Peter J. Folliard

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Challenges and Strategies for Building a Sustainable Music Career: The Importance of Effective Team Building and Music Education

In today's rapidly evolving music industry, aspiring musicians face a myriad of challenges when trying to establish a sustainable music career. One of the most significant challenges is the saturation of the music market, which makes it increasingly difficult for new artists to stand out and attract a following (Kusek & Leonhard, 2005). Another challenge is the lack of financial resources, as the costs associated with producing, promoting, and touring music can quickly add up (Leeds, 2016). Additionally, the rise of digital streaming has disrupted the traditional revenue streams of the industry, forcing musicians to be more creative in generating income (Wikström, 2013). Finally, there is the challenge of navigating the complex music industry, which involves understanding both its legal and business aspects, as well as building and maintaining a network of industry contacts (Passman, 2019). Despite these challenges, many aspiring musicians are driven to pursue their dreams, and with the right knowledge, skills, strategies, and support, they can build a sustainable and rewarding music career.  

As the music industry continues its rapid evolution, it is becoming increasingly important for musicians to build an effective team of collaborators and partners to position their aspired music enterprise for success (Wikström, 2013). The traditional model of a lone musician working to achieve success is no longer practical in today's music industry. Instead, a well-rounded team with diverse skill sets is necessary to build a sustainable and thriving music career (Kusek & Leonhard, 2005). This team can include a manager, booking agent, publicist, producer, sound engineer, and other professionals with expertise in areas such as social media and marketing. By building a team of collaborators and partners, musicians can not only delegate responsibilities and tasks effectively, but they can also leverage the strengths of each team member to maximize their chances of success (Leeds, 2016). In addition, having a team can also provide emotional support, encouragement, and motivation during challenging times, which is crucial for the long-term sustainability of a music enterprise. Therefore, it is essential for aspiring musicians to understand the importance of building an effective team of collaborators and partners to position their aspired music enterprise for success.

Music educators can play a crucial role in preparing their students to navigate the challenges of the music industry by providing them with the skills needed to build and manage effective teams (Creech, 2013). In addition to providing instruction on music theory and performance, music educators can incorporate lessons on entrepreneurship, leadership, networking, and collaboration into their curricula. By teaching their students how to identify and develop relationships with potential collaborators, manage team dynamics, and delegate responsibilities based on each individual's strengths and interests, music educators can help prepare the next generation of music entrepreneurs to build sustainable careers in an industry that demands not only talent but also business savvy and teamwork skills (Hewitt, 2016). As the music industry continues to evolve, the skills that music educators teach their students in team management will become increasingly important for success.

 

Building a Winning Team for Music Entrepreneurship: Insights from Social Capital and Resource-Based Theory

Two theoretical frameworks that describe the importance of establishing a team for enterprise development are social capital and resource-based theory. Social capital refers to the relationships, networks, and trust among individuals that can facilitate access to resources and opportunities (Dubos, 2017). Resource-based theory posits that a firm's success is dependent on its ability to leverage and deploy its unique resources and capabilities (Alvarez & Barney, 2017). Both frameworks suggest that having a strong network of collaborators and partners can provide a music enterprise with the resources and capabilities necessary for success. In the context of music entrepreneurship, these theoretical frameworks suggest that establishing a team of collaborators and partners is essential for developing a functional music enterprise. For example, a musician may need a manager to handle bookings, a producer to help with recording and production, and a network of other musicians to collaborate with on recordings and performances. By building a team of collaborators and partners, musicians can leverage their collective resources and capabilities to create more impactful and successful music projects.

The social capital and resource-based theory frameworks can also be observed in the music industry among notable artists, orchestras, bands, and social entrepreneurship organizations. For instance, the Irish rock band U2 has built a vast network of relationships with individuals and organizations that have helped the band in different aspects of its career. This includes their association with the activist organization ONE Campaign, which has enabled the band to increase its social capital and use its platform to raise awareness about issues such as poverty and disease in Africa (Fisher & Martens, 2016). Similarly, the London Symphony Orchestra has built a strong network of relationships with cultural institutions, government organizations, and corporate sponsors, which has enabled the orchestra to access various resources, including funding, venues, and technology (Wang & Schuler, 2016). The Grammy-winning band Arcade Fire is known for their collaborative approach to creating music, often working with a team of producers, engineers, and musicians to create their unique sound. This approach highlights the importance of social capital, or the networks and relationships that enable individuals and organizations to access resources and opportunities.

In terms of social entrepreneurship organizations, the El Sistema program in Venezuela has been successful in providing music education and social development opportunities to underprivileged children in the country. This program has been able to mobilize a network of musicians, educators, and community leaders who share the goal of promoting social change through music (Hernandez-G, 2018). The program's success can be attributed to its ability to leverage social capital by bringing together individuals and organizations with diverse skills and resources to achieve a common objective. Other examples of the application of social capital and resource-based theory in the music industry include social entrepreneurship organizations like Playing for Change, which brings together musicians from around the world to collaborate on music projects that promote social change, and the Blackbird Academy, a music school in Nashville that provides students with access to industry professionals and state-of-the-art equipment to help them build their skills and launch their careers.

 

Potential Applications of Social Capital and Resource-Based Theory in Higher Music Education

Social capital theory and resource-based theory can be applied to various fields within the music industry to build teams and foster entrepreneurial success. Here are some potential applications for each area of study:

• Music education students: Music education students can use social capital theory to develop relationships with other music educators, administrators, and industry professionals to gain access to knowledge of current industry practices and build networks of support for their careers. They can also use resource-based theory to identify and leverage the resources available to them, such as grants, fellowships, and professional development opportunities.
• Music theory students: Music theory students can use social capital theory to connect with other music theorists and researchers to collaborate on projects and build their reputations in the field. They can also utilize social capital theory to branch out beyond the discipline of music theory to gain knowledge from and collaborate with composers, music educators, and other professionals in various disciplines within the field of music. Additionally, they can use resource-based theory to identify and leverage their own unique skills and knowledge to differentiate themselves in the job market.
• Music performance students: Music performance students can use social capital theory to connect with other performers, composers, conductors, teachers, and other industry professionals to build their networks and find opportunities for gigs and collaborations. They can also use resource-based theory to identify and leverage their own unique skills and abilities, such as their mastery of a particular instrument or their ability to perform in a specific genre.
• Music composition and production students: Music composition and production students can use social capital theory to connect with other composers, producers, performers, conductors, and recording engineers to collaborate on projects and build their portfolios. They can also use resource-based theory to identify and leverage their own unique skills and abilities, such as their knowledge of a specific software or their ability to compose and produce in a specific genre.
• Music administration students: Music administration students can use social capital theory to connect with other administrators, managers, and industry professionals to build their networks and find opportunities for internships and jobs. They can also use resource-based theory to identify and leverage their own unique skills and abilities, such as their knowledge of music law or their ability to manage budgets and contracts.

 

Challenges and Opportunities in Applying Social Capital and Resource-Based Theory to Music Entrepreneurship Development in Higher Music Education

Applying social capital and resource-based theory to music entrepreneurship development in higher music education can be challenging due to several factors. One of the primary challenges is the gap between theoretical understanding and practical implementation. Despite the availability of these theories, some music educators may not be familiar with how to integrate them into their curriculum or apply them in the context of music entrepreneurship development (McCarthy & Kenny, 2019). This highlights the need for more professional development opportunities for music educators to acquire knowledge and skills in music entrepreneurship development. Another challenge is the interdisciplinary nature of music entrepreneurship development. It requires an understanding of both the music industry and business principles. However, music educators may not have the necessary knowledge and expertise in business principles to effectively teach their students about entrepreneurship development (Bennett, 2016). Therefore, music educators need to collaborate with music business experts to provide students with a comprehensive understanding of the music industry and business principles. In addition, music entrepreneurship programs may lack the necessary funding to provide students with the resources and opportunities needed to develop their entrepreneurial skills (Pace, 2016). There is also a lack of research on the effectiveness of music entrepreneurship programs, which can make it challenging for music educators to develop effective strategies and curricula to prepare students for successful music entrepreneurship ventures (Kaufman & Lobo, 2019).

Despite these challenges, music educators can overcome them by collaborating with music business experts, developing comprehensive curricula that integrate music industry and business principles, and providing students with the necessary resources and opportunities to develop their entrepreneurial skills. For instance, music educators can assign team-building assignments or music business plan projects, encouraging students to collaborate and divide responsibilities based on each individual's strengths and interests. By doing so, music educators can help their students develop successful music entrepreneurship ventures and contribute to the growth and sustainability of the music industry.

Utilizing Social Capital and Resource-Based Theory for Music Entrepreneurship in Higher Education to Improve Digital Commerce and Internationalization

In each of these areas, the key is to develop relationships and networks that can provide access to information, resources, and opportunities. By using both social capital theory and resource-based theory, music students can build effective teams that support their career goals and help them succeed in the music industry. For example, music majors at universities can apply Social Capital and Resource-Based Theory for Music Entrepreneurship Development in Higher Music Education by utilizing digital commerce tools and resources available through social media and other digital communication channels. Regarding Social Capital Theory, music educators can emphasize the importance of building relationships and networks, which can be facilitated through online platforms such as LinkedIn, Facebook, and Twitter (Kozinets et al., 2010). Music students can connect with industry professionals and potential collaborators through these platforms to build their social capital and expand their network. Moreover, Resource-Based Theory emphasizes the importance of identifying and leveraging available resources to create competitive advantages (Barney, 1991), and thus, music students can use digital resources such as online courses, tutorials, and webinars to develop their skills in areas such as music production, marketing, and business management. They can also utilize digital platforms to distribute and monetize their music, such as through streaming services like Spotify and Apple Music, and through online merchandise sales on websites like Bandcamp and Shopify.

In addition to utilizing digital resources, music students can also collaborate with other students in their program to develop their music enterprises. By utilizing Social Capital Theory, they can identify and build relationships with peers who have complementary skills and expertise. By utilizing Resource-Based Theory, they can leverage the resources available to them through their university, such as access to recording studios, equipment, and mentorship programs. To ensure the sustainability and translatability of their music enterprises, music students can also explore international opportunities. Social media and digital communication resources can facilitate international collaborations and distribution channels. Additionally, universities may offer study abroad programs or international exchange programs that can provide students with valuable experiences and networking opportunities.

Overall, by applying Social Capital and Resource-Based Theory in the context of digital commerce and internationalization, music majors at universities can develop the skills, relationships, and resources necessary for successful music entrepreneurship ventures.

 

Building Music Entrepreneurship Through Social Capital and Resource-Based Theory: A Lesson Plan for University Music Educators

Below is a lesson plan for university music educators to teach social capital and resource-based theory for music entrepreneurial development:

Objective:

Students will be able to apply social capital and resource-based theory to develop their entrepreneurial skills in the music industry.

Materials:

• PowerPoint presentation on social capital and resource-based theory
• Handouts on the key concepts of social capital and resource-based theory
• Case studies of successful music entrepreneurs
• Access to online resources such as LinkedIn, Facebook, and Twitter
• Access to university resources such as recording studios or computer-based recording equipment (Digital Audio Workstations), and mentorship programs

Procedure:

• Introduction (10 minutes): The instructor will introduce the topic of social capital and resource-based theory and how it can be applied to music entrepreneurship. The instructor will provide a brief overview of the key concepts and objectives of the lesson.
• Lecture (20 minutes): The instructor will give a lecture on the key concepts of social capital and resource-based theory, providing examples and case studies from the music industry. The lecture will cover the importance of building relationships, networks, and leveraging resources to create competitive advantages in the music industry.
• Group discussion (20 minutes): Students will be divided into small groups to discuss the lecture and the case studies provided. They will be asked to brainstorm ways in which social capital and resource-based theory can be applied to their own music entrepreneurial development.
• Hands-on activity (30 minutes): Students will work individually or in pairs to apply the concepts of social capital and resource-based theory to their own music entrepreneurial development. They will use online resources such as LinkedIn, Facebook, and Twitter to build their social capital and network with industry professionals. They will also explore university resources such as recording studios or digital audio workstaions, and mentorship programs to leverage their resources.
• Presentations (20 minutes): Students will present their ideas and strategies for building their music entrepreneurial skills using social capital and resource-based theory. The instructor will provide feedback and suggestions for improvement.
• Conclusion (10 minutes): The instructor will summarize the key concepts and takeaways from the lesson. The instructor will encourage students to continue building their music entrepreneurial skills by utilizing social capital and resource-based theory in their future endeavors.

Assessment:

• Group discussion participation
• Hands-on activity completion
• Presentation effectiveness
• Application of social capital and resource-based theory to their own music entrepreneurial development

In this lesson plan, the use of Social Capital and Resource-Based Theory in music entrepreneurial development is emphasized. The plan draws from two key references that support different aspects of the plan. Kozinets et al. (2010) highlight the importance of digital commerce tools and resources for building social capital and expanding networks. This reference is relevant to the lesson plan's focus on using social media platforms such as LinkedIn, Facebook, and Twitter to connect with industry professionals and potential collaborators to build students' social capital. On the other hand, Barney (1991) discusses the use of resources to create sustained competitive advantage. This reference is relevant to the lesson plan's emphasis on leveraging digital resources, such as online courses, tutorials, and webinars, to develop students' skills in music production, marketing, and business management. Additionally, the reference supports the use of digital platforms for distribution and monetization of music, such as streaming services like Spotify and Apple Music, and online merchandise sales on websites like Bandcamp and Shopify.

 

Suggestions for Future Research

Below are five potential research directions for investigating building a winning team for music entrepreneurship inspired by the insights from social capital and resource-based theory:

• The Role of Social Capital in Music Entrepreneurship: Investigating how social capital can help music entrepreneurs build effective teams, network with collaborators and partners, and access resources and opportunities that lead to success. This study could include case studies of successful music entrepreneurs and the social capital networks they leveraged to achieve their goals.
• The Role of Resource-Based Theory in Music Entrepreneurship: Investigating how resource-based theory can help music entrepreneurs identify, leverage, and deploy their unique resources and capabilities to build successful enterprises. This study could examine how music entrepreneurs identify their resources, such as musical talent, financial capital, and access to technology, and how they use these resources to build their ventures.
• Cross-Cultural Perspectives on Music Entrepreneurship: Investigating how social capital and resource-based theory can be applied to music entrepreneurship across different cultures and contexts. This study could examine how music entrepreneurs in different countries and regions build their teams, access resources, and leverage their unique capabilities to create successful enterprises.
• Education and Training for Music Entrepreneurship: Investigating how social capital and resource-based theory can be integrated into music education and training programs to help students develop the skills and knowledge they need to succeed as music entrepreneurs. This study could examine existing music entrepreneurship programs and identify best practices for integrating social capital and resource-based theory into music education.
• Collaborative Approaches to Music Entrepreneurship: Investigating how collaborative approaches to music entrepreneurship can help music entrepreneurs build winning teams and leverage social capital and unique resources to achieve their goals. This study could include case studies of successful music collaborations, such as record labels, music festivals, and other music industry initiatives, and explore how these collaborations were formed, how they function, and how they contribute to the success of music entrepreneurs.

 

Conclusion

In conclusion, building an effective team of collaborators and partners is essential for music entrepreneurs looking to establish a sustainable and thriving career in today's rapidly evolving music industry. Aspiring musicians face numerous challenges, including the saturation of the music market, a lack of financial resources, and the need to navigate the complex music industry. By building a team of collaborators and partners with diverse skill sets, musicians can distribute responsibilities and leverage the strengths of each team member to maximize their chances of success. Music educators can play a critical role in preparing their students to navigate these challenges by providing lessons on entrepreneurship, leadership, and collaboration. The theoretical frameworks of Social Capital and Resource-Based Theory provide evidence of the importance of building a team of collaborators and partners, as observed in notable artists, orchestras, bands, and social entrepreneurship organizations. Overall, the article highlights the importance of team building for music entrepreneurs and provides practical examples, frameworks, and a lesson plan for building an effective team.

 

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