In the market segmentation of festival attendees application activity, students will review a mini-lecture material related to market segmentation, target marketing, and event positioning. Students will then apply the concepts of marketing segmentation, target marketing, and event positioning by analyzing data collected from an international music festival to establish the target market of the international music festival.

Risk management is a critical part of event management. This worksheet covers definitions of the key aspects of risk management and the steps taken by event management in creating a risk management plan. A case study is provided for students to apply the risk management process in an industry example.

There are many who believe that "less is more" when it comes to using technology. This is the heart of the debate around recording vocals in music: how much manipulation is too much? If recording engineers and producers can use computers and software to digitally alter a vocal track, what happens to the original voice, and what role does talent play? To many, there is a fine line between the "perfection"that can be achieved with technology and the experience of "authenticity" in a recorded vocal performance. This lesson explores the ways in which music technology can enhance a singer's performance. It also considers the listener's interest in hearing the "authenticity" of a vocal performance. Either way, the heart of most popular music is the same, important center: the human voice.

Taking Sam Phillips as a case study, this lesson explores the role of the producer in the recording studio as one defined by an ability to guide the recording process but also to affect the wider cultural context. After investigating what a producer does and why an artist might benefit from a producer's services, this lesson looks at the way Sam Phillips' approach in some ways reflects the trend of urbanization in the American South. Like Phillips, many of his artists came from rural backgrounds and were seeking the benefits of urban life. That move toward the urban, and the racial mixing it fostered, was almost encoded in the music, as the lesson activities will illuminate. Finally, the lesson looks at Phillip's guidance of a young Elvis Presley and suggests how the music they produced created an opening for African-American music to "crossover" into mainstream American popular music.

Phil Spector and George Martin both created defining sounds of the 1960s, but, inevitably, as music and culture changed, so too did some musicians' ideas about allowing producers to exert control over their music. Some of the Singer-Songwriters of the early 1970s, such as Joni Mitchell, accepted little or no input from producers, focusing on the clarity and directness of the lyrics with sometimes minimal musical accompaniment. In the latter part of this lesson, students use a handout with information about both Betty Friedan's seminal The Feminine Mystique and events in 1960s Second-Wave Feminism as a backdrop by which to consider Joni Mitchell's decision to "self-produce"in the early 1970s.

To many, the sense of limitless possibility The Beatles arrived at while working inside Abbey Road Studios was part of a broader pattern of change connected to the 1960s countercultural movement. Political and social events, including student protests against the Vietnam War, a popular interest in the study of Eastern religions, and the publication of books such as 1964's The Psychedelic Experience, helped to inform The Beatles' musical decisions as much as the music the group invented fueled the rise of a new youth culture. The Beatles provided the soundtrack to a new experience. As popular icons that challenged social norms and encouraged creative thinking, recording artists like The Beatles began using multitracking technology to make music in the studio that could not be reproduced on the concert stage and that expanded our understanding of what popular music could be and what it could do. The studio was no longer a predictable space for recording live performances; it became a laboratory for constructing sophisticated musical imaginings. As such, it was a perfect reflection of the new youth culture's spirit.

1: Development
1.1: Determining Your Distribution Outlet
1.2: Understanding Your Audience
1.3: Production Styles
1.4: Video Formats
2: Releases and Contracts
2.1: Legal Protections
2.2: Image Licensing
2.3: Music Licensing
3: Scripting and Formats
3.1: Rundowns, Formats and Storyboards
3.2: Single-Column Scripts
3.3: Multi-Column Scripts
3.4: Three-Act Structure
4: Production Preparation
4.1: Planning to Shoot
4.2: The Production Bible
4.3: The Business of Filmmaking
5: Funding
5.1: The Business Plan and The Production Plan
5.2: The Film Proposal
5.3: Grants
5.4: Fellowships
5.5: Other Funding Avenues
5.6: Film Festivals
6: Set Etiquette
6.1: Who Does What
6.2: The Director's Commands
6.3: When the Shooting Stops
7: Camera Functions
7.1: DSLR vs. Mirrorless vs. Camcorders
7.2: Memory Cards
7.2.1: Formatting the SD (Memory) Card
7.3: Manual Mode
7.4: Iris/Aperture
7.5: Depth of Field
7.6: Neutral Density Filters
7.7: Gain and ISO
7.8: Focus
7.9: Frame Rate and Shutter Speed
7.10: White Balance
7.11: Lenses
8: Video Aesthetics
8.1: Basic Shot Sizes
8.2: Camera Position
8.3: Camera Movements
8.4: Lens Movements
8.5: Video Composition
8.6: Critical Focus
9: Lighting
9.1: Measuring Light
9.2: Types of Lamps
9.3: Qualities of Light
9.4: Common Lights
9.5: Light Modification and Control
9.6: Lighting Design
10: Sound
10.1: Elements of Sound
10.2: Microphones
10.2.1: Microphones Used in Video Production
10.2.2: Polar Patterns
10.3: Audio Connectors
10.4: Controlling Sound with a Video Camera
10.5: Location Audio
11: Planning/Organizing for the Edit
11.1: The Art and Craft of Editing
12: Nonlinear Systems and Requirements
12.1: Nonlinear Systems and Requirements
13: Formats/Compression
13.1: Formats/Compression
14: Editing Workflow/Assembly
14.1: Editing Workflow/Assembly
15: Rough Cuts
15.1: Rough Cuts
16: The Finishing Process
16.1: Steps of the Finishing Process
16.2: Fixing Transition Mistakes
16.3: Fixing Titles and Graphics
16.4: Fixing Color and Exposure
16.5: Video scopes for post-production
16.6: Video Tutorials on Color and Audio techniques