Abstract
We explore the integration of the Bachelors of Business Administration in Music Business undergraduate degree at Belmont University with the general education core and the business curriculum. It is an exemplar of the challenges faced by universities offering professional degrees in liberal arts institutions. Belmont University’s BBA in Music Business is the only one of its kind currently offered in US higher education. Begun as a part of the College of Business, it has since become the anchor of the Mike Curb College of Entertainment and Music Business. Students enrolled in the degree have the opportunity to demonstrate proficiencies in oral and written communication, financial literacy and marketing, promotion, and industry-based research in classroom and applied-learning settings through robust internships in greater Nashville.
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Notes
- 1.
There are roughly 175 degree granting programs in music business or related fields (excluding audio engineering and recording technology), commonly designated by such terms as music merchandise and marketing, performing arts management, and music and entertainment industry studies. The University of the Arts in Philadelphia has a program entitled Music Business, Entrepreneurship and Technology, and more recent entrants to the field at the graduate level are the music industry programs designed by Steven Tepper for Arizona State University’s Herberger Institute for Design and the Arts, http://herbergerinstitute.asu.edu/degrees/.
- 2.
Mike Curb , http://www.mikecurb.com/about/bio.cfm and for information on the Minnie Pearl exhibit at the Ryman Auditorium in Nashville, TN, http://ryman.com/news/ryman-adds-minnie-pearl -museum-display. See also, Living the Business by Mike Curb with Don Cusic (Nashville: Brackish Publishing, 2017), Curb’s autobiographical account of his career in the music business.
- 3.
David Bruenger, “ Complexity, Adaptive Expertise, and Conceptual Models in the Music Business Curriculum,” Journal of the Music & Entertainment Industry Educators Association (MEIEA), Vol. 15, No. 1(2015): 99–119. He provides a communication theorist’s look at the critical thinking and systems thinking demonstrated in the traditional Music Business curriculum and argues for greater emphasis on adaptive reasoning to promote the kind of intellectual agility needed for contemporary industry work. Relatedly, Bence Nanay in “An Experiential Account of Creativity” in Elliott S. Paul and Scott B. Kauffman’s The Philosophy of Creativity, New Essays (New York: Oxford UP, 2014) grapples with whether or not the industrial invention of rubber vulcanization by Charles Goodyear was based more of his extension of prior knowledge with rubber as a manufacturing substance; creativity as defined as originality; or simply being “ lucky” in that he “ managed to find” a workable way to make something new based on his experience in the field (25).
- 4.
The BELL Core, http://www.belmont.edu/bellcore/.
- 5.
Oshin Vartanian, et al. Neuroscience of Creativity, (Cambridge: MIT Press, 2013): 10.
- 6.
Jessica Nicholson, “ Belmont University , Sea Gayle Music, AIMP Celebrate Pipeline Project 4.0 Success,” Music Row, March 3, 2015, retrieved August 27, 2016, http://www.musicrow.com/2015/03/belmont-university-sea-gayle-music-aimp-celebrate-pipeline-project-4-0-success/.
- 7.
The Honors Program at Belmont University , http://www.belmont.edu/honors/index.html.
- 8.
Stacy Boyd, “Extracurriculars are Central to Learning,” U.S. News & World Report, April 28, 2014 (https://www.usnews.com/opinion/articles/2014/04/28/music-art-and-language-programs-in-schools-have-long-lasting-benefits); Marianna Fang, “Public Schools Slash Arts Education and Turn to Private Funding,” ThinkProgress, August 5, 2013 (https://thinkprogress.org/public-schools-slash-arts-education-and-turn-to-private-funding-f16ff3b0bda5); Sharon Noguchi, “Cutting Art, Music, Foreign Language, from High School Graduation Requirements Will Have a Big Impact,” San Jose Mercury October 31, 2011 (http://www.mercurynews.com/2011/10/13/cutting-art-music-foreign-language-from-high-school-graduation-requirements-will-have-big-impact); and Fran Smith, “Why Arts Education is Crucial, and Who’s Doing it Best,” Edutopia, January 28, 2009 (https://www.edutopia.org/arts-music-curriculum-child-development). For whether or not creativity can be taught, see Berys Gaut, “Educating for Creativity,” in Elliott S. Paul and Scott B. Kauffman’s The Philosophy of Creativity, New Essays (New York: Oxford UP, 2014). Gaut argues it can be taught, using examples from composition tied to math and from critical reasoning in philosophy.
- 9.
Laurie Fendrich, “How Critical Thinking Sabotages Painting,” The Chronicle of Higher Education March 25, 2016, retrieved March 25, 2016, http://chronicle.com March 25, 2016.
- 10.
George Kuh and Steven Tepper , “Let’s Get Serious about Cultivating Creativity,” The Chronicle of Higher Education, September 4, 2011, retrieved March 19, 2016.
- 11.
Beverly Schneller and Larry Wacholtz, “Teaching Creativity through the Poetry of Dana Gioia’s Pity the Beautiful,” conference presentation on teaching the Artist’s Studio core course, The Critical Eye, College English Association annual meeting, Denver, Colorado, March 31–April 2, 2016.
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Cusic, D., Schneller, B. (2018). The Business in Music at Belmont University. In: Hensel, N. (eds) Exploring, Experiencing, and Envisioning Integration in US Arts Education. The Arts in Higher Education. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-71051-8_8
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