50826 Music Business and Professional Practice

Warning: The information on this page is indicative. The subject outline for a particular session, location and mode of offering is the authoritative source of all information about the subject for that offering. Required texts, recommended texts and references in particular are likely to change. Students will be provided with a subject outline once they enrol in the subject.

Subject handbook information prior to 2024 is available in the Archives.

UTS: Communication: MAP and Sound and Music Design
Credit points: 8 cp
Result type: Grade and marks

Requisite(s): 48 credit points of completed study in spk(s): MAJ10062 80cp Music and Sound Design Major OR 48 credit points of completed study in spk(s): MAJ10063 80cp Music and Sound Design Major OR 40 credit points of completed study in spk(s): MAJ10025 Music and Sound Design Major BMusSoundDes

Description

In this subject, students explore the business models and professional practices relevant to the music and sound sector. Learning is structured around a central applied music business project focusing on the running of a digital media label. Students elect to participate in one or more organising committees fulfilling professional roles such as label management, event management, distribution, marketing and design, production and administration. Authentic learning and assessment strategies are built around project proposal and opportunity analysis, contract drafting and negotiation, project report and acquittal. The label undertakes to complete the production and marketing of student-developed work in contexts such as a live event or digital release.

Subject learning objectives (SLOs)

a.	Apply music copyright knowledge in a commercial context
b.	Manage professional relationships
c.	Plan and deliver professional projects
d.	Develop and deliver professional portfolio documentation
e.	Explain and reflect on professional practice with reference to concepts from the literature

Course intended learning outcomes (CILOs)

This subject engages with the following Course Intended Learning Outcomes (CILOs), which are tailored to the Graduate Attributes set for all graduates of the Faculty of Arts and Social Sciences:

Graduates possess a well-developed awareness of culture and professional practice of music and sound in the context of the technological and creative industries (1.1)
Graduates are able to present, explain and evaluate their own and others' work in independent and collaborative contexts (1.2)
Graduates possess the awareness and skills to behave ethically in personal and professional contexts (5.1)
Graduates are innovative agents for change in the creative industries of their local and wider communities (5.2)
Graduates possess reflective and analytical skills enabling them to synthesise ideas from a diverse range of sources and communicate effectively to different audiences using appropriate media and modes (6.1)

Teaching and learning strategies

Learning in this unit is structured around a central applied music business project focusing on the running of a digital media label. Students learn through running committee processes in class, managing the planning and execution of a digital release or live event. Authentic learning and assessment strategies are built around project proposal and opportunity analysis, contract drafting and negotiation, project report and acquittal. Formative feedback on each assessment task will be provided in class and online.

A series of lectures including guests from industry and professional associations provides a contemporary perspective on music and media business practices.

A weekly two-hour seminar is used to deliver key information and conduct on-going student-driven committee format project management activities. Collaborative agenda setting is undertaken online before classes under the guidance of the lecturer.

Additional non-timetabled events will provide optional activities for students as agreed in their learning/professional agreement

Content (topics)

The subject addresses key concepts in professional practice and music business. Aspects of professional practice in music and sound include the responsibilities of creative professionals, models of artistic development, artist management, managing the client–creative professional relationship, and the role of professional bodies. Music and sound business practices covered include managing meetings, copyright, contracts, project management, marketing, digital distribution and strategy, business structures, quoting and billing, tax, licensing and publishing.

Assessment

Assessment task 1: Project proposal (individual task)

Objective(s):

a, b, c and e

Weight:

20%

Length:

1200 words

Criteria linkages:

Criteria	Weight (%)	SLOs	CILOs
Detail and clarity of task description	25	b, c, e	1.2
Comprehensiveness of argument for the value of the contribution	25	a, b, c	1.1
Coherence of opportunity analysis	25	c, e	6.1
Detail and practicality of project plan task list.	25	c, e	1.1

SLOs: subject learning objectives
CILOs: course intended learning outcomes

Assessment task 2: Portfolio presentation (individual task)

Objective(s):

a, b, c, d and e

Weight:

40%

Length:

Portfolio length will be dependent on format, however the written explanatory linking document wil be 1000 words.

Criteria linkages:

Criteria	Weight (%)	SLOs	CILOs
Integration and articulation of ideas in a portfolio format	20	b, d	1.2
Understanding of professional practice documents	30	a, b, d	1.1
Detail and accuracy of portfolio	20	c, d, e	5.1
Depth of research	10	a, d	6.1
Clarity of written expression	20	b, d, e	1.2

SLOs: subject learning objectives
CILOs: course intended learning outcomes

Assessment task 3: Written report and reflection (individual task)

Objective(s):

b, c and e

Weight:

40%

Length:

2000 words

Criteria linkages:

Criteria	Weight (%)	SLOs	CILOs
Comprehensiveness of acquittal	30	c, e	1.1
Detail and accuracy of acquittal budget	20	c	1.1
Coherence, logic, creativity and self-awareness expressed in reflection	30	e	5.2
Clarity and accuracy of written expression	20	b, e	6.1

SLOs: subject learning objectives
CILOs: course intended learning outcomes

Minimum requirements

Attendance at classes is essential in this subject. Classes are based on a collaborative approach that involves essential workshopping and interchange of ideas with other students and the tutor to build capacities towards meeting the subject learning objectives. A roll will be taken at each class (whether on campus or online). Students who have more than two absences from class will be refused marking of their final assessment (see Rule 3.8).

Required texts

Simpson, S. 2012, Music business: a musician's guide to the Australian music industry, 4th edn, Omnibus Press, London.

Recommended texts

Owsinski, B. 2016, Music 4.1: a survival guide for making music in the Internet age, Hal Leonard Books, Milwaukee, WI.

References

Allen, P. 2018, Artist management for the music business, Fourth edition. edn, Routledge, New York, NY.

Arts Law Centre of Australia Articles and Templates <https://www.artslaw.com.au/>

Baskerville, D. & Baskerville, T. 2017, Music business handbook and career guide, Edition 11. edn, SAGE, Los Angeles.

Brae, C. M. 2018, New channels of music distribution : a complete guide to music distribution, music business, promotions, and selling music, Routledge, New York.

Brown, A. & Nelson, J. 2014, 'Digital music and media creativities', in P. Burnard (ed.), Developing creativities in higher music education, Routledge, Abingdon.

Butler, D. & Holland, G. 2017, Entertainment Law, Federation Press, Sydney.

Cabaniss, M. 2018, Music business essentials: a guide for aspiring professionals, Rowman & Littlefield, Lanham.

Croft, C. 2017, 'Creating a Meeting Agenda', <https://www.lynda.com/Leadership-Management-tutorials/Creating-Meeting-Agenda/612161-2.html?org=uts.edu.au>.

Croft, C. 2017, 'Managing Meetings', <https://www.lynda.com/Business-Skills-tutorials/Meetings/512778-2.html>.

Hughes, D., Evans, M., Morrow, G., Keith, S. 2016, The New Music Industries Disruption and Discovery, Palgrave Macmillan, London.

Feist, J. 2014, Music industry forms: The 75 most important documents for the modern musician, Berklee Press, Boston, MA.

Feist, J. 2013, Project management for musicians: recordings, concerts, tours, studios, and more, Berklee Press, Boston, MA.

Herstand, A. 2017, How to make it in the new music business: practical tips on building a loyal following and making a living as a musician, First edition. edn, Liveright Publishing Corporation, New York.

The Industry Observer, <https://www.theindustryobserver.com.au>

Macy, A., Rolston, C., Allen, P. & Hutchison, T.W. 2016, Record label marketing: how music companies brand and market artists in the digital era, Third edition. edn, Focal Press, New York, NY ; London.

McDonald, I. 2014, Music & Copyright, Australian Copyright Council, Sydney.

Messenger, N. 2014, Moral Rights - A Practical Guide, Australian Copyright Council, Sydney.

Music Industry Inside Out <https://musicindustryinsideout.com.au>

The Music Network <https://themusicnetwork.com>

Owsinski, B. 2016, Music 4.1: a survival guide for making music in the Internet age, Hal Leonard Books, Milwaukee, WI.

Pearce, P. 2013, Music Business and the Experience Economy The Australasian Case, Springer, Berlin.

Rudsenske, J.S. 2005, Music Business Made Simple: Start An Independent Record Label, Schirmer Trade Books, New York.

Strasser, R. 2010, Music business: the key concepts, Routledge, New York.

Weisman, L. 2015, Music business for dummies, John Wiley and Sons, Hoboken, NJ.

Weissman, D. 2017, Understanding the music business: real world insights, Second edn, Routledge, New York.

Other resources

Online Music Business Resources

Finder hourly rate calculator <https://www.finder.com.au/hourly-rate-calculator>

Andersen, A. 2015, How to set (and get) the right price for your audio work, A Sound Effect, <https://www.asoundeffect.com/sound-pricing/>

Music Business Facts <http://www.musicbusinessfacts.net>

Wolfers, B. 2016, Tax: A Comprehensive How-To Guide For Musicians And Music Workers, Music Industry Inside Out, <https://musicindustryinsideout.com.au/tax-guide-musicians/>

AMIN Tax Pack n.d., Australian Music Industry Network, http://www.amin.org.au/wp-content/uploads/2011/03/AMIN-Tax-Pack.pdf

Music Industry Legal Pack n.d., Australian Music Industry Network <http://www.amin.org.au/projects/music-industry-legal-pack/>

MusicNSW <http://www.musicnsw.com>

Music Australia <https://musicaustralia.org.au>

Music Industry Inside Out <https://musicindustryinsideout.com.au>

The Music Network <https://themusicnetwork.com>

The Industry Observer <https://www.theindustryobserver.com.au>

Arts Law Centre of Australia Articles and Templates <https://www.artslaw.com.au/>

APRA/AMCOS <http://apraamcos.com.au>

PPCA <http://www.ppca.com.au>

Association of Artist Managers <https://www.aam.org.au>

Australia Council for the Arts <http://www.australiacouncil.gov.au/research/making-art-work/>