module specification

Combining aspects of popular music studies and critical/contextual business analysis, the first half of this module explores the development of popular music within the context of scenes and genres, looking at the interplay of cultural and commercial drivers behind creative enterprise. Popular music genres, youth cultures, music scenes, pioneering artists, classic albums, talent discovery, the role of independents, and the concept of artist development will all factor in.
Additionally, popular music will be explored in the context of marketable genres, artists and their business role, the development of repertoires and portfolios in a creative business context and the overall economic impact of creative change within the context of cultural/creative practice.
Methods will be introduced concerning critical awareness of audience reception, which will be further developed in the context of objectively measurable aspects of creativity, such as perception of music.
The second half of the module begins by considering globalisation in the music business and moves on to examine strategies and best practice for stakeholders in maximising the opportunities for successful commercial engagement with international markets. Particular emphasis will be given to developing an understanding of new and diverse market territories for the distribution and exploitation of music-based products and services. The emerging markets of China, India, Brazil, Mexico, and Nigeria will be critically examined from a management strategy perspective.

Module Aims:

1. To develop students’ understanding of the evolution of popular music.
2. To introduce students to the various elements of popular culture.
3. To connect relevant economic concepts in production and consumption of popular culture to the creative dynamics and changes in styles, genres and modes of communication.
4. To understand the analytical tools at students’ disposal, including but not limited to critical theory, semiotics, music psychology and political economy of the creative industries.
5. To comprehensively introduce globalisation of music
6. To create an overview of the impact of global music repertoire
7. To introduce the context of global music licensing and market strategies

1. The evolution of commercial genres in popular music. LO1
2. Pioneering artists and the economic implications of a ‘new sound’
3. Recorded sound, media and the cultural impact of recording technologies
4. Creative aspects of decision-making in music production and music media LO2
5. Introducing the psychology of music and its structural implications
6. Introducing analytical methods for understanding music in socio-economic terms
7. Understanding semiotic and structuralist approaches to music LO3
8. Music and postmodernity, an overview
9. Introduction to Globalisation of music territories, regions and markets LO4
10. State music policies and protection of domestic culture
11. Introduction to Modes of Market Entry
12. New platforms for music distribution, new digital business strategies
13. Relationships between major and independent labels
14. Marketing across territories (“Glocalisation”)
15. Manipulating repertoire for greater global “appeal”
16. Licensing Agreements

The module will utilise a combination of teaching and learning methods, addressing a variety of learning styles. These include lectures, seminars, tutorials, workshops, peer- and team-study, group tasks and interactive learning. Students will be encouraged to reflect and draw on own experiences, aspirations and goals to facilitate inclusive learning.

Inclusive, active and collaborative learning will form the pivotal tactics for learning on this module. This will include: peer-moderated study and teamwork; the use of video, audio and online resources and VLEs; student-centred learning activities will include class interaction, problem-solving tasks and roleplay; uploading and reviewing team-based materials in ungraded formative assessment which will facilitate further class-collaboration among students.

Problem-solving activities will be facilitated by lecturers in workshops, encouraging team effort and individual student input. Tasks in class and in preparation for classes will include research- and investigation-driven exercises utilising a variety of sources such as music industry blogs, market research reports and industry trade body websites. Guest talks will be arranged where suited.

The module will be delivered by way of 3-hour weekly workshops.  Each workshop shall comprise formal content delivery, class discussion, interactive class exercises.

Workshops shall be supported by the use of directed reading, videos and other media.
The workshops shall develop students’ confidence in subject discipline as well as in generic skills such as written and oral communication, creativity, critical and analytical skills.   Students will be expected to undertake prior directed reading and digest weblearn provided materials.

Workshops shall also provide an opportunity for students to consider and reflect upon career opportunities within the international entertainment sector.

On successful completion of the module, students will:

1. Understand the sociocultural and creative imperatives behind music scene formations and their social, cultural and political impact
2. Present an overview of methods suited to the understanding of music scenes and genres within an appropriate context
3. Demonstrate an understanding of different strategies for maximising international success in the music business
4. Interpret globalisation effects upon music scenes and genres across different territories

Assessment will combine formative and summative methods, designed for inclusivity and feedforward constructivist loops [as per CPED Inclusive Curriculum guidelines]

Formative assessment will take place weekly during the workshops where students will have the opportunity to develop theoretical, analytical, creative thinking, and communication skills.

Summative/formative assessment
1. Presenting in class, students will introduce a multimedia anthology of resources (poetry, music, images), justifying editorial choices and focusing on a music scene or genre of their selection, approved by ML/MT. Each chosen genre-/scene-subject should be confirmed by week 3 to allow for effective preparation of student presentations.
10 minutes
30%, LO1

2. Group report on music scenes or genres of students’ choosing. The report should be done in groups identified and formed by week 4, in order to facilitate effective organisation, and guarantee full participation and equal contribution of each member. The overall subject-matter of the report should be identified and agreed no later than week 7, to facilitate timely development and submission, and to allow for effective use of feedforward on A1 and to utilise industry/feedforward events of week 7 across LMU.
2500 words
30%, LO1-2

3. There is one assessed component to the second half of the module - an individual 15-minute presentation which will have both have formative and summative aspects. Students will introduce a multimedia anthology of resources (relating to music markets within global contexts), and justifying editorial choices focused on a music market or territory [national/regional] of their selection, approved by ML/MT.
15 minutes
40%, LO3-4

Textbooks:

Core Text:
Negus, K. (1999) Music Genres and Corporate Cultures, Routledge

Other Texts:
Adorno, T (2001) The Culture Industry, London: Routledge
Anderson, C (2009) Free, Hyperion
Bartlett, C.A. & Goshal, S. (1995) Transnational Management
Beard, D & Gloag, K (2005) Musicology: The Key Concepts, London: Routledge
Bennett, A (2001) Cultures of Popular Music: Issues in Cultural & Media Studies, Buckingham: Open University Press
Bennett, R. (1999) International Business
Blecha, P (2004) Taboo Tunes: A History of Banned Bands & Censored Songs, Milwaukee: Backbeat Books
Bordowitz, H (2004) Turning Points In Rock And Roll, Sacramento: Citadel Press
Burnett, R. (1996) The Global Jukebox, Routledge
Clayton, M, Herbert, T and Middleton, R (2003) The Cultural Study of Music, Routledge 
Cohen, S (2002) Folk Devils and Moral Panics: Creation of Mods and Rockers, Routledge
Cook, N and Everist M (ed) (1999) Rethinking Music, Oxford: Oxford University Press
De Nora, T (2003) After Adorno: Rethinking Music Sociology, Cambridge: Cambridge University Press
Doyle G (2002) Understanding Media Economics, Sage Publications
Drummond, B (1998) The Manual: How To Have A Number One Hit The Easy Way, London: Ellipsis
Frith, S & Goodwin, A (ed) (1990) On Record: Rock, Pop, and the Written Word, London: Routledge
Gebesmere, A (2002) Global Repertoires Popular Music With-in And Beyond The Transnational Music Industry, Ashgate
Gillett, C (1996) The Sound of the City: The Rise of Rock & Roll, London: Souvenir Press
Klein, N. (2000) No Logo, Random House
Larkin, C (1999) The Encyclopaedia Of Popular Music, London: Virgin Books
Middleton, R (1990) Studying Popular Music, Buckingham: Open University Press
Middleton, R (ed.) (2000) Reading Pop: Approaches to Textual Analysis in Popular Music, London: Clarendon Press

Negus, Keith (1996) Popular Music In Theory: An Introduction, London: Polity/Blackwell
Passman D (2016) All you need to know about the Music Business Penguin Books
Shuker, R (2001) Understanding Popular Music, London: Routledge
Shuker, Roy (1998) Key Concepts In Popular Music, London: Routledge
Storr, A (1997) Music And The Mind, Glasgow: Harper Collins
Thornton, S and Gelder, K (1997) The Subcultures Reader, London: Routledge
Williams, A (2001) Constructing Musicology, Camberley: Ashgate

Journals:
Popular Music, CUP

Websites:
Leonhard, G (2011) A blog on the Future of Music Media and Entertainment
(Available at www.mediafuturist.com)
Digital Music News
Music Business Worldwide
Electronic Databases:

Social Media Sources
Linkedin.com

Other:
BPI Statistical Handbook (Yearly Publication)
IFPI The Recording Industry In Numbers (Yearly Publication)

IFPI DIGITAL REPORT

IFPI YEARBOOK
The Recording Industry In Numbers (Yearly Publication)