The music industry is changing faster than ever—and expanding worldwide. In this master’s degree, you’ll learn to meet the artistic management and entrepreneurial challenges of the global entertainment industry.
From crowdsourcing to music streaming, the way of doing business in the music industry is being revolutionized. Berklee's master in global entertainment and music business is part of that revolution. This one-year program is ideal if you have a vested interest in both music and business, and want to gain a competitive edge in the industry.
40+ guest speakers
50+ networking opportunities
Students from over 30 countries come to develop a global vision of the music industry and understand the tendencies in leading and emerging markets. Our multicultural faculty have experience across the globe, and we bring in industry experts to give in-depth thematic workshops on the nuances of markets such as the US, Japan, Sweden, Brazil, China, and France.
The program offers concentrations in three areas of the music industry: Live Entertainment, Entrepreneurship, and Record Industry. Students choose the concentration and focus on this area for the practicum course and the culminating experience project. In addition to choosing a concentration, students have the flexibility to choose several electives based on their interests and career goals.
Getting hands-on, practical experience is vital to success after graduation. Students have the chance to work on real-life projects such as the on-campus record label Disrupción Records. Students also get to work on consulting projects to develop creative solutions for real companies and start-ups, such as Sony Music Germany, Kobalt Music Group, FUGA, Chartmetric, Soundcharts, and Next Big Sound.
Who We Are Looking For
We seek focused, motivated, creative candidates with excellent academic and professional backgrounds who can contribute skills that will benefit the program.
Ideal candidates want to:
Explore advanced concepts and models in the global music industry;
Apply managerial and/or entrepreneurial skills to existing entertainment and music business environments;
Lead and influence the direction of the profession as visionaries, executives, and entrepreneurs; and
Gain a thorough understanding of the elements of a successful enterprise.
Ideal candidates should demonstrate:
Professional goals of working at an executive/managerial level in a company or creating a business/organization;
Prior academic success;
Prior knowledge in business;
Good understanding of the current situation of the entertainment industry and technology; and
Leadership in professional and/or academic environments.
The master of arts degree in global entertainment and music business provides advanced instruction to guide and prepare music industry professionals to lead today’s global music industry as visionaries, executives, and entrepreneurs.
As a global entertainment and music business student, you will focus on the skills, concepts, and methodologies central to global business models and apply these models to the artistic management and entrepreneurial challenges of music and digital media in the contemporary international entertainment industry. You will strengthen your analytical and leadership skills, as well as your written, oral, and musical communication skills. As you advance your professional skills and knowledge, you will grow and excel as leaders of the global music industry.
Program Purposes and Learning Outcomes
Upon completion of the program students will be able to:
Synthesize key financial indicators for business practice as well as individual professional development.
Apply effective marketing and promotion strategies for music and entertainment businesses worldwide.
Assess and create income and cash flow statements from corporations and balance sheet reports, based on collection and record of financial transactions.
Develop study and research techniques applicable to the music and entertainment industry on a global scale.
Apply copyright legislation, giving particular attention to rights licensing.
Assess new markets and business models for music, both in the domestic scope and at the international level.
Synthesize the influence of global markets into all aspects of businesses’ functions, including organizational behavior, leadership, and ethics.
Illustrate all levels of organizational design, their functions, and their culture, exploring the impact of ethical leadership in all processes, whether they’re structural, technical, or practical.
Evaluate the social, legal, and ethical challenges involved in the relationship between technology and business, including security, privacy, and reputation management through the internet.
In the global entertainment and music business program, students choose one of three concentrations and focus on this area in the culminating experience project and in a practicum course. Students enroll in a practicum course in the spring semester where they work on a project directly related to the concentration and also choose a related topic for the culminating experience.
In addition to choosing a concentration, students have the flexibility to customize their curriculum by choosing several industry-focused electives over the year. Students choose their electives together with an academic advisor based on their interests and career goals.
The three concentrations are:
The culminating experience is the final project that students present at the end of the program and is related to their concentration. Through the culminating experience, students make a creative contribution to, and/or define and solve a problem that exists in, the profession. It is a major part of the master's program, and represents the educational journey students take throughout the year. Projects take shape and evolve throughout all three semesters, and the final presentation can be a research project, a creative work, or a practical project.
Culminating Experience Timeline
Semester One: Students propose their culminating experience to their advisor and program director.
Semester Two: Students revise and refine their proposal and get final approval from their advisor. Students also work with their advisor to form the culminating experience committee for their project.
Semester Three: Students complete and present their final project to the culminating experience committee.
For more detailed information about the culminating experience, you may reference the Graduate Bulletin.
Culminating Experience Examples
Artur Castro: Streaming Wars Continue
Artur Castro developed a case study entitled “Streaming Wars Continue” that aimed at providing research and a deeper look into the fascinating music streaming business models, and its challenges, opportunities, and strategies.
The case study begins with an overview of the economics of the music industry. The reader gets a thorough understanding of what rights exist in music, how the revenue is distributed on the value chain, and why the licensing of music is such a complex process, particularly when it comes to the streaming model. After that, the case study takes a look at the history of the music industry, from its beginnings to the current, streaming-dominated market. Castro provides an exhaustive look at the different players in the market, starting with a look at the big Western services, from Spotify to Apple Music to Amazon Music, and then focusing on the emerging players with great potential, the likes of Tencent in China, MelOn in South Korea, and Saavn in India. The second half of the case study explores the challenges and opportunities of streaming business models from an economic perspective. From the pricing strategy to Business to Business tools such as Spotify for Artists and the effects on usage, Castro presents the differences between the consumption of younger and older audiences.
Alejandro Jon Sabillón is a multifaceted creator from San Pedro Sula, Honduras. He is a classically trained musician and has been an avant-garde award-winning DJ for over a decade, with performances in the U.S., U.K., Spain, United Arab Emirates, and Japan. He is interested in futurism, artificial intelligence, emotion, the nature of consciousness, and the interplay of these fields with music.
Sabillón’s culminating experience project is Aigg, the first record label for robots. Aigg uses the latest advances in machine emotion, intelligence, and creativity to develop exclusive synthetic artists capable of generating their own original music in collaboration with their human counterparts.
On-campus graduate programs are designed to be completed in three semesters of full-time study or one full academic year—a consecutive fall, spring, and summer. The full-time summer term is six-to-seven weeks in length directly following the spring semester.
All students are expected to be in residence for the entire program (three academic terms). Furthermore, all candidates seeking to graduate must earn a minimum letter grade of B- in each course counting towards a degree requirement, attain a minimum GPA of 3.00, and complete all course work, the culminating experience, and other graduation requirements.
The master of arts program at Berklee College of Music is designed to be completed in three semesters of study–or one full academic year: fall, spring, and summer semesters. There is an optional internship that takes place the fall after graduation for those who want to do an internship through Berklee for credit.
Total Credits: 33/34 with optional internship
Total ECTS: 60
Due to the unprecedented circumstances related to COVID-19, some of the courses below have implemented changes to their original syllabus in order to adapt to a synchronous remote or blended modality and to comply with recommended safety/social distancing guidelines.
This course provides a comprehensive look at entertainment law issues and contracts closely related to the music industry. Students learn to appreciate how the music industry deals in copyrights, exclusive/non-exclusive services, and reputation, image and goodwill through a variety of complex contractual frameworks. Students examine the different contracts specifically involved in music business practice such as publishing, recording, management, production, and live performance, as well as those regarding merchandising, sponsorship and endorsement.
This course focuses on the accounting and quantitative tools of financial analysis that are used by busines professionals in corporate settings and investors. In the course, students look at finance in three ways: first, they discover how music companies record financial transactions in a booking system and calculate ratios of financial statements; second, they determine and understand financial calculations, both focused on the music industry in particular, as well as more general important overall business calculations; and third, they budget and fund music business ventures. Mastering these tools helps students analyze firms from a financial point of view and to measure ventures’ sustainability over the long-term. Students learn how to use financial analysis tools, both basic and sophisticated, to assess the potential of music enterprises, and create new businesses in the music industry.
This is a seminar in which students learn interdisciplinary skills necessary to thrive in a fast-paced industry. Students explore the contemporary challenges that impact the music industry today, make predictions about future challenges, and work on solutions. Students meet with leaders and experts who will help them develop a global understanding of the industry. Students will also share in the responsibility for inviting guest presenters and organizing panel discussions with speakers of their choice, related to their professional goal.
The amount of data available to organizations in the music industry has reached unprecedented levels. Data is transforming business, social interactions, and how music is consumed and artists are marketed. In this course, students examine real world examples of how analytics significantly improve management decisions, firm strategies, and artist success. Students learn the following analytical methods: linear regression, logistic regression, trees, text analytics, clustering, visualization, and optimization. Students apply data analysis and statistical concepts to evaluate artists’ and labels’ marketing strategies, using logic and strategic reasoning, as well as the latest trade and scholarly writings in the field. Students focus on three areas:
1. Attain Data
Write a survey or conduct a focus group (e.g. Qualtrics, SurveyMonkey)
Apply online databases and search engines (e.g. Google Alerts, Next Big Sound, BuzzAngle Pro, BMAT Vericast)
Import metrics from social media (e.g. Facebook, Twitter) or streaming platforms (eg. Spotify Artist Insights)
2. Analyze Data
Sort important data and clean unuseful data by using spreadsheet software (e.g. Excel)
The online free-for-all approach in creative industries has destabilized payment models for music, movies or video games. This practicum enables students eager to test and develop emerging business ideas in the entertainment industry. To do so, students learn practical concepts, including market research, submission of business licensing application, location, organizational structure, financing, employee issues, project management and many other considerations. Students complete work that is extremely experiential in nature and based on the refinery and delivery of a business plan. Among other tasks, students complete a professional business plan at the end of the course.
This course covers the various aspects of organizing live music tours as well as creating and organizing professional individual live concerts. Students learn the process of building live events, including venue and artist selection, budgeting, marketing and promotion, tour routing, technical production, staging, and other practical mechanics. Studnets master these underlying strategies as they develop skills to ensure a successful tour or event.
This course provides students with practical experience in the development and management of a record label, through work with the student-run label, Disrupción Records. Through the course, students produce, market, and distribute a record of student work. In doing so, students gain expertise with the departments of artists and repertoire (finding talent among Berklee Valencia students; choosing songs to be crafted and/or recorded), business affairs (negotiating contracts with all the parties involved), production (completing masters and artwork, among other tasks), marketing (promotion, advertising and publicity of the music projects), and distribution (online and physical sales).
Master's students in global entertainment and music business are required to complete a culminating experience. This experience may take the form of a directed study, project or internship. The student will work in consultation with his/her faculty advisor and/or the Music Business Department Chair to develop his/her unique project. The goal is to complete original work at a professional level. A faculty committee composed of the advisor and two other faculty will evaluate the final project that results from the culminating experience. The three-person faculty team will serve as the examining committee.
Students in global entertainment and music business choose four electives to take. Electives are centered around five career areas of the music industry: artist management, live entertainment, production, marketing, and entrepreneurship. Students choose the electives that best fit their career goals and interests. The semester that electives are offered may vary.
Fall Electives: choose 1 course
Spring Electives: choose 2 courses
Summer Electives: choose 1 course (or an Internship)
“I’m not a businessman, I’m a business, man.” (Jay Z)
In this course, students analyze the current realities and evolution of the global live music business, an area of music which now contributes approximately 60% of revenues to top artists. This analysis of the live music industry contextualizes the relationship and power structures among the main stakeholders in the live music industry, from the audience to multi-national promoters. Students examine and evaluate the role of live performance in developing artists’ musical careers, as well as the expansion of niche markets, including the global festival market. They also examine the development of marketing and branding elements. In learning how the specific areas of events management interplay, students plan and potentially stage their own live events. Students also explore the legal structures that operate in the live music industry, including performing rights and venue logistics, and they evaluate how these impact live music and its stakeholders both positively and negatively. Finally, students explore the future of live music, including the challenges posed by globalization, pressure upon local artists and promoters, and the gentrification of core urban centers such as New York and London.
No business like show business? This course offers an economic analysis of creative industries defined as industries that produce goods that provide artistic, cultural, or entertainment value for the consumer, including music, movie, television, sports, advertising, fashion, and video games. Students apply economic concepts to understand firms’ strategies as they evaluate, using economic reasoning, the latest trade and scholarly writings in the field. Students also analyze current events in world affairs thanks to classroom debates about controversial issues, and their effect on creative industries. Students also master tools and concepts that allow them to navigate these industries and anticipate emergent trends that shape business strategies.
This course is an in-depth exploration of the processes and activities related to management of artists. Students learn how to represent an act by focusing on the many facets of the music industry a personal manager must address. Students learn about the different roles on an artist’s team and other people managers encounter, including understanding who is responsible for which tasks, and how to get the deliverables they need. Students also learn about the environment they must navigate as managers, including record labels, live events, contract negotiations, budgeting, union and government regulations, talent shopping, and more. Finally, students develop a tool kit in order to perform in the role of personal manager with skill and finesse through both theoretical and practical application of this knowledge.
How do we define “talent”? How do we discover it? Create it? Develop it? How do we assess artists for their commercial, creative, aesthetic and cultural potential? Answering these questions is the role of A&R (Artists & Repertoire) within the music business. In this course, students learn what A&R involves, key elements of the work, as well as how the work is changing. Taking on the role of the A&R professional, students learn to assess talent in the following key areas: vocal performance, instrumental performance, stagecraft, songwriting, image, identity, aesthetics, work ethic, social media performance, and intelligence. Students also learn about cultural milestones reached in the music industry—the incredibly important moments when particular recordings secured their place in the history of popular art. Students listen to, and engage with, recordings that have achieved sustained cultural relevance; and in doing so, students strengthen their ability to work with artists to create works of profound cultural as well commercial importance.
Leadership is one of the fundamentals of success in today’s age, both on the personal and professional level, and this course is designed not only to help students learn the many facets of the global entertainment business world and leadership in theory, but also to master the skills and experiences necessary to turn them into effective leaders in their own right. Students have the opportunity to learn from real industry case studies, understand the organizational implications of quality leadership and global implications on a variety of levels, and participate in a diverse set of activities and assignments towards developing quality sensibilities and practices as thoughtful leaders in whatever endeavor they might choose to pursue. They study human behavior, internationalization, leadership and communication tactics, and other organizational elements combined with a thorough application of these principles towards building a solid understanding and integration of what makes true leaders in the modern entertainment world.
China has climbed into the top 10 recorded music markets, and is likely to head to the number one spot. India has similar potential. Latin American music businesses seem poised to benefit from the global appeal of Latin beats. Africa has increasingly assertive music businesses from Nigeria to South Africa. Meanwhile, in Europe, EU changes to copyright law look set to close the “value gap” between technology companies and content companies. In this course, students explore these phenomenon and more as they learn to prepare for, anticipate, and create entertainment industry changes. Students learn to analyze global music markets; to assess differences and similarities; and to evaluate various business approaches and best practices. In short, this course positions students as future music industry professionals with a truly global understanding and outlook.
Through this course, students will acquire a detailed understanding of music publishing beginning with the signing of a songwriter through to the exploitation of an administered work via a synchronization license. We will look at the basics of copyright and how a music publisher handles its works in order to best monetize its catalog through print, mechanicals, performance, and licensing.
Students will also complete a detailed study of the clearance process of synchronization and the language and terms included in licensing agreements for film, television, video games and other digital media. This course will provide a comprehensive look at music licensing from the point of view of the various departments within a music publisher as well as from a music supervisor’s perspective.
This course will review the use of music in popular and current film, TV and advertising projects to look at aesthetic, artist positioning, and the relationship between the value of a song, pricing and a production’s budget. Students will acquire the knowledge and skills needed to be a music supervisor; work at a film/television studio or advertising agency’s music department, an international music publishing company, or an online media distribution company; or to start their own music publisher.
In this course, students learn a variety of multimedia software, hardware, tools and strategies useful in creating compelling graphic design, posters, music videos and other visual media, especially using “guerilla” techniques (self-produced, low budget projects). The goal is to put more visual tools in the hands of musicians, to enable them to take control of their own visual brand and visual promotion, and to help students synthesize a variety of visual design and editing skills in order to increase their ability to express themselves artistically. Students focus all of their newly learned skills to produce a final project of their choice with guidance from the course instructor.
This course explores topics in electronic production and live performance techniques related to modern electronic dance music production, sound design, arrangement, and performance. Students generate content and create their own music while learning how to use Ableton Live Suite. Students learn to analyze electronic music, and explore techniques for remixing, performing, and creating electronic music.
This course provides a comprehensive analysis of online and social media options available for the promotion of entertainment products and services. Students review the plethora of online tools for marketing, including online advertising, social media campaigns, social media etiquette, and games and contests. Students learn to create a total branding plan for an entertainment asset. The capstone of the course requires students to create an integrated online media plan for the promotion of a new entertainment product or services.
This course provides a comprehensive overview of the marketing of products and services by multinational organizations, with emphasis on international cultures and marketing strategies. Students learn about the practices of companies large and small, with emphasis on those in the music/entertainment industry who are seeking market opportunities outside their home country. Students also learn about the importance of viewing international marketing management strategies from a global perspective.
This course provides students an opportunity to integrate professional and academic experience through internships. The internship site must be approved by the student’s faculty advisor and/or the program director and must provide a learning experience that enables the student to meet academic and/or career goals. Through the internship, students apply theories learned in their graduate studies and explore aspects of the music, entertainment, and/or other industry as appropriate.
Please note: Students are responsible for securing their own internships. The internship must be secured prior to course registration. Students must complete approximately 100-300 hours during the internship. International students in F-1 status must obtain authorization on their Form I-20 from their International Student Advisor prior to beginning an internship.
Economics of Creative Industries: Case Studies
The complexity of the music industry can be reflected in the real situations faced by artists, agents, promoters, and distributors. In the Economics of Creative Industries class, students work in small groups to analyze case studies to discover not only business problems but also the specific character and constraints of the music sector. In this video, students are working on the economics of digital service providers (such as Spotify) and exploring the limited release strategy followed by Beyoncé for her latest album on iTunes.
Optional electives do not count in program total credits.
Principles of Music Research introduces the tools of music scholarship, including reference and research materials in both book and electronic forms. Students develop the skills, attitudes, and understanding to research and write about music by learning how to approach various types of scholarly study within music and by increasing their proficiency with music library resources. Projects and assignments will be tailored to the individual needs of the student working towards his/her culminating experience or thesis project. Students learn advanced information seeking, assembling a literature review, evaluating current research, writing and documenting sources professionally and ethically, distinguishing primary and secondary research, and finding and applying for funding sources. Students taking this course should have the ability to recognize, identify, and define an informational need; seek basic information in a strategic way; locate and access basic information; and evaluate information sources for essential levels of quality and relevance.
In order to give students a broader understanding of the music industry, we invite industry-leading artists, professionals, and visiting faculty to give lectures and workshops related to specific challenges and opportunities in the industry. Faculty visiting from the Boston campus frequently come to Valencia for special workshops and presentations. In many cases, students from all masters programs are welcome to attend visiting artist and faculty sessions, regardless of program.
Visiting artists and faculty change each year. Here are some of the visiting professionals who have visited campus in the past on behalf of the global entertainment and music business program:
Entrepreneur, Philanthropist, Studio Head, Record executive, and Manager
Scooter Braun is the founder and chairman of Ithaca Holdings LLC, founder of SB Projects, and cofounder of TQ Ventures. He’s one of the major forces and innovators in the entertainment...
Dina LaPolt is an attorney who represents music creators, celebrities, music industry executives, influencers, and owners and controllers of intellectual property. Owner of one of the music industry’s leading law firms, and the only firm of its stature founded and run by a female attorney, her LaPolt Law, P.C. represents superstar entertainers as well as an array of top industry executives.
Sophia Chang is a music business matriarch who has worked with Paul Simon and managed Wu Tang Clan, A Tribe Called Quest, RZA, Raphael Saadiq, and D'Angelo among others. Her record company experience includes marketing at Atlantic, A&R at Jive, running A&R administration and operations at Universal, and acting as general manager of Cinematic Music Group, the label and management company for Joey Bada$$, Pro Era, and Mick Jenkins.
Cliff Fluet is managing director of Eleven Advisory. He has over two decades of experience in digital strategy and advising, having practiced as in-house counsel and external adviser to some of the world’s biggest names in digital, mobile, and social brands, and music, and live events. In addition, he works with artificial intelligence, blockchain and cryptography, and social and immersive video businesses.
Although still early in her career, Southern California–based tour and project manager Alex Rivas has already worked with a variety of renowned artists including Ms. Lauryn Hill, Chloe x Halle, Alanis Morissette, Ella Mai, and Jamaican artists such as Chronixx and Koffee. On each project, she has moved tours both domestic and internationally while retaining her individual style.
Claire Mas has managed the digital strategy of top artists such as Sigrid, Robyn, Mumford & Sons, Ray BLK, and Hozier, among others. She is an influential voice in the digital music ecosystem, having previously headed up digital at Communion, led training for Music Ally, and managed independent artists.
Shawn Barron is the man behind the signing of Drake, Diggy Simmons, Wale, Curren$y, and Ty Dolla $ign. He is now senior director at Atlantic Records and has previously worked for Universal Records and Koch Records.
Ekaterina Bazhanova is the founder of Music Development Russia, a company providing services in different areas of the music business. Its key activities are artist development, music business consulting, publishing, events, and music exports. Bazhanova has worked with artists such as Yuar, Tesla Boy, Poko Cox, On-the-Go, and НААДЯ, among others.
Cherie Hu defines herself as a citizen of the music tech macrocosm. The main topic of her work is how technology transforms music and culture. Her written work can be found at Billboard, Forbes, Music Business Worldwide, Columbia Journalism Review, Pitchfork, and many other publications.
Stephen Budd Music represents some of the most successful and influential producers, songwriters, mixers, engineers, remixers, and programmers from Europe and the U.S. In addition to his management services, Budd himself is a music cultural commentator and an advisor to music festivals and live events.
Yvette Noel-Schure is a seasoned and respected industry veteran, and one of the top creative executives in the music PR business. She has developed press campaigns for a diverse roster of artists, including Beyoncé, Mariah Carey, Chloe X Halle, Prince, John Legend, and LeAnn Rimes, among others.
The music business program had the pleasure of hosting Scott Cohen, the co-founder of The Orchard, the world’s largest digital distribution company. Cohen is a world-renowned lecturer who visited the campus to discuss reinventing business models as we see them. Currently, he is a visiting professor at London Metropolitan University and is a member of the British Phonographic Industry Council.
Steve Stoute is the founder and CEO of the brand development and marketing firm Translation, and author of The Tanning of America: How Hip-Hop Created a Culture That Rewrote the Rules of the New Economy. For more than a decade, Stoute has worked to identify and activate a new generation of consumers on behalf of iconic brands like State Farm, Jeep, and the National Basketball Association, helping them thrive in the changing cultural climate. He has worked with artists like Will Smith, Jay-Z, Mary J. Blige, Jimmy Iovine, and Solange Knowles. During his special visit to our campus for the Branding and Advertising Music Business seminar, Stoute shared his knowledge about the music and advertising industries with our students and gave them valuable advice on how to succeed in this evolving space.
Industry legend Rob Dickins is former president and chairman of Warner Music UK. Dickins is responsible for the signings of Prince, Madonna, Nile Rodgers and Bernard Edwards (Chic), Neil Young, and Joni Mitchell, among others, to the UK company. Dickins visited our campus as a special guest for the final week of the Master of Arts in Global Entertainment and Music Business Degree Program A&R seminar.
Named the official U.S. ambassador for the Global Entertainment and Music Business Program, Martin Frascogna led an extraordinary week of seminars focusing on the U.S. market. Frascogna is an international entertainment attorney who represents clientele in 34 countries spanning six continents. His clients include international musicians, Grammy winners, international labels and tours.
Stef Pascual handles digital strategy and marketing for a variety of music and live events and media clients like Fusion Festival, Becky Hill, Ella Henderson, and Stacey Solomon. She is also half of Silent Cult Records, an independent label founded in 2017.
An award-winning composer, musician, producer, and engineer, Stephen Webber was founding director of Berklee’s Master of Music in Music Production, Technology, and Innovation program in Valencia, Spain. Webber wrote the best-selling book Turntable Technique: The Art of the DJ and founded the world’s first college-level classes in DJing and turntablism.
Scott McNearney, sponsors chief at SXSW Music, Film and Interactive, visited the Branding and Advertising Music Business seminar to discuss the ins and outs of festival sponsorship with our students. For more than 15 years, McNearny has successfully directed and shepherded hundreds of uniquely integrated brand programs at the SXSW Conferences and Festivals, creating lasting and positive impacts on the world’s forward-most thinkers. Brand concert events led and developed with McNearny’s expertise include talent ranging from Jay- Z and Prince to Lady Gaga and Snoop Dogg.
Special guest to the music business seminar, Cindy Castillo, artist manager and founder of Gigntik Management & Booking, spoke with our students about artist management and how to develop synergies with artists. Based in Madrid, Spain, Castillo’s companyis dedicated to management and artist booking, producing national and international tours, and everything related to the organization of tours and events.
Panos Panay is the founding managing director of Berklee ICE (Institute for Creative Entrepreneurship) as well as a passionate entrepreneur and active startup mentor in the creative media space. As the founder of Sonicbids, Panay created the leading platform for bands to book gigs and market themselves online, building a subscriber network of 550,000 bands and 35,000 promoters from over 100 countries. As a passionate arts and business advocate, Panos serves on a number of boards, including as the chair of Berklee's Presidential Advisory Council for six years.
Don and Dale Franzen are a husband and wife industry duo. Don is a practicing lawyer of entertainment and business law, and counts among his clients leading figures in the music and recording industries. Dale has over 30 years of experience in the creative arts industry as an opera singer, artistic director, producer, public speaker, mentor, and consultant.
Montse Carty has worked in various areas of the music industry: artist relations, artist programming, and global marketing for music companies including Sony Music Entertainment, Pandora Media, and various nonprofits including the San Francisco Symphony.
When you are on campus, you'll find yourself in the midst of a multitude of cultures, backgrounds, and styles. Berklee is well known for their diversity of students and faculty, and on the Valencia campus we celebrate the musical creations and cutting-edge ideas that come from this blend of culture and backgrounds.
Master's students come from all over the world, and bring a wide range of experiences to share on campus during the yearlong program in Valencia. Students are the center of campus life, as they turn classrooms into laboratories and collaborate on innovative projects with students in other master's programs.
Collaboration With Other Programs
It’s not just the faculty and visiting professionals that inspire, at Berklee you will be surrounded by and collaborating with talented musicians and composers from around the world, both in the music business program, and from the other masters’ degrees on campus in performance, scoring, and music technology. It is in this collaboration that opportunities begin to form, relationships are built, and your creativity and ability to innovate are put on center stage.
Outside the classroom, music business students may find themselves working with students from the music technology innovation master's program to work on production for a student artist, or get some extra insight on sound engineering and mixing. Music business students also work with performers to gain experience in promotion, marketing, and artist management. In addition, there are many musicians on campus from all programs who enjoy coming together to perform at events on and off campus.
The campus is full of life, and there's always something you can get involved in. Extracurricular activities are optional and vary from year to year. Some opportunities are open for all students to participate in, while others are on an audition/application basis.
KB Killaz, led by Music Business Student Kyle Bagley
KB Killaz play an original song 'Apple tree' at the Commencement Concert 2015 held on July 11 in front of the Hemisfèric building located in the City of Arts and Sciences. Sixteen bands of graduating students performed on a floating stage in the middle of the enclosure’s artificial lake.
Global entertainment and music business program student Michael Deacon (a.k.a DX) performs 'Harvest Suite' by Adam Page and John Psathas at the Innovation ¡En Vivo! concert that takes place each semester and is open for all students to audition.
Berklee's Performance at the Valencia Open 500
During the Valencia 500 tournament's final ceremony on October 27th, 2013 a group of Berklee students performed an original arrangement of the well-known tune by Tina Turner, 'The Best.' Vocalist Daniel Omphroy, a student of the Master in Global Entertainment and Music Business, won the competition that took place at the Valencia campus to select the performer for this prestigious event. Joining him on stage were classmates Alexey León Reyes on saxophone, and Cassandra Allen and Jana Sustersic on background vocals.
'Happy' (Pharrell Williams cover) - Valencia Commencement Concert 2014
Global entertainment and music business students created a band during their year at Berklee to do gigs and shows around Valencia, they named their band after one of the classrooms on campus, A69. Here, the group 'The A69's' perform the song 'Happy' at the 2014 graduation concert.
Business Students Emcee Graduation Concert
Two students global entertainment and music business program were chosen to emcee the graduation concert, featuring performances by many students from all master's programs.
Business Students Host Benefit Ball
Students from the music business program planned and hosted a ball to support a local non-profit organization that helps people with autism to improve their personal development through music. The Ball was held at the Westin in Valencia and featured fellow students in special performances.
The Berklee Batucada Performs at the Valencia Open 500
Students may join the batucada group as an extracurricular activity, led by faculty member Mariano Steimberg.
Events: There are opportunities for select students to perform in many on-campus and off-campus events such as orientation, graduation, ensemble performances, or events at the City of Arts and Sciences.
Conferences: Some industry events and conferences offer opportunities for musicians to perform.
Extracurricular Activities: Extracurricular activities are completely optional for students, take place outside of class time, and vary year to year. Past examples of such activities include a batucada group, flamenco workshop, a choir, Valencia DJ Collective, jam sessions, and ensembles.
Getting a master's degree from Berklee College of Music pushes you towards the next big step in your career, and the International Career Center (ICC) is one of the resources you have to help get you there. The mission of the ICC is to provide expert guidance, cutting-edge resources, and professional development experiences to help our diverse body of students achieve their career goals. Rather than acting as a one-time job link, our overall focus is on career management. We help you access available resources and activities and apply them to your career path.
Getting a master's degree in global entertainment and music business opens you to a world of possibilities in the music industry and beyond. After graduating, many students work in the world's leading music industry companies in areas such as artist management, music publishing, music supervision etc. Others opt to start their own ventures as entrepreneurs.
"I was able to improve my dexterity in subjects I am really interested in, from academic courses such as finance and data analytics to interpersonal skills and networking, what has led me to my current internship at Red Bull"
Artur Castro M.A. '18 Global Entertainment and Music Business
Succeeding in the music industry is all about building your professional network and making connections with the right people. Students are encouraged to take advantage of their time in Europe to attend or participate in the many music and performance-related events held in Spain and Europe. All event participation and attendance is optional and students make all the arrangements to attend on their own. In some cases, students may be able to access special offers and student discounts through Berklee.
These are the events that we recommend for global entertainment and music business students.
An annual international music conference based in Barcelona that gathers the leading minds in the world of music to exchange views on how music is being shared in today's digital age and discuss new developments taking place in music technology.
"Amsterdam Dance Event is a combination conference and club music festival centered around the many subgenres inside of the Electronic Dance Music scene from around the world. ADE's multiple conference tracks offer the ultimate annual business and inspiration platform in the field of electronic music, featuring dedicated programming for business professionals, start-ups, aspiring producers and musicians, students, VJs, visual artists and stage designers."
WOMEX is an international networking platform for the world music industry. The annual five-day event comprises a bustling Trade Fair, Showcase Festival, Conference, and Film programme, as well as festive Opening and Award ceremonies.
BIME PRO is the first European fair dedicated to the music and digital industry, it explores new ways of income and collaboration through new technologies, video games and marketing. A three-day program full of activities, lectures, networking, and special events.
BIME Pro connects national and international professionals, updates their knowledge and explores new business models through digital industries.
It is also the first European fair focused on the Latin American music industry, inviting top leaders of their industry.
"Loop is three days of discussions, performances, presentations, studio sessions, installations and interactive workshops aimed at exchanging ideas at the cutting edge of music, technology and creative practice. Bringing together artists, technologists, educators and other creative thinkers, Loop is a collective exploration of what it is to make music today and what it could be tomorrow."
"Slush is a student-driven, non-profit movement originally founded to change attitudes toward entrepreneurship. The very core of Slush is to facilitate founder and investor meetings and to build a world-wide startup community. Slush has grown from a 300 person assembly to a world-renowned event, now spreading globally. The philosophy behind Slush has remained the same: to help the next generation of great, world-conquering companies forward."
IMS Ibiza is a comprehensive three-day event featuring live seminars and debates amongst the leaders of the international music community. Through keynotes, interviews, panels and technology master classes, our industry network comes together for thoughtful discussion about the direction and future of electronic music. The IMS Business Report, which has become the industry’s leading data study, is also presented at IMS Ibiza for a global snapshot of vital statistics about the industry. The event has become a major source of industry deals, press launches and is a talking point for worldwide media. Major brands like Corona, Pioneer, Nokia and Coca Cola have used IMS as a platform to launch important initiatives in the electronic music space.
"The Great Escape (TGE) is a new music festival that showcases emerging artists from all over the world. Over 400 up and coming bands play in 35 Brighton venues, accessible on one wristband. It’s the first place to discover your new favorite band and see them in an intimate setting before they go on to headline major festival stages."
IMS College – Malta aims to bring together the next generation of bright industry minds for an intensive 360-degree learning experience to give a new wave of electronic music creators and professionals the tools and knowledge to assist their careers. IMS College -Malta will consist of a range of seminars, panels and interactive sessions paired with nightlife and performances scheduled throughout the weekend.
Berklee College of Music’s optional graduate internship program supports Berklee master’s students who seek to integrate academic and professional experience after completing the coursework and culminating experience projects required in their specific master’s program. This program will take place during an additional semester, following the completion of all course work, and students will be charged a part-time comprehensive fee. Note that students are responsible for securing their own internships and for securing all appropriate and required visa statuses.
All graduate programs at Berklee are accredited by the New England Commission of Higher Education (formerly the Commission on Institutions of Higher Education of the New England Association of Schools and Colleges, Inc.), which is internationally recognized as an authority on educational quality.
The Master of Music in Scoring for Film, Television, and Video Games; the Master of Arts in Global Entertainment and Music Business; and the Master of Music in Contemporary Performance (Production Concentration) are additionally accredited by Spanish educational authorities, valid throughout the European Higher Education Area (EHEA). See the details for each program:
Program General Competencies
Upon completion of the program, students will be able to:
CG01—Integrate and synthesize knowledge from different fields of musical expertise, including practical application of theoretical concepts and integration of technology in daily professional activities.
CG02—Apply creativity to the development of scholarly work, to teaching, or to other academic specializations.
CG03—Develop study or artistic works, applying knowledge and skills, that result in the production of a new and original contribution.
CG04—Evaluate music’s capabilities as an art, as well as its possibilities of intervention in a variety of contexts—social, educational, economic, or technological.
CG05—Appraise music’s impact in its relation to general performing arts, but also to the visual arts, including electronic arts (video art, video dance, etc.) and presentation formats that are involved in multidisciplinary shows.
CG06—Assess aesthetic concepts and principles underlying varied artistic contexts, from the perspective of its historical knowledge, but also making proposals for its further development.
CG07—Synthesize knowledge and professional practice as means for integration and social diversity comprehension.
CG08—Integrate knowledge, critical thought, and rationale as applied to problem solving, inside and outside artistic context, as well as in different social environments.
CG09—Apply communication strategies to further develop professional activities in the context of international and multicultural environments.
CG10—Assess and apply leadership models as means for making decisions that are ethical and culturally contextualized.
The global entertainment and music business program focuses on three main areas to help students grow in their professional development and gain a competitive edge in the market: - Your network - Your experience - Your global perspective We help our students develop a professional network by inviting high-profile and international guest speakers from all areas of the music industry to campus on a weekly basis. In addition, we provide opportunities to attend music industry conferences (at an additional price) to make more connections with industry executives and leaders. Plus, your classmates will form an important part of your professional network after graduation. To develop your professional experience while studying on campus, the concentrations, the culminating experience (thesis), and the design of the courses provide opportunities for you to understand how the music industry functions on a global scale.
Valencia is a vibrant Mediterranean city, offering multiple opportunities for our students to develop creative projects. In the past, our global entertainment and music business students have created projects for the local community including the Women’s Empower Symposium, TEDxBerkleeValencia, Jazz para el Autismo, and countless live music events.
Global entertainment and music business applicants must possess a minimum of a bachelor's degree from an accredited institution and demonstrate leadership, motivation, intellectual curiosity, and promise of great achievement in their area of study. No.
Applications to graduate programs generally open in the summer for the following academic year. You can check application deadlines on the website or sign up to receive an email notification when the applications open along with other program information.
You can apply to a master’s degree program online at apply.berklee.edu. The first step is to register for a new account if you are a new user, or to use your existing login information to create a new application.
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BERKLEE COLLEGE OF MUSIC VALENCIA CAMPUS
Palau de les Arts Reina Sofía - Anexo Sur Avenida Profesor Lopez Piñero, 1 46013 Valencia (Spain) +34 963 332 802