This paper describes the development of a new music industry program whose purpose is meant to meet the needs of the following three demands: 1) Sectors of the music industry are nearing extinction and need new and well-prepared leaders to create innovative means of revitalizing business; 2) Traditional schools of music need new program designs to stimulate their declining enrollments; 3) Students need well-designed curriculums that adequately prepare them for careers in todays music industry. A strategically designed program is the key to answering all three of these ever-present demands.
This new program design evolved from the study of over 100 educational institutions, the standards and guidelines established by NASM, the curricular analysis of five leading music industry programs, and the authors experience as a music industry professional and lecturer. With this newly acquired data, the author outlined a Bachelor of Music example as one of this programs' possible degree formats. This design adhered to NASMs' guidelines by having the correct percentages and course types in each of the following areas: General Education Courses (GEC), General Music Courses (GMC), Music Industry Courses (MIC), and Major or Emphasis Area Courses.
The design process began with an identification of the main career paths of the music industry, and then grouped these careers into different emphasis areas of study. After identifying the four main emphasis areas as Music Business, Music Technology, Commercial Composition, and Commercial Performance, the author generated a common core of music industry courses that would provide a solid foundation of industry knowledge and would be required of all music industry students. The next task built a strong core of courses for each of the identified emphasis areas with the goal of having a large enough core that could satisfy any degree format. After the coursework involved was delineated, the next undertaking identified the potential student types and then established a wide variety of different degree formats to help meet the various students' educational needs.
The last mission of the design process justified the importance of non-curricular program components such as internships, real world projects, and entrepreneurship. These components along with the newly designed curriculum, seek to build the necessary bridges between the vital foundation of traditional music training, and the demands of what todays' music industry, schools, and students are calling for.