M.M. in Music Management

Music Management: The Graduate Program

Program Coordinator: Dr. Stephen Marcone

The music management concentration provides the student with the entrepreneurial skills to be successful in the contemporary music and entertainment industry. With its connection to New York industry personnel, its objective is offer the most current information in the classroom and through internships. The music management concentration immerses the music student in the environment of the industry while fostering a clear understanding of the role and needs of managing the artist's revenue streams. Please note that the program is designed primarily for music students who have not earned an undergraduate degree in the music business field. Those graduates who have a music management degree are encouraged to pursue the M.B.A. or a law degree.

William Paterson University also offers an M.B.A. Concentration in Music Management.

Music Management quartet

Admission to the Music Management Concentration

Bachelor's degree in music from an accredited college or university. It is recommended that the degree be in an area other than music business or music management.
An undergraduate GPA of at least 2.75.
Two written recommendations.
A performance audition is required of applicants who have NOT successfully completed an undergraduate degree in music; an audition is NOT required of applicants who have completed an undergraduate degree in music:

Classical performers, please follow the music education concentration audition requirements
Jazz performers, please follow the jazz concentration audition requirements.
A satisfactory score on the Graduate Record Exam; a minimum of 149 for general/verbal also is required.
A completed University graduate application.
A completed department graduate application.
Music Management Concentration Requirements

Completion of the 36-credit degree course requirements.
Satisfactory completion of a comprehensive examination, which carries no course credit and is required of all students.
Satisfactory completion of an internship.
A final project, which may consist of a thesis.

Music Courses: Credits
MUSI 5300 Research Techniques 3
MUSI 5580 Music Technology 3
MUSI 6320 Graduate Seminar 3

Major Concentration:

MUSI 5400 Survey of the Music and Entertainment Industry 3
MUSI 6450 Entertainment Law 3
MUSI 6400 Entrepreneurship in Music and Entertainment Industry 2
MUSI 6430 Current State of the Music and Entertainment Industry 1
MUSI 6000 Graduate Internship 3
Music Electives 3
MUSI 6920 Master's Thesis 0

Cotsakos College of Business

ACCT 6060 Financial and Managerial Accounting 3
MKT 6080 Marketing Management 3

Choose two:
ECON 6090 Economic Analysis 3
LAW 7000 Legal Environment of Business 3
MGT 6040 Management Process and Organizational Theory 3
MGT 7790 Seminar on the Problems in International Business 3
MKT 7880 Global Marketing 3
MKT 7900 Consumer Behavior 3
MBA 6100 Multinational Business Environment and Operations 3
MBA 6160 Organizational Behavior and Communication 6
TOTAL 36

MM Music Management

A typical four semester sequence for the music courses. Other credits to be completed from College of Business.

Fall Entrance:

Year One Year Two
Fall Fall
MUSI 5400 MUSI 6320
MUSI 5580 MUSI 6920
   
Spring Spring
MUSI 5300 MUSI Elective
MUSI 6400 MUSI 6000
MUSI 6450  

Spring Entrance:

Year One Year Two Year Three
Spring Fall Fall
MUSI Elective MUSI 5400 MUSI 5580
  MUSI 6000
  MUSI 6320
  MUSI 6920
 
  Spring  
  MUSI 5300  
  MUSI 6400  
  MUSI 6450  

 Recent Masters Thesis Titles

"The Impact of Sales when Marketing a Unique Direct-to-Consumer Bundle to a Niche Market on Facebok."
by Tom Hefter

"More that just talent: What Characteristics does a successful jazz/classical artist in the performance field cureently need to make it as a successful recording artist?"
by Grace Talusan

"How Does the Negative Protrayal of Women in Rap Music Impact the African American Executive Woman's Path to Success in the Music Industry?"
by Tahese Toney

"How Video Game Soundtracks are used as a marketing tool and perceived by the consumer: An investigation of Why they do not sell."
by James Dean

"Quincy Jones: A model of a Renaissance Man of the Entertainment Industry"
by Hal W. Weary

"Downloading: An Artist's Trick or Treat"
by Sonya Impelluso

"Middle Management Women in the Music Industry: Their Paths, Their Lives, Their Stories"
by Keresse Chinara Burton

"Suggestions for Independent Rock Labels to Reach the Teenage Music Consumer"
by Tim Alworth

"Alternative Media Marketing Tactics: An Examination of Several Roles of Alternative and Niche Marketing in Music Industry Business Models"
by Heather Lynn Bowmaster

"Learning From the Movies: Can Theatrically Released Hollywood Comedies Be Used to Teach College Students About the Music Industry"
by Daniela Schmitz

"Duties and Attributes of the Artist Manager: A Preliminary Investigation"
by Geoff B. Sawyer

“An Investigation into Why the Jazz Artist’s Brand is Rarely Used for Product Endorsement”  by Aaron Van Duyne III

“Concert Attendees’ Expectations of Their Live Entertainment Experience at Regional Theatres”  by Tim Rawding

Recent guest lecturers have included:

Aaron Van Duyne III, Jeff Price, Danny Goldberg, Adam Curry, Denny Tedesco, Sean Rosenberg, "Little Anthony" Gourdine, Adam Kornfeld, Dave Lory, Walt O'Brien, Derek Graham, Dave McPherson, Rob Fusari, Rob Kos, Wayne Goldberg, Daryl "DMC" McDaniels, Jerry Lembo, Bruce Carbone, Jake Slichter, George Gilbert, Ken Schlager, Dave Wolter, Jim Caparro, John Scher, Joe Riccitelli, Tom Calderone, Hanson, Jeff McClusky, Peter Thall, The Hooters, Dave Marsh, Dan Kennedy, Bruce Lundvall, Rob Fusari, Bill Werde, Al Branch, Tommy James, and Brendan Toller.