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Sam Howard-Spink

Clinical Associate Professor of Music Business

Music and Performing Arts Professions

Sam Howard-Spink PhD is Clinical Associate Professor of Music Business in NYU Steinhardt's Department of Music and Performing Arts Professions. His teaching and research interests are in the political-economic systems of international music and interactive media industries and cultures, with a focus on emerging national, regional and diasporic markets.

Emerging Models and Markets for Music (EM3), the title of the graduate course Sam designed and teaches at NYU, covers hybrid business models for music, and the music markets of Brazil and Latin America; South East Asia including South Korea, Japan, and China; India; and Pan-Africa including Nigeria, South Africa and MENA. In the undergraduate Music Business Program, Sam teaches International Music Marketplace, and Interactive, Internet, and Mobile Music, which surveys various digital and networked distribution and fan engagement models. In addition to EM3 — also offered as a January intensive course in Rio de Janeiro every other year — he co-teaches the graduate class Environment of the Music Industry, and supervises the Masters' students capstone Colloquy projects. Sam joined the Music Business faculty in 2008, and was awarded the MPAP department's Teacher Of The Year in 2009.

A Londoner by birth, Sam was a music business journalist and editor in the UK and Hong Kong before moving to New York in 1999. He has a BS in Psychology from the University of Bristol in the UK; an MA in Communications from Hunter College CUNY; and completed his PhD at NYU's Department of Media, Culture and Communication in 2012. His dissertation was a comparative study of the music markets and copyright/piracy regimes of Brazil, Canada, and the United States, examined through the critical theoretical lenses of Cultural Hybridization, Network Information Economics, and Modern Social Imaginaries. Related research interests include cultural and economic "glocalization" and hybridization, cosmopolitanism, and Music Cities; national and supranational music, cultural, and copyright policies and soft power governance; remix/mashup theory and practice; and social video, video games, holographics, and various other emergent interactive media involving music.

Sam's most recent publication is a Sage Business Case study of the K-pop group BTS's role in contemporary South Korean soft power. He has written for, among others, Music WeekMusic & Copyright, The Guerrilla Guide to the Music IndustryThe South China Morning Post in Hong Kong, IBM Think Research and openDemocracy.net, and has published academic articles in First Monday and in Portuguese translation in Brazil. Research in 2018 included a funded study of changes to US recording industry indicators and metrics, such as Stream Equivalent Albums, and their wider musical, cultural, and political-economic implications.

Most recently, Sam has presented papers on the value and utility of glocalization theory in higher-ed music business programs at conferences at USC in California (Association of Popular Music Education Conference, 2024) and Flagler College in Florida (Research in Popular Music Conference, 2023). He has spoken on panels or given talks at South By South West, the Audio Engineering Society, the Brazilian Studies Association, and SOAS in London, as well as numerous guest lectures. In 2009, Sam curated CMJ PLAY, a one-day conference on business opportunities for musicians in the interactive, mobile apps, and gaming sectors.

Sam is a drummer and segundo surdo section leader in Brazilian bateria Samba New York!, and performs with the group regularly. He is also a former hiphop/scratch DJ, and remains an expert-level Guitar Hero on Xbox.

Selected Publications

  • "BTS and South Korean soft power." Sage Business Cases. SAGE Publications, Ltd. 2024. https://doi.org/10.4135/9781071941119
  • “Grey Tuesday, online cultural activism and the mash-up of music and politics.” First Monday, Oct 2004.
  • “Activism remixed: Downhill Battle’s role in the copyfight.” EastBound, Journal of the Centre for New Media Research, Budapest. 2005.
  • “Brazil.” The International Recording Industries, Lee Marshall (Ed.). Routledge. 2013.
  • “Brazilian blends: Tropicalia, WIPO and the emerging global mix of culture and politics.” (in Portuguese translation). Propriedade Intelectual, International Trade Law and Development Institute of the University of São Paulo Law School, Brazil, Sept 2007.
  • Book Review of Hall, G. (2008). Digitize This Book! The Politics of New Media, or Why We Need Open Access Now. Minneapolis: University of Minnesota Press. In Journal of Communication Inquiry, Vol. 33, No. 4, 424-428 (2009).

Programs

Music Business

Study with industry leaders and learn the necessary skills to thrive in a fast-paced industry.

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Courses

Emerging Models and Markets for Music

A survey of post-industrial business models and regional/global markets that will under gird the production and distribution of music and music-related cultural goods and services in the first decades of the 21st century. The course lays out the major theoretical, historical, technological, and socioeconomic threads linking popular music and networked communications systems and media. Mixed contemporary theory with analyses of real-world.
Course #
MPAMB-GE 2203
Credits
3
Department
Music and Performing Arts Professions

Environment of the Music Industry

An in-depth study of the music entertainment environment and the rapid changes (i.e. technology, acquisitions etc.) affecting the creation, production, business administrations, and professional standards of the industry. Emphasis is placed on expanding markets, new products, future technologies, and planning for the future. A historical overview and case studies are explored.
Course #
MPAMB-GE 2103
Credits
3
Department
Music and Performing Arts Professions

Interactive- Internet and Mobile Music

A survey of contemporary theoretical, technological, and socio-economic structures that link music and participatory/interactive media and entertainment forms. 'Interactive' models in the new music industry include social networks, music search and recommendation engines, personalized Internet radio and streaming, mobile music, live entertainment, and the use of music in video games and smartphone applications. These are examined and contextualized with a view to identifying business opportunities for musical entrepreneurs, creators, fans and facilitators.
Course #
MPAMB-UE 1306
Credits
2
Department
Music and Performing Arts Professions