Chairs

• 

  Don Gorder

  Title: Chair
  Department: Music Business/Management

  "Berklee's core curriculum of harmony, ear training, etc., contributes to the music business/management major's lifelong enjoyment of music. No matter how far our students go in the business realm, being able to relate to music as musicians will add much to their lives. Personally, my musical experience has enhanced my understanding of the tension points in the art/commerce dichotomy, and how to soften the conflict."

  "All musicians need to know that music and business are symbiotic. Neither can exist successfully without the other. If music is to have an impact on society, the creative and business communities must learn to communicate with each other.

  "A good manager frees musicians to do what they do best—create and make music—and also relieves musicians from handling the business matters that keep the career moving forward. Even those musicians who are blessed with good business sense often find that there aren't enough hours in the day to do it all well.

  "Music Business/Management students fall into two general categories: those who want to work in the industry, whether corporate or as entrepreneurs; and those who want to remain wholly on the creative side, but recognize that a background in business is not only helpful, it's necessary.

  "Two major goals have driven the development of the Music Business/Management Department: to offer a curriculum that addresses the current and future needs of our students and of the industry. And to attract faculty who are committed to the program and have the background and experience to deliver the curriculum.

  "Berklee's core curriculum of harmony, ear training, etc., contributes to the music business/management major's lifelong enjoyment of music. No matter how far our students go in the business realm, being able to relate to music as musicians will add much to their lives. Personally, my musical experience has enhanced my understanding of the tension points in the art/commerce dichotomy, and how to soften the conflict.

  "I like the environment at Berklee. It's a fast-paced music industry microcosm, full of interesting, talented people—students, faculty, and staff. In 15 years, I've never been bored.

  • B.M., University of Nebraska
  • M.M., University of Miami
  • J.D., University of Denver
  • Private law practice emphasizing copyright and entertainment contracts
  • Performances with Tony Bennett, Aretha Franklin, Lena Horne, Carl Fontana, and others
  • Recordings for Kendor Music Publications
  • Panelist/presenter at national and international music industry conferences
  • Author of numerous articles on music business
  • Resource team representative for music business/management panel, International Association of Jazz Educators
  • Former officer and board member, Music and Entertainment Industry Educators Association
  • Member, board of trustees, Volunteer Lawyers for the Arts

  Related Links:

  • Study Online with Don Gorder

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• 

  John Kellogg

  Title: Assistant Chair
  Department: Music Business/Management

  "The reason why I think music business/management programs are growing all across the country is because I think that young people get it. They recognize that this business is changing and they have the potential to empower themselves and take it over. They know that they can actually have some form of ownership in the growth, in the development of the new music industry. They understand music, but they don't want to get ripped off, and they don't have to deal with those music companies. They think, I can do something else on my own, and I need to know how to protect myself within that whole framework of the new music business."

  "Berklee's a perfect combination. You have excellent musicians here, and you have excellent music business minds. I think that the ultimate thing to look forward to is that at some point, as these people become professionals on both ends, that those things merge, business professionals can help the musicians and musicians know something about the business.

  "The reason why I think music business/management programs are growing all across the country is because I think that young people get it. They recognize that this business is changing and they have the potential to empower themselves and take it over. They know that they can actually have some form of ownership in the growth, in the development of the new music industry. They understand music, but they don't want to get ripped off, and they don't have to deal with those music companies. They think, I can do something else on my own, and I need to know how to protect myself within that whole framework of the new music business.

  "I want students to have a good background of the music industry over the past 30 or 40 years, when it grew into something that made it what it is today. It's important for them to not only look to the future, but to learn from the past. Although the music industry didn't get it about the internet initially, there were some great things that people in the industry did that you need to learn.

  "I'm still involved in the practice of entertainment law, although on a limited basis. What I'm primarily doing is getting involved in more organizations that have input and hopefully will have influence on the changes that are being made in the music business. I'm involved in research, as well, writing articles that will hopefully influence the drastic changes that will continue to happen over the next few years. I participate in NARAS's entertainment law initiative every year. I'm on the board of the Music and Entertainment Industry Educators Association. I have affiliations with ASCAP, BMI, and CSAC, and I'm hoping to expand in educational roles with things that they do."

  • B.A., Political Science, M.S., Television and Radio, Syracuse University
  • J.D., Case Western Reserve University School of Law
  • Studies in the M.B.A. program at Weatherhead School of Management
  • Entertainment attorney in the states of New York and Ohio
  • Represented recording artists the late Gerald Levert, the O’Jays, L.S.G., Eddie Levert Sr., LeVert, G-Dep, and Stat Quo
  • Member of the board of directors of the Music and Entertainment Industry Educators Association (MEIEA)
  • Author of the book Take Care of Your Music Business, The Legal and Business Aspects You Need to Know to Grow in the Music Business
  • Has been profiled in Billboard, Ebony, Black Issues, and In the Black magazines
  • Recorded as a vocalist with CAmeo on Cardiac Arrest

  Related Links:

  • Study Online with John Kellog

  Read More