Acknowledgements
Like all open education projects, this book could not have been possible without commitment, creativity, and collaboration from across the Peabody Institute and beyond.
Kathleen DeLaurenti and Andrea Copland were inspired in this work through collaborations with Peabody’s career services office, LAUNCHPad. Colleagues Zane Forshee, Christina Manceor, and Robin McGinness influenced their approach through the development of the professional studies Breakthrough Curriculum, which was designed to help Peabody students successfully launch their artistic careers through establishing business, marketing, and funding strategies. These concepts became central to reshaping the Foundations of Music Research course, the basis for this textbook. Unlocking the Digital Age: The Musician’s Guide to Research, Copyright, and Publishing is the realization of ongoing revisions guided by student feedback as well as the specific ways that the changing realities of knowledge production, distribution, and access impact musicians.
Valerie Hartman anchored this book from conception to publication. Her expert management was key in ensuring this project evolved from an offhand comment in a meeting to a reality. She provided thoroughly scaffolded architecture behind the scenes from planning to publication. Kathleen is especially grateful for Valerie’s ongoing support during challenging moments in the process, when it seemed like publication might not be possible. This team has often talked about the value of having an “abort” button in our collaborative process, and Valerie ensured that we knew where that button was—but we never had to use it. Valerie also provided her keen editorial eye in helping to shape the structure and aid in the revision process. Unlocking the Digital Age: The Musician’s Guide to Research, Copyright, and Publishing would not have been realized without her incredible contributions.
Joseph Montcalmo was present at every point in the project, providing helpful feedback and keeping the project from getting bogged down in the details. He also was key in working with our illustrator, Don Lowing, and helping the subject matter team communicate visual ideas to produce the wonderful cover art, graphic illustrations, and example panels throughout the book. In addition, Chartae’ Anderson, the newest member of the open education team at Peabody, stepped in as we came to the finish line. She provided expert editorial suggestions, especially with the glossary and specialized terminology, and led our efforts to explore some of the more interactive graphic elements. Both of their contributions elevated the project, engaging learners and enriching their experience with the text. Peabody student Dylan Heid prepared the artist interview transcripts for the Expert Panel chapters.
Kirk-Evan Billet has been a grounding voice in conversations about the intersections of research and praxis for professional musicians at Peabody. He first brought the term “musician-scholar” into conversation with Kathleen. His contributions through ongoing discussion and brainstorming sessions helped shape the foundational ideas we share here.
As a team, we continue to rely on talented artists and musicians to add their perspectives, helping our learners see how experts use the information we share here in their professional musical lives. We are grateful to Christina Farrell, Jonathon Heyward, Lauron Kehrer, Kyoko Kitamura, Suzanne Kite, Paula Maust, and Robin McGinness for sharing their wisdom. We hope learners find inspiration from our expert panelists’ perspectives and experiences that help guide their professional careers.
We are also grateful to the colleagues who reviewed the manuscript and provided insightful guidance: Naz Pantaloni of Indiana University and Carrie Russell, a public policy staff member at the American Library Association, helped to ensure that the copyright and publishing sections were free of legal error while remaining readable for a nonexpert audience. Taylor Greene of Chapman University, Angela Pratesi of Bowling Green University, and Z. Sylvia Yang of DePauw University added their expertise as librarians working with musician-scholars; their subject matter feedback was invaluable.
Kathleen is especially grateful for her colleagues, too numerous to name, who have offered mentorship and a community of boisterous discourse and growth, particularly on policy and educational issues relating to copyright. Many of the frameworks, ideas, and tools in this book owe a great deal of gratitude to these colleagues from the University Information Policy Officers, Library Futures, the IPLC copyright community, and beyond. Kathleen would also like to extend a special note of gratitude to Christopher DeLaurenti whose 25 years of editorial experience enhanced the clarity of the text to help learners have valuable engagement with these ideas.
Finally, this book would not have been possible without the ongoing support and encouragement of Peabody Institute Dean Fred Bronstein and the executive leadership team at the Peabody Institute: Townsend Plant, Sarah Hoover, Kirsten Lavin, Paul Mathews, China Wilson, and Samuel Wilson. We thank them for their continued investment in sharing Peabody’s work openly with artists everywhere.
