Session|séance 9.1. Innovation in the Creative Industries.
Room 11-452. Chair: Craig Brenan.
Friday|vendredi 25 May|mai 2018. 2:00 - 3:00PM
9.1.1. Fostering Innovation: Examining the Establishment of a University Record Label
Rose Ginther, Paul Johnston, and Erin Yamabe, MacEwan University
The rise of and rapid changes to digital technologies and the resulting impact on the music industry has also impacted music educators who are struggling to keep up with the latest developments and to incorporate contemporary industry practices into student’s on-campus learning experiences. The democratization of music creation and production arising from the ease of access these technologies provide, has created opportunities for innovative curricular solutions in many University music programs however universities are often notoriously slow to adapt, weighed down by internal processes and external legislative oversight. At MacEwan University, the establishment of an interdisciplinary learning lab/record label, Bent River Records (BRR), seeks to offer students experiential learning opportunities with which to collaborate, innovate and to develop the management and entrepreneurial skills that they need for successful careers in the sector. Taking an interdisciplinary approach, students from several disciplines converge to work together and to work on the recording, production, distribution and promotion of a recorded product. This paper provides an overview of the establishment of Bent River Records, lessons learned from its first three years in operation and compares and contrasts its approach to existing research in the field related to fostering innovative curricular approaches in music education to address the rapidly changing demands.
Laura Trottier, Université Laval
Through the last decades, classical music has developed different strategies to keep interesting the public. One of those is the cross-over, as seen in the symphony orchestras’ concert programs in Quebec. First used as a marketing strategy, this practice has succeeded in establishing itself both in the Montreal and the Quebec City symphony orchestras, and seems to have become a way for the public to re-engage with those institutions. Thus, is cross-over only a marketing strategy or is it also reflective of « new » relations between the Quebec society with the classical music institutions? Moreover, how the renewal of the concert programs through a diversification of the repertoire does suggest, or fits into a democratization of classical music? To complete successfully this research, an analysis of all the OSM and OSQ concert programs since 2000 has been done to develop a true portrait of the situation. Given the results suggesting that the cross-over is now established as a common practice, the next step will be to conduct interviews with the orchestras’ artistic managers through semi-structured interviews to know their motivations regarding this practice and which changes it has made. Once the results analysed, those interviews will help to precisely map the impact of the cross-over in classical music in Quebec. This research will ensure greater comprehension of the cross-over phenomenon in Quebec and what impact the diversification of the concerts’ offer has on the democratization of classical music in Quebec, by pulling closer symphony orchestras and the public.