• Offered by School of Music
  • ANU College ANU College of Arts and Social Sciences
  • Course subject Music
  • Academic career UGRD
  • Mode of delivery In Person
  • Offered in First Semester 2014
    See Future Offerings

This course will introduce students to basic skills in the business and management of arts and music. It focuses on themes of audience development, the rise of participatory music making and active audiences, and evolving strategies for positioning and branding. Contemporary issues of ownership, marketing and distribution for music will be explored. Recently, the rise of digital technologies and cloud computing has challenged these formats and generated much legal, economic and social discussion.  Many of the sessions will be delivered by practitioners in the fields of arts and festival management, the freelance music business, and music IP.

Learning Outcomes

Upon successful completion, students will have the knowledge and skills to:

By the end of the course, you should be able to:

  1. Understand practical and theoretical issues in the business of music.
  2. independently critique these theoretical perspectives, and apply practical knowledge, to a number of specific musical case studies
  3. compile a portfolio of music business and arts management documents - CV, promotional materials, business case, risk assessment
  4. demonstrate research, analysis, discussion, and writing skills through written assessment tasks

Indicative Assessment

  1. Written project (3000 words) (60%), [Learning Outcomes 1,2,4]
  2. Business portfolio (2000 words - compiled of several documents such as CV, promotional materials, business case, risk assessment) (40%), [Learning Outcomes 1,2,3,4]

The ANU uses Turnitin to enhance student citation and referencing techniques, and to assess assignment submissions as a component of the University's approach to managing Academic Integrity. While the use of Turnitin is not mandatory, the ANU highly recommends Turnitin is used by both teaching staff and students. For additional information regarding Turnitin please visit the ANU Online website.


A mixture of seminars and workshops equivalent to three hours per week, plus seven hours of independent study per week.

Prescribed Texts

A reading brick will be available to all students enrolled in this course at the start of the teaching semester. Indicative texts include:

  • Rosalind Williams. “The Dream World of Mass Consumption” in Rethinking Popular Culture. Eds. Chandra Mukerji and Michael Schudson. Berkeley: University of Chicago Press, 1991.
  • Trentmann, F. (2007). “Citizenship and Consumption.” Journal of Consumer Culture, 7 (2), 147-158.
  • Stuart Ewen. Chapter 5: The Dream of Wholeness. In All Consuming Images: The Politics of Style in Contemporary Culture. New York: Basic Books, 1988.
  • David Harvey. “Fordism.” Excerpt from The Condition of Postmodernity. Cambridge:Basil Blackwell, 1989, pp. 125-140.
  • Stuart Cosgrove. “The Zoot Suit and Style Warfare.” In Zoot Suits and Second-Hand Dresses. Ed. Angela McRobbie. Boston: Unwin Hyman, 1988.Film Clips: Modern Times
  • Bill Osgerby. Youth Media. Abingdon: Routledge, 2004.
  • Naomi Klein, “Alt.Everything: The Youth Marketplace and the Marketing of Cool.” In No Logo. New York: Picador, 2000.
  • Dominic Strinati. “Mass Culture and Popular Culture.” In An Introduction to Theories of Popular Culture. London: Routledge, 2004.
  • Benjamin, W. “The Work of Art in the Age of Mechanical Reproduction.” In Illuminations: Essays and reflections. H. Arendt (Ed.), (H. Zohn, Trans.). New York: Schocken Books, 1968, pp. 217-251.
  • David Harvey. “Modernity and Modernism.” Excerpt from The Condition of Postmodernity. Cambridge: Basil Blackwell, 1989, pp. 10-38.
  • Dominic Strinati. “Postmodernism and Popular Culture.” In An Introduction to Theories of Popular Culture. London: Routledge, 2004.
  • Smith, Z. (2010, Nov 25). “Generation why? The New York Review of Books”. Available at:http://www.nybooks.com/articles/archives/2010/nov/25/generation-why 
  • George Lipsitz. “Diasporic Noise: History, Hip Hop, and the Post-Colonial Politics of Sound” in Dangerous Crossroads: Popular Music, Postmodernism and the Poetics of Place. London: Verso, 1994
  • Guins, R. (2008). “Hip hop 2.0.” In A. Everett (Ed.), Learning race and ethnicity (pp. 63-80). Cambridge, Mass: MIT Press.
  • Martin Laba. “’Pirates,’ Peers and Popular Music.” In Mediascapes. Eds. Paul Attallahand Leslie R. Shade. Toronto: Nelson, 2007.
  • Ursula M. Franklin. The Real World of Technology (Revised Edition). Toronto: House of Anansi Press, 1999.
  • Robert Goldman and Stephen Papson. (2000) “Advertising in the Age of Accelerated Meaning.” In The Consumer Society Reader. Eds. Juliet B. Schor and Douglas B. Holt. New York: New Press.
  • Aronczyk, M., & Powers, D. (2010). “Introduction: Blowing up the Brand.” In M. Aronczyk & D. Powers (Eds.), Blowing up the brand: Critical perspectives on promotional culture (pp. 1-26). New York, NY: Peter Lang.
  • Henry Giroux. (1994). “Consuming Social Change: The United Colours of Benetton.” In Disturbing Pleasures: Learning Popular Culture. New York: Routledge.
  • Littler, J. (2009). Chapter 2 – Cosmopolitan Caring: Globalization, Charity and theActivist-Consumer. In Radical consumption: Shopping for change in contemporary culture. Maidenhead, UK: Open University Press.
  • Poyntz, S. R., & Hoechsmann, M. (2011). Chapter 4 – Media Literacy 1.0.1. In Medialiteracies: Between past and future. Malden: Wiley-Blackwell Publishing.
  • Kenway, J., & Bullen, E. (2008). “The Global Corporate Curriculum and the Young Cyberflaneur as Global Citizen.” In N. Dolby & F. Rizvi (Eds.), Youth Moves: Identities and Education in Global Perspective. London: Routledge, pp. 17-32.




Tuition fees are for the academic year indicated at the top of the page.  

If you are a domestic graduate coursework or international student you will be required to pay tuition fees. Students continuing in their current program of study will have their tuition fees indexed annually from the year in which you commenced your program. Further information for domestic and international students about tuition and other fees can be found at Fees.

Student Contribution Band:
Unit value:
6 units

If you are an undergraduate student and have been offered a Commonwealth supported place, your fees are set by the Australian Government for each course. At ANU 1 EFTSL is 48 units (normally 8 x 6-unit courses). You can find your student contribution amount for each course at Fees.  Where there is a unit range displayed for this course, not all unit options below may be available.

6.00 0.12500
Domestic fee paying students
Year Fee Description
1994-2003 $1542
2014 $2478
2013 $2472
2012 $2472
2011 $2424
2010 $2358
2009 $2286
2008 $2286
2007 $2286
2006 $2286
2005 $2286
2004 $1926
International fee paying students
Year Fee
1994-2003 $3618
2014 $3762
2013 $3756
2012 $3756
2011 $3756
2010 $3750
2009 $3618
2008 $3618
2007 $3618
2006 $3618
2005 $3618
2004 $3618
Note: Please note that fee information is for current year only.

Offerings, Dates and Class Summary Links

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The list of offerings for future years is indicative only.
Class summaries, if available, can be accessed by clicking on the View link for the relevant class number.

First Semester

Class number Class start date Last day to enrol Census date Class end date Mode Of Delivery Class Summary
4886 17 Feb 2014 07 Mar 2014 31 Mar 2014 30 May 2014 In Person N/A

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