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Letter from Steven Potazcek, Samford University. "This text has been nothing short of a godsend..."
Review
by Warren G. Mize, Journal of the Music & Entertainment Industry Educators Association, vol. 20, no. 1, 2020, pp. 193-5
Navigating the music industry can be challenging for the seasoned as well as the novice music industry professional. Introduction to the Music Industry: Southwestern Edition gives the music industry student and professional an overview of vital terminology, history, and essential industry practices. Authors Renard and Willey combine their years as classically trained musicians, educators, and industry professionals to write a practical music industry primer that can serve as a foundational textbook for the music business classroom. However, any music industry professional would benefit from having this book on the shelf as a reference and guide in the ever-changing landscape of the music industry.
Renard and Willey collaborated on the e-textbook to fill the gap in dated music industry classroom materials in a rapidly changing field. It is written with the teacher and student in mind, giving a framework for lessons and projects for an introductory music business course. Each of the book’s ten chapters begins with a breakdown of the chapter contents giving the reader a brief topical overview and outline of the main topics covered. It is written for the high school or early college-aged students to grasp the content and material quickly. The text is introductory and summarizes the music business, making it an ideal tool for the beginning music business class. After each chapter, Renard and Willey give a review and explain why the information matters to the music industry. Each chapter holds a vocabulary review along with recommended projects and assignments to reinforce industry practices for the student. The vocabulary review in each 194 Vol. 20, No. 1 (2020) chapter lays out the foundational terminology of industry-related material that beginning music students need.
The strength of the e-textbook is in the progressively organized fashion of essential music industry information it covers. However, each chapter could stand alone as a lesson or a segment for classroom instruction. Starting with a historical summary of the music business that includes visualizations of the changes in the music industry with useful graphs and diagrams (chapter one), Renard and Willey share stories of their experiences in the music industry. Under the subheading, “Factors Causing a Drop in Live Music,” Willey discusses his “Law of Music and Entertainment,” which is “music + alcohol = money.” Willey transparently relates a personal story that can help someone just starting in the industry understand that it is best to go into any music job with eyes wide open.
The second chapter outlines the artist’s team and begins the discussion on the business-related aspects of dealing with managers and attorneys. This chapter gives practical advice for the music business student with projects that encourage the student to begin making contacts with artists, managers, and lawyers. Chapters three and four address traditional and digital marketing focusing on the importance of branding along with useful tips and recommendations for piloting digital media resources. Chapters five through seven look at songwriting, copyright, recording, and publishing from the industry perspective and discuss how to protect intellectual property. However, probably the most significant sections of the book are the chapters on live performance and the music industry today (chapters 8 and 9), which address the importance of an entrepreneurial mindset for the industry professional. Although the majority of the book is relevant to the music industry overall, the last chapter (chapter 10) focuses on the music industry in the southwestern part of the United States (Texas, Oklahoma, and New Mexico), and is attributed to Renard. Renard’s position as a music business professor and researcher in Texas gives him firsthand insight into the regional demographics and data as it relates to the music business in this part of the U.S.
Introduction to the Music Industry: Southwestern Edition is useful for designing lessons and assignments for students and gives additional instructional and industry-related resources for more in-depth learning. Renard and Willey meet their intended purpose of the e-textbook, as stated in the preface. Available in e-print or hardcopy on request, the book is informative and contributes to the ongoing development of the music MEIEA Journal 195 industry. Whether you are an instructor, student, or industry professional, this e-textbook deserves space in your digital library.
Renard and Willey collaborated on the e-textbook to fill the gap in dated music industry classroom materials in a rapidly changing field. It is written with the teacher and student in mind, giving a framework for lessons and projects for an introductory music business course. Each of the book’s ten chapters begins with a breakdown of the chapter contents giving the reader a brief topical overview and outline of the main topics covered. It is written for the high school or early college-aged students to grasp the content and material quickly. The text is introductory and summarizes the music business, making it an ideal tool for the beginning music business class. After each chapter, Renard and Willey give a review and explain why the information matters to the music industry. Each chapter holds a vocabulary review along with recommended projects and assignments to reinforce industry practices for the student. The vocabulary review in each 194 Vol. 20, No. 1 (2020) chapter lays out the foundational terminology of industry-related material that beginning music students need.
The strength of the e-textbook is in the progressively organized fashion of essential music industry information it covers. However, each chapter could stand alone as a lesson or a segment for classroom instruction. Starting with a historical summary of the music business that includes visualizations of the changes in the music industry with useful graphs and diagrams (chapter one), Renard and Willey share stories of their experiences in the music industry. Under the subheading, “Factors Causing a Drop in Live Music,” Willey discusses his “Law of Music and Entertainment,” which is “music + alcohol = money.” Willey transparently relates a personal story that can help someone just starting in the industry understand that it is best to go into any music job with eyes wide open.
The second chapter outlines the artist’s team and begins the discussion on the business-related aspects of dealing with managers and attorneys. This chapter gives practical advice for the music business student with projects that encourage the student to begin making contacts with artists, managers, and lawyers. Chapters three and four address traditional and digital marketing focusing on the importance of branding along with useful tips and recommendations for piloting digital media resources. Chapters five through seven look at songwriting, copyright, recording, and publishing from the industry perspective and discuss how to protect intellectual property. However, probably the most significant sections of the book are the chapters on live performance and the music industry today (chapters 8 and 9), which address the importance of an entrepreneurial mindset for the industry professional. Although the majority of the book is relevant to the music industry overall, the last chapter (chapter 10) focuses on the music industry in the southwestern part of the United States (Texas, Oklahoma, and New Mexico), and is attributed to Renard. Renard’s position as a music business professor and researcher in Texas gives him firsthand insight into the regional demographics and data as it relates to the music business in this part of the U.S.
Introduction to the Music Industry: Southwestern Edition is useful for designing lessons and assignments for students and gives additional instructional and industry-related resources for more in-depth learning. Renard and Willey meet their intended purpose of the e-textbook, as stated in the preface. Available in e-print or hardcopy on request, the book is informative and contributes to the ongoing development of the music MEIEA Journal 195 industry. Whether you are an instructor, student, or industry professional, this e-textbook deserves space in your digital library.