Professor Tony Scafide to Present New Paper at the 2018 Hawaii University International Conferences on Arts, Humanities, Social Sciences & Education Jan 3rd - 6th 2018
Music Industry Professor Tony Scafide will present a new paper on student learning that intersects with Arts, Social Sciences and Education. Professor Scafide’s new paper is entitled “The Intersection of Academic Education of Music Industry Students and the Role of Generational Musicians, Consumers and Business Practices of the Commercial Music Industry”.
New York, NY, November 26, 2017 --(PR.com)-- Professor Tony Scafide to Present New Paper at the 2018 Hawaii University International Conferences on Arts, Humanities, Social Sciences & Education (AHSE) on January 3rd through 6th, 2018.
Music Industry Professor Tony Scafide will present a new paper on student learning that intersects with Arts, Social Sciences and Education. Professor Scafide’s new paper is entitled “The Intersection of Academic Education of Music Industry Students and the Role of Generational Musicians, Consumers and Business Practices of the Commercial Music Industry.”
Now in his tenth year of teaching Music Industry Studies, Professor Scafide has observed the social and academic competencies in learning regarding students majoring in music industry studies. What has become clear to him is the effect that the Internet, Facebook, Twitter and Google searches have had on the learning outcomes and cognitive processing of his students.
When teaching his introductory course Music and the Marketplace (for Music Industry studies at the State University of New York, College at Oneonta), Professor Scafide has encountered students who come to his classes with incorrect knowledge regarding, Performing Rights, Copyright, Media Terminology, and historical understanding of the recording industry. When he asks them how they arrived at their understanding of the facts, the answers that are returned are, “I read it on the internet, or, my friend told me and he’s in a band.”
“During a class presentation on Performing Rights for live music, I was informing my class that PROs (performing rights organizations such as ASCAP, BMI, SESAC) are not the only ones responsible for clearing permissions to perform works by other composers and bands. A student came up to me after class shaking his head saying 'no,' I was incorrect and then showed me his cell phone in which someone claiming to be an arts attorney in a chat group was answering someone’s question about a band’s responsibility being non existent for clearing a license and it is 'only' the club owner or presenter’s responsibility. I told the student that it is usual, but not a guarantee that a band or person was not responsible and could face legal action without a proper clearance/license. The student seemed more content with the online explanation from an anonymous party.
“The next meeting of my class began with addressing this situation, and I continued my lecture on live venue performances of works by other composers and the responsibility of clearing permissions by both performers and club owners. I quoted a legal study supporting this position as well as verifiable information from PRO websites. Only then did the student find my information to be 'acceptable,'” recalls Professor Scafide.
This experience revealed to Scafide that young college students entering the field of Music Industry were conditioned through social media to take collective ideas that were posted as verifiable and credible content without vetting the information or sources. Since most eighteen year olds attending college have had internet access and social media access since their formative stages of learning, they consume information as it appears to suit them on a surface level. These students don’t have a generational knowledge base large enough to know if the information they seek is accurate, somewhat accurate, partially accurate, or incorrect. The concern for these young students and their information gathering and learning process is being hijacked by a collective feeling of what is correct and not by a collection of reasoned factual data and information.
So much of college teaching is being spent on identifying and removing poor habits of information gathering through social networks and flat out wrong information being posted on the Internet. The Music Industry is an ever-changing business model that has strong underpinnings to law, business contracts, publishing contracts and performing rights. Each of these areas can be studied for years and professionals in these fields continue their ongoing education to remain competent and current with business practices.
Mr. Scafide’s paper The Intersection of Academic Education of Music Industry Students and the Role of Generational Musicians, Consumers and Business Practices of the Commercial Music Industry will focus on the principals of current teaching practices, social media’s influence on pre-college learning, trade business practices of the commercial music industry, and student learning development.
Biography
Former music publicist, agent and manager Tony Scafide is celebrating his 10th anniversary as a tenured professor teaching music industry studies at the State University of New York College at Oneonta. Scafide had been in the music industry for more than 18 years with experience working for companies such as Philips Media (then Polygram), E-One Entertainment (formerly KOCH International) and various small recording labels.
He is an active writer, composer and Libertarian-American. This new paper will be his second time presenting at the Hawaii University International Conferences on Arts, Humanities, Social Sciences & Education.
Hawaii University International Conferences (HUIC) are specifically designed to address the latest developments and advancements in academic studies. The Arts and Humanities conference is dedicated to academicians and individuals from all disciplines to discover, to nurture, to create and to inspire, providing opportunities to discuss and explore recent findings in related fields of studies and research.
Music Industry Professor Tony Scafide will present a new paper on student learning that intersects with Arts, Social Sciences and Education. Professor Scafide’s new paper is entitled “The Intersection of Academic Education of Music Industry Students and the Role of Generational Musicians, Consumers and Business Practices of the Commercial Music Industry.”
Now in his tenth year of teaching Music Industry Studies, Professor Scafide has observed the social and academic competencies in learning regarding students majoring in music industry studies. What has become clear to him is the effect that the Internet, Facebook, Twitter and Google searches have had on the learning outcomes and cognitive processing of his students.
When teaching his introductory course Music and the Marketplace (for Music Industry studies at the State University of New York, College at Oneonta), Professor Scafide has encountered students who come to his classes with incorrect knowledge regarding, Performing Rights, Copyright, Media Terminology, and historical understanding of the recording industry. When he asks them how they arrived at their understanding of the facts, the answers that are returned are, “I read it on the internet, or, my friend told me and he’s in a band.”
“During a class presentation on Performing Rights for live music, I was informing my class that PROs (performing rights organizations such as ASCAP, BMI, SESAC) are not the only ones responsible for clearing permissions to perform works by other composers and bands. A student came up to me after class shaking his head saying 'no,' I was incorrect and then showed me his cell phone in which someone claiming to be an arts attorney in a chat group was answering someone’s question about a band’s responsibility being non existent for clearing a license and it is 'only' the club owner or presenter’s responsibility. I told the student that it is usual, but not a guarantee that a band or person was not responsible and could face legal action without a proper clearance/license. The student seemed more content with the online explanation from an anonymous party.
“The next meeting of my class began with addressing this situation, and I continued my lecture on live venue performances of works by other composers and the responsibility of clearing permissions by both performers and club owners. I quoted a legal study supporting this position as well as verifiable information from PRO websites. Only then did the student find my information to be 'acceptable,'” recalls Professor Scafide.
This experience revealed to Scafide that young college students entering the field of Music Industry were conditioned through social media to take collective ideas that were posted as verifiable and credible content without vetting the information or sources. Since most eighteen year olds attending college have had internet access and social media access since their formative stages of learning, they consume information as it appears to suit them on a surface level. These students don’t have a generational knowledge base large enough to know if the information they seek is accurate, somewhat accurate, partially accurate, or incorrect. The concern for these young students and their information gathering and learning process is being hijacked by a collective feeling of what is correct and not by a collection of reasoned factual data and information.
So much of college teaching is being spent on identifying and removing poor habits of information gathering through social networks and flat out wrong information being posted on the Internet. The Music Industry is an ever-changing business model that has strong underpinnings to law, business contracts, publishing contracts and performing rights. Each of these areas can be studied for years and professionals in these fields continue their ongoing education to remain competent and current with business practices.
Mr. Scafide’s paper The Intersection of Academic Education of Music Industry Students and the Role of Generational Musicians, Consumers and Business Practices of the Commercial Music Industry will focus on the principals of current teaching practices, social media’s influence on pre-college learning, trade business practices of the commercial music industry, and student learning development.
Biography
Former music publicist, agent and manager Tony Scafide is celebrating his 10th anniversary as a tenured professor teaching music industry studies at the State University of New York College at Oneonta. Scafide had been in the music industry for more than 18 years with experience working for companies such as Philips Media (then Polygram), E-One Entertainment (formerly KOCH International) and various small recording labels.
He is an active writer, composer and Libertarian-American. This new paper will be his second time presenting at the Hawaii University International Conferences on Arts, Humanities, Social Sciences & Education.
Hawaii University International Conferences (HUIC) are specifically designed to address the latest developments and advancements in academic studies. The Arts and Humanities conference is dedicated to academicians and individuals from all disciplines to discover, to nurture, to create and to inspire, providing opportunities to discuss and explore recent findings in related fields of studies and research.
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