. Defining what an “effective” teacher is proves to be difficult because for every class the “effective” teacher is different. As of late, whether you agree or not, effective teachers are often described as enterprising and entertaining. Enterprising—being marked by imagination and initiative; and entertaining—being agreeably diverting or providing amusement. The debate about creating an entertaining and/ or enterprising classroom certainly exists. But, no matter who wins the debate, it is clear that students of all ages are being entertained in every other facet of their life, and even if they do not expect it in their classroom, they surely appreciate and often respond to it! Kahoot! is a free game-based learning platform for any subject and for all ages. It is designed to make learning fun. Students are able to join from any device, such as their smart phone, tablet, or computer. Whether utilizing one of the many existing Kahoot! games or creating your own, Kahoot! creates fun learning for all! Kahoot! is an innovative tool that all professors who are striving to be effective should put in their toolbox.","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123267344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Using Movies to Teach Music Business","authors":"C. Rolston","doi":"10.25101/19.37","DOIUrl":"https://doi.org/10.25101/19.37","url":null,"abstract":"","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122274072","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Teaching Ethics in the Music Industry Classroom","authors":"Christopher M. Reali","doi":"10.25101/19.21","DOIUrl":"https://doi.org/10.25101/19.21","url":null,"abstract":"","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"32 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125796395","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“You’re Tearing Me Apart”: Deconstructing Mise-en-Scène in Rebel Without A Cause","authors":"J. Guthrie","doi":"10.25101/19.13","DOIUrl":"https://doi.org/10.25101/19.13","url":null,"abstract":"Mise-en-scène describes the placement of all characters and objects within the scope of the camera’s lens. Stylistically, it can be used to describe the director’s “eye,” all that they choose to reveal, or conceal, within a shot. It refers to such specific elements as props, position, posture, pointof-view, camera angle, color, and lighting. When skillfully employed the effect can be dramatic, intensely emotional, captivating, and even iconic. Director Nicholas Ray’s Rebel Without A Cause (1955) is considered to be a preeminent example of exceptional mise-en-scène. As one of the truly iconic American films of its era, Rebel relies heavily on character development, superb acting, and storytelling to further its plot. Much of the storytelling is done through the use of mise-en-scène. A deconstruction of this technique is useful for both theoretical and pedagogical applications in the study of film.","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124347700","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"A Strong Wind Could Blow It Over: Understanding The Fragile State of Music Blockchain Development In Contrast To The Antifragile State of Blockchain Tech Generally","authors":"George Howard","doi":"10.25101/19.23","DOIUrl":"https://doi.org/10.25101/19.23","url":null,"abstract":"Blockchain technology has moved from something associated entirely with Bitcoin and only whispered about in the recesses of the internet to a now nearly all-pervasive presence across a wide range of industries. In the years since the emergence of Blockchain technology it has withstood not only the countless naysayers who pooh-poohed its very existence as nothing more than vapor-y trend, but also countless attacks and code exploitations across various Blockchain implementations (specifically, the Bitcoin and Ethereum Blockchains). This durability in the face of tremendous adversity has led to my thesis that Blockchain Technology has moved from a state of Fragility to a now Antifragile state, in which it is not only able to survive threats and attacks (defined as “robustness”), but actually gains strength from these attacks. This concept of Fragility/Antifragility was codified by Nassim Taleb in his book Antifragile, and builds upon the concept of the Lindy Effect. It is widely applicable to Blockchain Technology as, as stated above, this technology appears to exhibit the requisite characteristics to be defined as Antifragile. However, Blockchain Technology as it relates directly to the music industry is exhibiting the polar opposite attributes; it is deeply Fragile. Blockchain as it relates to the music business has become something of an imperative for any music business participant who is forward-thinking. The promise of a decentralized, immutable ledger with machine-readable rights is far too compelling to be ignored by those who believe the music industry is in need of wholesale change. And yet, even with no shortage of investment dollars and (relatively) high profile attempts to leverage the above-referenced characteristics of Blockchain into viable solutions/businesses in the music industry ecosystem, one would be hard-pressed to point to a single example of success. As someone who has both worked in the Blockchain space since the very beginning, and chronicled its development in music and other industries in my Forbes column, I have unique line of sight as to why Blockchain and music remains in this extremely Fragile state, even while Blockchain Technology across other industries is only becoming more robust. This paper will provide: • An overview of the current state of Blockchain Technology, generally, and Blockchain Music implementation, specifically • Identify and explain the four dominant reasons why Blockchain Technology has not gained traction in the industry • Delineate the necessary steps that must be taken to address the above referenced points of failure • Provide a specific example of what such an implementation would resemble • Address the specific problems this type of Blockchain-based Music implementation would address with respect to the music industry, generally • How best to integrate the challenges and opportunities of Blockchain based music implementation in the classroom.","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"115 15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126368511","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Streaming Mechanicals and the War on Spotify","authors":"Don Gorder","doi":"10.25101/19.20","DOIUrl":"https://doi.org/10.25101/19.20","url":null,"abstract":"The royalties generated from the mechanical reproduction of songs have historically been a major source of income for songwriters. As the consumption of recorded music has moved from physical and downloaded copies to digital streams, songwriters have suffered a major decline in their ability to earn a living from their art and craft. There are two reasons for this: 1) Under copyright law, interactive streaming services (such as Spotify) must obtain a mechanical license to stream the songs, and must pay royalties to the rights holders (typically publishers who then pay the songwriters their share) at rates that are set by law. With perstream rates averaging in fractions of pennies, the mechanical income of songwriters has shriveled. 2) Independent publishers and self-published songwriters have complained loudly that they are not being paid these royalties properly, or at all, by the services, and the services counter that they often don’t know whom to pay, due to the lack of data at their disposal that allows them to match the recording with the publishers and songwriters. A number of prominent members of the publisher/songwriter community chose not to accept this argument, and availed themselves of the legal system to rectify their disputes with Spotify, whom they identified as the primary culprit in the non-payment of mechanical royalties. The National Music Publishers Association also stepped into the fracas, with an attempt to negotiate a settlement with Spotify for unpaid royalties for their members. As this activity gained the attention of the media, it became an impetus for the introduction and ultimate enactment of the Music Modernization Act (MMA) that, it is hoped, will fix these problems. This presentation will trace the chronology of these disputes—their origin, rationale, and resolution—and how they likely played a role in the ratification of the MMA. Particular attention will be given to an assessment of those elements of the MMA that were designed to fix the problems that spawned the disputes.","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131661614","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Drinking from Olivia Pope’s Wine Glass: Fan Communities and the Impact of Parasocial Relationships on Consumption Behaviors","authors":"Morgan Bryant, J. Burkhalter, N. Wood","doi":"10.25101/19.15","DOIUrl":"https://doi.org/10.25101/19.15","url":null,"abstract":"When I reach my Olivia Pope status I’m going to buy giant wine glasses to celebrate #Scandal #OliviaPope #Bosslady Product placement, often referred to as brand placement, is an orchestrated product message designed to influence audiences through the unobtrusive inclusion of a branded product in entertainment content (Balasubramanian 1994, 31). Orchestration may take various forms ranging from loaning the product to charging a fee. As a type of hybrid message (Balasubramanian 1994), product placements benefit from their non-commercial character due to the lack of sponsor identification. Interestingly, products may appear prominently whether or not an agreement is in place. For example, Hershey’s Reese’s Pieces candy was notably integrated into the plot of the film E.T. the Extra-Terrestrial playing a key role in E.T. finding his way home (Babin and Carder 1996). Similarly, Polaroid was repeated in the hook of Outkast’s hit song “Hey Ya!” and used in the accompanying music video (Thompson 2004). Despite their mutual prominence, unlike Hershey’s, Polaroid did not orchestrate or pay for its inclusion. In both cases, however, the brands saw increased sales and awareness. Unbranded products such as haircuts (Russell and Puto 1999), dogs (https://www.independent.co.uk/arts-entertainment/tv/news/game-of-thrones-direwolves-huskies-animal-shelters-peter-dinklage-tyrion-lannister-a7894821. html) and food (https://www.esquire.com/food-drink/food/ a13972/avengers-boosts-shawarma-sales-8707403/) have also seen increased sales following prominent placements. So, despite a lack of formal agreement or brand identifiers, unbranded products that are prominently featured within entertainment content may be sought out and adopted by consumers. This adoption may be facilitated by the existence of parasocial relationships—the long-term, intimate connections viewers build with media figures (Russell and Stern 2006). The current paper investigates consumers’ journey to identify and ultimately purchase an unbranded product— the Camille 23-oz. wine glass—used by Olivia Pope, the lead character of the political television drama Scandal. This particular journey originates in social media and culminates on the brand’s web site. Social media’s influence in consumer behavior has been investigated regarding television viewing habits, consumer decision-making, and the closely-related concepts of ratings and reviews (Bronner and de Hoog 2014; Dellarocas 2006; Hennig-Thurau et al. 2004; Kaplan and Haenlein 2010). More recently, scholars have investigated the role of social media in the consumer journey from problem recognition to post-purchase evaluation via the social commerce literature stream (Zhang and Benyoucef 2016; Kang et al. 2013; Yadav et al. 2013). However, to our knowledge no study to date has explored how consumers utilize Twitter to draw attention to and identify an unbranded product, generating significant interest and desire to drive online sales. In an effort to a","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"248 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133362473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Searching for Sophia in Music Production: A Comparative Study of the Swedish Music Industry's Impact on Future Higher Education in Music","authors":"Jan-Olof Gullö, Hans Gardemar","doi":"10.25101/19.22","DOIUrl":"https://doi.org/10.25101/19.22","url":null,"abstract":"Although Sweden is a small country with just ten million inhabitants, Swedish music exports have been very successful for many years. The international success of companies like Spotify, Cheiron, and Maratone and individuals like Max Martin and Shellback has resulted in a growing interest among students in Sweden to study music and music production. Therefore, the aim of this study is to analyze the motives that exist among young people who choose to study music and to compare such motives with perceptions among leading music industry professionals. Firstly, we study various formal and informal learning processes relevant to music production and secondly, we focus on artistic aspects. A third aspect we study is technological development. But digitalization and online music distribution have not only led to new music production methods and business opportunities, it has also resulted in that established production traditions as well as the competencies among the professionals are challenged. The empirical data in this study consists of qualitative interviews with industry professionals and focus group interviews with students in higher education in music and music production. Learning theories as well as entrepreneurial theories were used to analyze the collected data. The results indicate some clear differences between what the students and the industry professionals value as important. One such difference is entrepreneurial skills, which are valued higher by the interviewed professionals. The results also indicate that many of the students who study music in higher education primarily aim at a career as artists, producers, or songwriters in popular music. This may be a potential problem as most of the music education offered not at all is focused on developing talents to full-fledged artists. The term Sophia [wisdom] refers to ancient Greek knowledge typology and is used to summarize the theoretical framework of the project.","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130746192","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Asian Music Industry","authors":"Don Cusic","doi":"10.25101/19.16","DOIUrl":"https://doi.org/10.25101/19.16","url":null,"abstract":"Three nations—Japan, South Korea, and India—dominate the Asian music industry with a fourth, China, ready to become the dominant music industry in Asia. There are major differences between the countries. Japan has the second largest music industry in the world based on generated revenues; it is only behind the United States. However, Japan has fought the trend of digital streaming and remains heavily into high-priced physical product. Japan’s music industry is protected, protective, and insular; it does not seek to export its music and is happy with Japanese music for Japanese consumers. South Korea, on the other hand, with its K-Pop industry is intent on exporting its artists and recordings. Three agencies dominate K-pop and those agencies find talent, groom the talent, then set them out into the world. India’s music industry relies heavily on films; the major exposure of music comes from India’s Bollywood films. Although there are streaming services in India, the film industry dominates the music industry. China was known for its piracy of American recordings, which was a huge wall against China having a legitimate music industry. However, with the advent of streaming, the Chinese are able to exert control over their industry and, with their large population, reach billions. One of the major emerging firms with digital streaming is Tencent, which is headquartered in China. There are barriers to China’s rise as a major music center, primarily their censorship of anything they dislike. China wants Chinese music to go out into the world but doesn’t want the world’s music to infiltrate China. Whether they can balance all of these ideas will determine the future of China’s music industry.","PeriodicalId":371295,"journal":{"name":"Proceedings of the 2019 International Summit of the Music & Entertainment Industry Educators Association","volume":"143 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130927285","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}