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Martin Hackworth's avatar

I used to write my own textbooks in the form of extensive notes and problem sets and put them online for my students, free of charge. The University insisted that I list a departmental approved text in the syllabus, which I did, but told students it was optional. I told them that if they did buy it, which I recommended for reference and another view, to get an older edition for pennies on the dollar. It really cut down on exam and homework cheating too because my problems could not be found solved online.

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Ben Bierman's avatar

Ted, I'm a fan of yours and really appreciate what you do and how you do it. It's inspiring. And thanks for mentioning my Listening to Jazz text with Oxford in this article. I just want to mention a couple things that I think are important in this context. First, I agree with your overall point, and this is certainly something I think about a lot on a few levels, and I'm also trying to figure out how to write about the issue myself. In fact, I just told an academic press editor I don't think I'm going to fulfill a contract that involves this topic because of many of the issues you mention, and others. But in terms of pricing, there is a little left out of your article that I think is worth chiming in with - I hope you don't mind, and not as a way to compare our books or their value - they are quite different. My royalties aren't bad at this point, but not great either (which is fine, since like most musicians I have always done many things within music to make a living), but I can see the numbers of what sells. Very few schools are buying the hard copy and most sales are of the ebook. I use the ebook in my teaching at this point (in-person and online) and have found it quite effective for my teaching, particularly considering so much teaching is now online (my online courses at John Jay College fill instantly and get great student feedback as well as educational results I'm proud of). It rents for under $50. But the most important part of that fits in with other issues, and some you have written about very thoughtfully - basically the problems within the music business and the areas of artists' rights and copyright issues, including the fact that people now think music should be free. My ebook (and the hardcopy) come along with paid-for licenses for most of the music (as opposed to relying on a streaming service, for example), licensed videos, and licensed photos. This costs money, and also remunerates the artists in a professional manner (yes I know big corporations dominate, but that's another discussion). If you added the cost of your book and two CDs, that's more than what mine rents for (I wish it wasn't rental!) and they get a book, licensed streaming recordings (way more than two CDs worth), photos, and videos, and the ebook actually works quite well at this point (and I hope you know I'm not trying to compare our books or encourage sales - I think yours is great). But I think that's an important point. Without that, in a listening focused semester-long course, students are forced to rely on streaming services (which often doesn't have the correct version) or an instructor provides illegal mp3s on something like Blackboard (you and I know they do this, and I used to do it), which are not lessons a music professor should be passing on to students - it's ok to not buy music and it's ok to steal it. So even though I agree with your points here, I think my book has excellent value, treats creators and rights holders well, and am proud of it as a product and believe it is fairly priced in the electronic format. The hardcopy price, however, is not something my students can afford. Just another angle that I thought was worth mentioning. I have many other thoughts in this area as I'm sure you do, including academic journals, but this is your substack, not mine. ;) It would be fun to talk about our various thoughts on this very broad topic. Thanks for the thoughtful article. Ben Bierman

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