Arts Entrepreneurship

32.
Entrepreneurship education and the

arts: designing a commercial music
production major and entrepreneurship
minor
Thomas Haines and Charles H. Matthews
INTRODUCTION
By all accounts, over the past quarter century, fueled in part by a digital
transformation of unprecedented proportions, the music industry has and
continues to experience a disruptive process that reshaped nearly every aspect
of the industry’s value chain. That value chain includes, but is not limited to,
how music is created, produced, distributed, and sold (Tschmuck, 2016); to
crowdfunding and social networks in the music industry (Martinez-Cañas,
Ruiz-Palomino, & Rubio, 2012). Including the evolution in do-it-yourself
music production (Walzer, 2017); to how the next generation of musicians,
producers, and managers are educated and prepared for the future (White,
2013). It is a brave new world for commercial music production and entrepre-
neurship education.
This chapter focuses on (1) an overview of the critical issues facing music
and entrepreneurship education; (2) a brief overview structure and goals of the
Copyright © 2021. Edward Elgar Publishing Limited. All rights reserved.
recently minted major in commercial music production with an entrepreneur-

ship minor (CMP/EMinor); (3) an outline of the specific curricula design for
the CMP/EMinor program; and (4) a summary and future directions.
As part of the ongoing debate, one critical area that has been identified is the
need for musicians to augment their training with business and entrepreneur-
ship education – understanding not only how to build and commercialize their
musical skills, but more fully consider the pros, cons, and process of starting
a new business. Given the often technology-driven cottage industry music
business model of scalable growth, it is a particularly compelling idea to bring
together musicians and entrepreneurship curricula in an effort to address this
need for today’s arts students, as well as education and curricular opportunity
for colleges and universities.
396
Annals of Entrepreneurship Education and Pedagogy - 2021, edited by Charles H. Matthews, and Eric W. Liguori, Edward Elgar
Publishing Limited, 2021. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/pensu/detail.action?docID=6462843.
Created from pensu on 2021-09-30 16:29:58.
Entrepreneurship education and the arts 397
Similarly, while there is consensus surrounding the importance of traditional

music education at all levels in general and higher education in particular, there
is little agreement surrounding best practices on implementation in the class-
room. To address this issue, a team of educators in the College Conservatory
of Music and Lindner College of Business at the University of Cincinnati came
together in 2011, to propose a unique four-year education program solution
centered on the nexus of modern music education and entrepreneurship. In
order to attack this problem, three key issues were simultaneously addressed:
issues outside the academy; issues inside the academy; and the lack of music
and business acumen.
Issue 1: Outside the Academy
In the twenty-first century, the traditional music education model is viewed

as unnecessary for most young adults wanting to make music. The digital
revolution has transformed musical instrument skills in some positive and
less positive ways. That is, when musical instrument skills are acquired, the
computer has supplanted the need for formal music education through per-
sonalized and self-directed internet study. There is general agreement that this
personalized self-study model has sidestepped many of the important music
theory and professional practices needed for most to become a well-rounded
and successful professional musician. Moreover, evidence also suggests that
many professional arts training programs may be failing to prepare students to
be professional artists (White, 2013).
Issue 2: Inside the Academy
As music making has become increasingly computer-centric, so much so,

a music maker needs little to no traditional music-making skills to craft
professional-level music. This is due in part to generation Z’s music consump-
tion practices. The traditional music education process is one that demands
a thorough grounding in every aspect of Western music traditions. Nearly
half of this educational model is formatted to deliver an historical perspective
that builds a knowledge base that, in the best sense, perpetuates the support
for this centuries-old tradition. In the twenty-first century, our digital native
students have become ill-equipped to easily assimilate to this highly structured
environment. Additionally, with the advent of internet “training” and online
music master classes, the traditional model has direct competition inside the
classroom. Moreover, entrepreneurship education has traditionally been the
domain of business schools and where offered these courses are often available
outside of an arts training context (White, 2013).
398 Annals of entrepreneurship education and pedagogy – 2021
Issue 3: Lack of Music and Business Acumen
In general, higher education in Ohio has been mandated to provide education

that prepares its graduates with the ability to find gainful employment in
their chosen field of study. In the new music “gig economy,” a firm grasp
of current and future business trends are needed to launch a new business
venture. Additionally, a professional-level online presence is expected in the
vast majority of cases. It should be noted that most music schools do offer
a modicum of “real-world” business skills, typically as an afterthought.
Solution: Career-Based Entrepreneurship Music Training Education

Curriculum
Rethinking the information flow used in traditional music education models

was necessary to address the above concerns. Chief among them was creating
an experiential course structure based upon current and future music business
trends. The entrepreneurship aspect of this structure became the sea-change
ideation and key structural element of the commercial music production
program that includes a minor in entrepreneurship (CMP/EMinor). Joining
forces of the internationally regarded and highly ranked College Conservatory
of Music and Lindner College Business at the University of Cincinnati created
a benchmark program that addresses the needs of music, business, the univer-
sity, and community.
WHAT IS COMMERCIAL MUSIC PRODUCTION?
Commercial music production can be defined as music that is produced for

the commercial market. Production music is frequently used as theme or back-
ground music in radio, film, television, and episodic internet series. Performance
income is generated when music is publicly performed on radio, television, or
streamed. Production music libraries are typically constructed to meet the

demand for high-quality music in a broad range of musical styles and genres,
enabling producers and editors to find what they need in a prepackaged format.
THE “NEW” MUSIC BUSINESS ECONOMY
The economics of the music industry has been radically changed in the past
two decades. The entire industry faced the negative effects of web technology
where music can be downloaded for free. Many internet users have essentially
stopped paying for their music since the mid 1990s. With this music consump-
tion dilemma, new revenue streams were needed.
New Sources of Revenue
The music industry discovered new ways to monetize their product to take
advantage of the current consumer trends. The following outlines several of
these new revenue streams.
Streaming
Music streaming has become a popular choice by many consumers. Apps like
Spotify provide consumers with access to songs for free, adding advertise-
ments between songs. Consumers are urged to pay for ad-free services.
Product placement
Music videos have also become an important part of the revenue strategy.
When songs become popular, they are viewed almost as much as they are
heard. Music producers often team up with brands for video product placement.
YouTube monetization
It is not uncommon for songs to have millions of views. YouTube allows cre-
ators to monetize their content. More and more, this is becoming an important
source of revenue for music producers.
Licensing
Song producers can license their songs for use in advertisements. This revenue
stream is highly unpredictable but can be profitable in most situations.
Touring
Popular artists and music companies can make a majority of their money on
concert tours. Music companies negotiate contracts wherein they get a percent-
age of the revenue generated from ticket sales. Touring remains the primary
source of revenue for music performers.
Merchandising
Music companies often have merchandise sales at their concerts. Additionally,
it is not uncommon for music producers to collaborate with professional mer-
chandising firms to sell their products online.
Royalties
Artists and music producers receive royalty fees from their content if it is
played on air. Radio, television stations, and internet streaming services rou-
tinely pay royalties.
PEDAGOGICAL OVERVIEW
As preparation for traditional music careers has become less important, edu-
cation has been forced to reevaluate its purpose. One method to address this
change is to bring ambiguity and uncertainty into the classroom. Future work
environments will not have a syllabus and worksheets with example problems
showing people what to do. Work tasks will likely be vague, emergent, and
approachable through multiple solution pathways. To prepare for such condi-
tions, students need to experience uncertainty, ambiguity, risk, and failure in
ways that strengthen their ability to ask questions, make reasoned approaches,
and seek help. Students also need to balance self-confidence and humility and
become skilled at emotion regulation so that they can navigate the ups and
downs of an uncertain cottage industry business environment. The more pre-
scriptive learning activities are, the less likely they will contribute to students’
ability to navigate ambiguity and uncertainty at work, in further learning, and
in their lives. In contrast, looking for ways to bring passion-driven, open-ended
projects, peer-based collaboration, and play-centered experimentation and
creation into learning environments will help foster productive approaches to
ambiguity and uncertainty (Vander Ark & Vander Ark, 2017).
The changing nature of work in the music industry is shortening the shelf
life of job-specific skills related to the music industry, transforming the
nature of the production processes in ways that shift the focus of training and
preparation for work. Post-secondary education institutions will continue with
responsibility for helping students to prepare for their initial career opportunity
but can no longer be viewed as the final stage in the transition to work. As
key contributors to lifelong learning, post-secondary education institutions
can play an important role in preparing students to develop strategies to guide
their choices in the rapidly changing music industry. Individuals need support
in strategizing for career and life options and choices rather than for current
career paths that may not endure.
Implementing Twenty-First-Century Education Models
The main shift in our commercial music educational model was to adapt
competency-based teaching and learning pedagogies in the curricular course-
work. In order to create fulfilling and successful careers, musicians will
need to continue to discover their own personal and professional strengths,
weaknesses, passions, and emotional patterns. Self-discovery will also help
students develop visions for their lives and will fuel creativity. This shift was
additionally supported by the following student-centered goals.
Navigating through uncertainty

The rapidly changing music market and its associated new service niches can
leave music producers with ever changing professional goals and vague work
tasks. This can be challenging for those without the necessary skills to manage
themselves and who lack the ability to figure it out with little guidance. The
new music professional will need to be able to create fluid structures to organ-
ize, plan, and prioritize work. They will need to develop their adaptability and
resourcefulness, and balance confidence with humility.
Problem-based learning
One variant in problem-based learning uses real-world scenarios allowing
the student to define their own learning objectives. Having students approach
problems as learning opportunities will be commensurate with professional
opportunities and growth. Understanding what you don’t know then gathering
new tools to solve problems will become the new norm.
Unconventional thinking
Teaching students to use unconventional ways of looking at a problem or idea
can yield unexpected results. Using cognitive frameworks and disciplinary
models can be important for creativity and innovation. Diverse outside-the-box
thinking will be expected in all facets of the new music business. Using entre-
preneurial approaches to create novel ideas, then expanding them and building
off of others’ ideas, and synthesizing these diverse ideas into deeper under-
standing is the beginning of many new startups in the twenty-first-century
economy.
BACHELOR OF MUSIC IN COMMERCIAL MUSIC

PRODUCTION
This degree offers a comprehensive education in professional commercial

music studies. This unique program combines core training in music theory,
composition, arranging, and musicianship combined with recording studio
techniques, commercial music, and media technologies. The commercial
music production degree includes an additional emphasis on startup business
acumen by inclusion of a minor in entrepreneurship. This creates a vibrant
and exclusive educational experience that will provide graduates numerous
opportunities for meaningful employment in the music industry.
The graduates will possess skills in these areas:
• Music composition for television, commercial media, and film

• Music business in entrepreneurship
• Career management
• Music and related technologies

• Studio production techniques
• Producing, mixing, running live sound
• Scoring music to picture
• Songwriting and arranging.
ENTREPRENEURSHIP MINOR FOR COMMERCIAL

MUSIC PRODUCTION: COTTAGE INDUSTRY MODEL
Partnering with Lindner College Business was critical in establishing the

linkage to providing our students with real-world business-based education
(Figure 32.1). The entrepreneurship aspect of our cottage industry business
model perfectly aligns with launching new commercial music product and
services businesses. Many modern cottage industries serve a market that
seeks out original, handcrafted music products as opposed to mass-produced,
highly capitalized music service entities. These “at home” business offerings
can include a wide variety of “custom music” services geared toward a more
customizable and personalized solution.
Figure 32.1 Entrepreneurship minor for commercial music production
CMP students are routinely asked to identify successful niche market leaders
as personal benchmarks in an effort to understand these entities through the
lens of innovative startup companies (Figure 32.2). Furthermore, they begin
their freshman year by attending music performances and critically assessing
the ensemble stage presentations, merchandise marketing, collateral product
distribution efforts, etc. These findings are presented in class as pseudo-case
studies as examples, good and bad, of live music event business strategies.
Figure 32.2 Commercial music production
CREATING A SOLID FOUNDATION: THE

COMMERCIAL MUSIC PRODUCTION FRESHMAN
EXPERIENCE
The freshman experience was first launched as a University of Cincinnati

initiative where a summer reading requirement was given prior to incoming
freshmen’s first fall term. This effort was then bolstered by the development
of learning communities or cohorts where diverse student groups would share
their experiences within the common freshman coursework. Subsequently,
we build our freshman course sequence to expand upon this framework by
cultivating a deeply integrated coursework flow that builds a fluid connection
between course instruction and the overall program goals. Figure 32.3 illus-
trates the course flow.
Figure 32.3 Commercial music production program: freshman year core

program process model
CMP CURRICULUM: FOUR-YEAR PLAN COURSE

CHANGES AND CONFIGURATION
As with every new curriculum, the CMP program has enacted several substan-
tial curricular changes over the last eight years (Figure 32.4). Most notably
have been changes in course sequencing, additional music production course
creation, and focus in core course offerings and those courses offered by
partner content deliverers. Most noteworthy are:
• Desktop music production 2, course creation designed to extend technol-

ogy foundational studies.
• History of American popular music, aligns with freshman music theory in
coordinated content delivery.
• Music business courses using entrepreneurship business models for busi-

ness plans and website creation.
• CMP collaborators corner, a course designed to create cohorts from fresh-
man and junior CMP students.
• History of Creative American music, aligns with the film scoring course
coordinating content delivery.
• Song writing and film scoring track creation, tailoring the program to better
suit students’ career paths.
• Music engraving course adoption, to prepare students for the professional
music publishing market.
• Studio ensemble course creation, to prepare students for the professional

studio production market.
• CMP senior capstone alignment with professional music production of
commercially focused content.
Figure 32.4 Four-year plan course changes and configuration
DEEPER LEARNING: KEY CMP INSIGHTS
Moving to a competency education model provides tangible benefits in and

outside the classroom environment. This competency framework seeks to
create dynamic learning environments that help students foster deep personal
understanding of core content. Crafting a skills and knowledge base to solve
problems, think critically, communicate effectively, and be self-reflective may
be their greatest asset upon graduation. Through the development of cohorts,
productive academic relationships among students, between students and
faculty, and between students and other professionals strengthen highly valua-
ble intangible assets and people skills that oftentimes determine the long-term
success.
SUMMARY AND MOVING FORWARD
Given the trend of the shortening shelf life of music production skills,
post-secondary institutions can support students’ ongoing success by helping
them create learning strategies that support them over their lifetimes. When
in school, these learning ecosystems include faculty, industry experts, social
networks, digital content, learning experiences, and will be instrumental for
students’ lifelong personal and professional growth. When training students
to navigate the rapidly changing employment landscape, they need to learn
how to identify their strengths and weaknesses, professional goals, and
pathways for career mobility. It is our belief that through the development of
competency-based course content and activities, and offering clear pathways
for tangible growth, professional development, and preparedness in the digital
age of music business, we are supplying our students the best opportunity for
success.
REFERENCES
Martinez-Cañas, R. & Ruiz-Palomino, P., & Rubio, R. (2012). Crowdfunding and social
networks in the music industry: Implications for entrepreneurship. International
Business and Economic Research Journal, 11, 1471–6. 10.19030/iber.v11i13.7449
Tschmuck, P. (2016). From record selling to cultural entrepreneurship: The music
economy in the digital paradigm shift. In P. Wikström & R. DeFillippi (Eds.),
Business Innovation and Disruption in the Music Industry (pp. 13–32). Cheltenham,
UK and Northampton, MA, USA: Edward Elgar Publishing. doi: https://doi.org/10
.4337/9781783478156.00007
Vander Ark, K., & Vander Ark, T. (2017). The rise of AI demands project-based learn-
ing. Getting Smart, March. www.gettingsmart.com/2017/03/rise-of-ai-demands
- project-based-learning
Walzer, D. A. (2017) Independent music production: How individuality, technology

and creative entrepreneurship influence contemporary music industry practices.
Creative Industries Journal, 10(1), 21–39. doi: 10.1080/17510694.2016.1247626
White, J. C. (2013) Barriers to recognizing arts entrepreneurship education as essential
to professional arts training. Artivate, University of Arkansas Press, 2(1), 28–39.
www.jstor.org/stable/10.34053/artivate.2.1.0028

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32.

Entrepreneurship education and the

recently minted major in commercial music production with an entrepreneur-

Similarly, while there is consensus surrounding the importance of traditional

Issue 1: Outside the Academy

In the twenty-first century, the traditional music education model is viewed

Issue 2: Inside the Academy

As music making has become increasingly computer-centric, so much so,

Issue 3: Lack of Music and Business Acumen

In general, higher education in Ohio has been mandated to provide education

Solution: Career-Based Entrepreneurship Music Training Education

Rethinking the information flow used in traditional music education models

WHAT IS COMMERCIAL MUSIC PRODUCTION?

Commercial music production can be defined as music that is produced for

streamed. Production music libraries are typically constructed to meet the

THE “NEW” MUSIC BUSINESS ECONOMY

New Sources of Revenue

Implementing Twenty-First-Century Education Models

Navigating through uncertainty

BACHELOR OF MUSIC IN COMMERCIAL MUSIC

This degree offers a comprehensive education in professional commercial

• Music composition for television, commercial media, and film

• Music and related technologies

ENTREPRENEURSHIP MINOR FOR COMMERCIAL

Partnering with Lindner College Business was critical in establishing the

Figure 32.1 Entrepreneurship minor for commercial music production

Figure 32.2 Commercial music production

CREATING A SOLID FOUNDATION: THE

The freshman experience was first launched as a University of Cincinnati

Figure 32.3 Commercial music production program: freshman year core

CMP CURRICULUM: FOUR-YEAR PLAN COURSE

• Desktop music production 2, course creation designed to extend technol-

• Music business courses using entrepreneurship business models for busi-

• Studio ensemble course creation, to prepare students for the professional

Figure 32.4 Four-year plan course changes and configuration

DEEPER LEARNING: KEY CMP INSIGHTS

Moving to a competency education model provides tangible benefits in and

SUMMARY AND MOVING FORWARD

Walzer, D. A. (2017) Independent music production: How individuality, technology

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