Pete Dyson

“The music business has gone through a period of profound upheaval and radical change. Two constants that remain are the need for great artists and the requirement to creatively manage and commercially exploit the creative output and goodwill of such artists. My goal as a teacher at Berklee is to help illuminate both ends of this spectrum. Teaching Artists and Repertoire (A&R) through a unique system of workshops allows a critical consideration of all of the talent factors, and serves to emphasize the primary importance of the artist. Teaching the Copyright and Contracts Management course serves students’ understanding of the management and exploitation of copyright and the contractual relationships that formalize out sector.” “My teaching approach seeks to utilize a long professional experience of providing legal advice to artists, managers, record companies, publishers, producers, promoters, and startups. Real-life examples and case studies are used to bring legal issues to life, and a discussion-based approach enables the class to collectively consider the subtleties of change and evolution within the sector and share ideas for future value generation within the business.” “Students gain a strong competitive advantage over their contemporaries through acquiring a rigorous knowledge of copyright and contracts, but also through learning the “language” of the music industry, correctly using terms, and building up a knowledge of the culture of the music business.”

Samuel Arvidsson

”The music industry looks simple from afar, but becomes more complex and nuanced as you get closer to it. At the center is the artform and its impact on modern culture, but it comes down to the most talented people in the world in music trying to reach their audience and cut through the noise.” ”In this course, we will look at best labels and practices in the industry and their opportunities, and then apply this to our own artist projects’ journey from the studio to the fans with all the work that goes on in the middle.” ”I will give you the big picture, the industry insight and specifics combined with the facts, and then togther use this insight and theory to inspire and turn artists’ careers into reality.”

Tim Ferrone

“It’s important to me to convey the realities of the contemporary music business to students and, in particular, the specifics involved in the marketing process. I therefore take great care to ensure that my day-to-day experience of working with a host of major and indie labels, managers, and artists in the running of my marketing consultancy is a central theme throughout. The music business moves at such a pace that the moment a theory or principle appears in a textbook, it is already out of date.” “It’s important to me that I convey the fun side [of the music business], too. I laugh a lot during my work, and I see no reason why other people shouldn’t enjoy their chosen profession. Teaching the students at Berklee is a privilege and something I approach with great enthusiasm.”

Allen Bargfrede

“I try to involve students and seek their input, especially given the constantly changing music markets. Classes are built around discussions and interactive projects that merge learning from existing materials with real-life experiences and study of current developments. This sharing of knowledge and the ensuing relationship-building with fellow students in class allows for dynamic experiences and a network that can live on long past graduation.” “Students need to have a comprehensive knowledge and understanding of the music business, but I also want them to have critical-thinking skills that will allow them to succeed in the ever-evolving industry. Trying to teach a student about the way the industry has worked over the last 20 to 30 years is not going to help them move into a career that’s viable over the next 10 years. Instead, critical-thinking skills and the ability to be creative and analyze different situations are vital. Because our students go on to a variety of careers, both in and out of music, I’d like them to have skills that help them in every area of life.” “The fact that Berklee teaches business in a performance school makes for a rather interesting dynamic. It means students understand the music behind the business, and everyone in the music industry knows about Berklee because there are so many students who come out of Berklee as performers. Berklee rings a bell in their minds due to folks like Aimee Mann or John Mayer or Imagine Dragons or Melissa Etheridge. It has a great association.”

Alf Olofsson

“The business of music is rapidly changing, but one constant for me is the power of a good live music performance, that experience of having the hair stand up on the back of your neck from such an amazing show, of feeling the whole audience electrified. This kind of energy has drawn me into a lifetime of building events and tours, and has helped me to persevere through the thrills and frustrations of presenting live events.” “With my focus on music export and event building, I have established networks in Japan, China, India, North America, South America, Europe, and, most recently, Russia.” “My goal as a teacher at Berklee is to provide students with information and insight to increase their skills and confidence in building their own vision. Every student’s needs and expectations are unique, and that is something that I try to foster and develop. One of the best ways I have found to do this is with practical applications. The real stuff happens in real time.” “We cover the basics in class, but this is not a desk course. The only way to fully integrate our knowledge is by using it, so we will have a strong focus on actual event and tour building. As your instructor I will give you all the tips that I have learned on my journey and, through guest lectures, will share the wisdom of many of my colleagues who are on the front line of this exciting industry.”

Nevena Vujosevic

“I believe that every person has their greatness. This is not some catchy phrase; for me, it is a mission. In the world of coaching we believe that each person has their own answers and the right to define their own brand of success. But sometimes we need the right kind of support, education, and inspiration to make the most of what we have been given, and that is where I see my role in all the aspects of my work.” “Everything I design in education is to truly challenge my students to blossom in their own creativity and authentic identities, to learn to think for themselves and ask the right questions, and to continually improve their abilities and personal effectiveness, so they can get out into the world and make meaningful, positive contributions for themselves and for others.” “I have always been fascinated with the notion of transformation of individuals, groups, communities, organizations, nations, and so on. Our power to change, to evolve and to go beyond what is expected of us, is for me one of the greatest opportunities of being alive. But this is the most meaningful when it is in service of something greater than ourselves. Education, good education, has the power to bring that out in individuals and help them find ways to grow and channel their talents in the most positive and impactful way.”

Tony Woodcock

“I love teaching! It extends me and provokes new thinking and possibilities. I like to create a safe, nurturing environment for the students, one which celebrates success and achievement, but also provides the support and encouragement when faced with failure and frustration. And it is in the heat and discomfort of the latter two that the best learning can really happen.” “Peer learning, interactivity, full discussion, and debate are all elements that I use to challenge the class so that the environment is creative and rich with connections.”

Victoriano Darias

“It is remarkable to realize to what extent the music industry has become a dinner-table topic. Everybody seems to have an explanation for the collapse of the music industry, and, more importantly, a recipe to succeed in today’s music market:
  • ‘The major labels got it all wrong and they are on the verge of extinction.’
  • ‘Independent artists do not need them anymore, nor do they need music publishers, PROs, or any other middlemen.’
  • ‘It’s just about embracing technology, being free and open, plugging into every social network, doing all kinds of creative things, and having snazzy t-shirts.’
  • ‘It’s all about “thinking outside the box”.’
Unfortunately, after many years working in the music industry, I have come to realize that it is not that simple. In fact, in my experience, there is so much encouragement for people to ‘think outside the box’ that many of them just forget to take a look inside in the first place. However, having a solid foundation and a good understanding of the deals, the business practices, and the current state of the industry is essential in order for you to make informed decisions, be in control at all times, and ultimately have a solid career in the music business.” “These topics and many others are covered in the courses that I teach. Students enrolled in them have to know that I expect them to participate, ask questions, discuss, and challenge their beliefs about things (and my own!). In fact, given the tremendous amount of preconceived ideas that people have about the music industry, I encourage them to go the extra mile and check for themselves to what extent what they think they know about it is true or not. This requires some preparation work during the week previous to the session in the form of exercises and readings. Coming to class prepared is fundamental in order for students to follow the discussions and elevate their tone.” “Also, I like students to do at least one in-class presentation during the course. Speaking in public is a necessary skill that, like performing live, requires training. And yes, there are going to be tests and exams, too, since it is important to review at least once what has been discussed in class.” “At times, it might seem like a lot of work, but hopefully you will realize later in your career that it was worth the effort. Remember that you are in the right place. Berklee’s campus in Valencia is the meeting point for aspiring and established musicians as well as music business practitioners, scholars, and students from all over the world.”  

Robert Kraft

“As the visiting professor of Music and Media, I will be sharing my experience specifically in two departments at Berklee’s Valencia campus: Scoring for Film, Television, and Video Games, and Global Entertainment and Music Business. I learned about both areas in the best possible way: on the job.” “Prior to my two decades as a studio executive, I was certain that my life would be solely focused on ‘the creative.’ In my early years as a songwriter, record producer, and film composer, I concentrated only on the musical part of my job—whether it was making a record or writing a song—with very little interest in the business or political aspects of collaboration. However, after two decades as head of music at 20th Century Fox, I learned that show business is two words. The more I understood the inner workings of a deal or a film or a contract, the better perspective I had on the entire creative process. And the more sensitive I was to the fragile artistic nature of creating something wonderful—combined with a realistic understanding of production—the more valuable I became to any team.” “My goal with my students will be to share a perspective that prepares them for real world situations, whether it be the specifics of scoring an action scene, the deals required for licensing a hit song, the difficulties of dealing with a petulant film producer, or the challenge of understanding a partner’s concerns. The more clear-eyed a Berklee student can become, the better prepared he or she will be for a competitive marketplace.”

Alexandre Perrin

“As Jay Z points out in one of his songs, music artists are not only businessmen/women, they are their own business as men/women. Given the fact that artists are competing against an online-free-for-all and that creative industries are more and more globalized and concentrated, it is eminently clear that students engaged in a music business career have to be technologically and economically savvy.” “I teach Music Business Finance, Project Management for Artists, Economics of Global Entertainment and, Global Leadership and Management. Thanks to my researcher background and my experience as a consultant, I can fully advise them about finding information, managing projects and delivering professional speech. In the Emerging Business Model practicum I push them to rethink the payment models existing in the industry and identify most of the traps and best practices for creating new business ventures. As a whole, I help students to understand where the money comes from and where the money goes.” “My teaching style is based on three pillars: data analysis, creativity and teamwork. I rely on pedagogical tools such as case studies, filmed role-playing, online simulation and debates. I see Berklee Valencia as a laboratory where music business students can meet with musicians, DJs or film/video game composers to imagine the future of this industry.”

Emilien Moyon

“Because the music industry is constantly changing, it is now very important for our students to understand that they need an entrepreneurial mindset to be successful. They are the leaders of their professional career. The music business now expects managers and executives to be creative, proactive and to be able to imagine the future of the industry. In my classes, I help students to develop cutting-edge business skills and to have a global understanding of the entertainment industry (technologies, new consumer behaviors, regulations, etc.) Students also participate in group projects and workshops to stimulate their creativity and to enhance their leadership skills. These skills will be their competitive advantage in the market.” “It is now very difficult for leaders and managers in the music business and the entertainment industry to rethink their business model. I strongly believe that this difficulty is the result of well-established cognitive representations; for many years, there was one dominant business model in the record industry which most people perceived as the only way to do business. This way of thinking has a very negative impact on creativity and innovation especially when you are working in a creative industry. This is the reason why I always try to use companies from heterogeneous industries as examples for students to discover alternative approaches to create value for consumers and generate revenues for firms. Innovators are the ones who constantly think outside the box and transform threats into opportunities!” “One of Berklee’s biggest strengths is to promote diversity and I think that diversity represents a wonderful opportunity for our students to enhance their learning experience. For instance, business students can interact with talented performers and composers on a daily basis. Therefore, business students have the possibility to develop transversal skills which are another key asset to be successful in the music industry. I want my students to promote and develop interactions between the different programs of the school. For example, they can use their skills to manage a band, to develop a marketing campaign using social networks or to organize a gig. These initiatives will be a catalyst to grow professionally. Berklee offers plenty of opportunities to take responsibility and develop a global network of talented people.”