Specific Job Descriptions:
ATTORNEY, MUSIC BUSINESS
Music law as it is practiced today involves a heavy emphasis on copyright and
contract relationships between creative people and users of music in popular and
standard areas. Typical of a day's work are the negotiation of a recording
artist contract between an artist and recording company; a long-term management
or agent agreement; a termination or amendment of a previous agreement; a
musical synchronization license from music publisher to motion picture company;
and assertion through audit (in conjunction with accountants) of royalty claims
of a composer against a music publisher.
COMMUNITY ARTS MANAGER
The basic challenge of the community arts manager is to integrate fully the arts
into the social and economic fabric of his or her community. In a fiscal
environment of competing priorities, the arts program must serve real needs and
get a response from a strong constituency or it will not survive long. The
manager must identify the various segment of a community, whether business,
educational, youth, political, or religious. He or she must determine their
needs and interests, and incorporate these values and needs into a viable
program. The manager must, therefore, possess some working knowledge of
governmental and community processes and be able to translate the benefits and
the needs of the arts into concepts that are easily grasped by these community
forces
COMMUNITY DEVELOPMENT
SPECIALIST
As a behavioral science, community development owes its origin to the fields of
education and social work. Community development activities include efforts to
improve environments, descriptive studies, efforts with political motivation,
efforts with religious motivation, and educational processes. Every activity
contributes to one of two kinds of betterment: (1) changes in people's local,
regional, and national environments through services and amenities; and (2)
people becoming open to change and self-reliant, responsible, self-directing
decision makers.
COMPOSER
Composing requires you to develop as wide a range of skills as possible in
addition to your compositional training. A composer, like a conductor, should
have a broad, eclectic music background: solid performance skill on at least one
instrument, thorough training in theory and music history (subjects you may very
likely be teaching, at least at the beginning of your career), a practical
working knowledge of instrumentation - in short, an undergraduate major in music
and as much graduate work in composition as you can afford. A number of
institutions offer first-rate doctoral programs in composition. It would be a
good idea to investigate the requirements and offerings of such schools.
COMPOSER, EDUCATIONAL
The term "educational composer" is commonly used to describe one who composes
performance music and instructional materials for beginning, intermediate, and
advanced students. Performance music includes works for all media, including
concert bands, orchestras, choirs, jazz bands, marching bands, and various
smaller ensembles. Instructional material includes method books that teach
instrumental and vocal techniques, sight-reading, solo interpretation, theory,
and all other areas of musical learning. Both areas include works for beginning,
intermediate, and advanced students.
CONDUCTOR
The career of a conductor can be associated with a wide spectrum of activities
and responsibilities. At the level of the smaller community and metropolitan
orchestras, the conductor may have to function as a jack-of-all-trades - raising
funds, rehearsing, scheduling, and performing. As the orchestra increases in
size, length of season, and budget, the conductor and music director tend to
confine their activities to performing, programming, supervising personnel, and
working in educational programs.
CRITIC, MUSIC
Music critics are a unique combination of journalist and musician. Their views
are published daily, often providing quotations to be used as publicity for
performing artists. They affect their audience both indirectly and
directly—indirectly by determining which artists will survive in the performance
media and will therefore be available for the public to choose from, and
directly by influencing choices the public makes, its understanding of
performances, and its reactions to them.
EDITOR, FILM MUSIC
To put it simply, a film music editor helps a composer put his or her music on a
soundtrack. When a motion picture is put together, there are three items on the
soundtrack that have to be synchronized with the visual portion(dialogue, sound
effects, and music. One person works with the dialogue; another does just the
effects; and the music editor takes charge of the music portion. The producer
and composer run the film and spot the music (choose where it should appear)
throughout the film. The music editor then breaks this down into separate cues
and times each cue for the composer, who takes these timing sheets and writes
the music. The music editor takes the composer's sketches and gets the necessary
information from them to set up the film for orchestra recording. The orchestra
records the score, the music is cut into reels, and it is then ready for a final
dub.
EDITOR, MUSIC
The best advice that can be given to any young person interested in preparing
himself or herself for a career in the music publishing industry is to acquire
as much knowledge as possible of the various music skills and the various
mechanical procedures involved. To obtain the latter he or she should seek
employment in a music publishing firm that maintains its own production and
printing departments and then observe, ask questions, and remember what is being
done and how.
EDITOR, MUSIC MAGAZINE/BOOK
Someone contemplating a career in music journalism should not major in music.
You should address yourself to acquiring and polishing useful journalistic
skills. "Music" is only the adjective, "journalism" is the noun; so major in
journalism, English, humanities, languages, anything that will improve your
word-handling abilities.
ETHNOMUSICOLOGIST
Ethnomusicologists, simply stated, are translators between an audience or
population (e.g., mainstream Americans) and foreign music or musics. They
provide insights, understandings, and bases for appreciation of this foreign
expression. Their translation may take many forms(research, teaching, recordings
with informative notes, films about an ethnic tradition, or even arts
administration.
INSTRUMENT DESIGNER
Although instrument making is called an industry, it is tiny in comparison with
most other manufacturing industries. Consequently, the number of jobs in design
and engineering is quite limited. Second, its products have nothing to do with
convenient living; they are integral parts of a fine art and tightly bound by
the traditions of that art.
INSTRUMENT REPAIRPERSON
Before one can repair any instrument, one must know a number of important things
about it(the materials of which it is made, its construction, special
characteristics, and so on. A good understanding of the way the instrument is
played and of its fingerings is also essential. A music repairman must know what
specialized and common tools to use and where tools and supplies can be
obtained.
INSTRUMENT SALES
REPRESENTATIVE
Although is it true that most positions in instrument sales require no music
background but only selling ability, there is no denying that those who play
music instruments, appreciate music, and possess the skills for production of
music products have an advantage. Music instrument sales is one field in which a
music background can be put to good use. Instruments used by grade schools,
junior high, and senior high schools are sold best by a manufacturer's
representative who is intimately acquainted with the school band and orchestra
program. You don't have to be a music educator to be a good salesperson, but
music education experience and skilled salesmanship are an unbeatable
combination. You are, in effect, an educational consultant to the music dealers
whom you contact. You can advise the local dealer on the kinds of products the
school music teachers want. You can talk to educators about the qualities your
product has over competitive lines. Before becoming a sales representative for a
manufacturer, retail selling experience is valuable to get the feel of the
retail end of the business.
INSTRUMENTALIST, CLASSICAL
MUSIC
Many music students in conservatories and universities are not made sufficiently
aware of the practical aspects involved in making a living as a classical
instrumentalist. The emphasis is frequently on competing on a soloist level with
a view toward a glamorous career. In addition, however, theory, languages,
academic subjects, and secondary piano should be required and taught on a high
level.
INSTRUMENTALIST,
POP/ROCK/JAZZ
Your background and education are important for a career as a performer of pop,
rock, or jazz, but usually not as significant as talent, persistence,
showmanship, and a little luck. Emotional maturity is another prerequisite and,
of course, music training is definitely helpful. In pop, rock, and jazz the ear
is and should be of prime importance; as a singer or instrumentalist, you should
be able to execute what you hear. The musician who succeeds is the one who has
mastered the technique of satisfying the particular audience he or she is aiming
for, while not compromising his or her personal, unique vision and sound.
Consequently, it is important that you expand your musical orbit by carefully
listening to a wide variety of music, as these influences can provide ideas and
inspiration for you.
LIBRARIAN, MUSIC
A smoothly operating music library requires the coordination of numerous
activities: circulation and retrieval of materials; answering reference
questions and helping people locate information or materials; determining needs
of library users and acquiring new materials; accepting and sorting gifts;
budgeting; personnel management; cataloging and classifying books, scores, and
recordings; maintaining the card catalogs; binding scores and parts; maintaining
a collection of recordings; and servicing listening equipment. Depending on the
size and type of library, these activities may be performed by one person or by
a team.
PERFORMING ARTS
ADMINISTRATOR
Arts administrators are trained in one of the art forms: music, dance, drama, or
the visual arts. The potential arts manager probably has organized events such
as concerts, tours, performances, or guest lectures at one time or another. He
or she has performed or worked in productions in school, in the home community,
and most likely in a professional setting following undergraduate training. In
school, the potential arts manager exhibited leadership ability and liked to
work with groups of people to achieve common goals. At the same time, he or she
could articulate well, could write clearly, and did well in mathematics. In
addition, this person has come to see that he or she would be happier serving
the arts as a manager, using creativity to improve those basic support systems
that make it easier for the artist to produce the highest quality art on a
regular basis.
PUBLISHER, MUSIC
Music publishing involves choosing materials to publish; editing and
proofreading music manuscripts; promoting serious performance; and nurturing
composers. Everything else is common to any other business with similar
marketing and distribution procedures.
RECORDING ENGINEER
WANTED: Audio Engineer,
great travel opportunities, work with big name stars and artists, making
records, films, live concerts, etc. Excellent money, fame, and excitement! Must
know basic electronics, tape machine maintenance, studio setups, remote
recording experience. Must have knowledge of state-of-the-art equipment. Must be
responsible for inventory control, assisting in scheduling, entertaining
clients, etc. Hours from 8 a.m. to 2 a.m., seven days a week. Christmas off (if
nothing is booked). Starting pay minimum wage.
RECREATION ARTS COORDINATOR
With the field of recreation virtually untapped, people with arts, music, and
theater degrees have a place to go. Although the generalist still may coordinate
recreation programs in some areas of the country, the tide may be turning in
favor of specialization in arts administration. A department often works
directly with community arts groups, acting as a catalyst for their efforts.
Among the community groups or activities that a department of recreation can
help sponsor are children's puppet theaters, county-wide dance companies,
county-wide arts shows, local symphony orchestras, community theaters, and local
music groups.
RETAIL MUSIC SALES
A prospective employee for a retail music store should have sufficient music
experience or training to be conversant with the majority of the standard
repertoire and expert in one of its facets. This is especially true in those
stores where one can expect to handle requests for many different instruments,
vocal music, textbooks, and study scores. Areas of specific interest such as
instrumental or vocal ensembles do not, as a rule, require such a wide range of
knowledge.
SACRED MUSIC MUSICIAN
Religious musicians view their work as a music ministry to members of the
congregation and the community they serve. Behind this premise is the conviction
that the use and expression of music in church liturgy is more a matter of
congregational celebration and less a matter of specialized groups performing
for an audience. The church musician, therefore, should be well prepared with an
appreciation for the life and mission of the religion he or she serves.
Administrative ability, interest and skill in working with people (usually
volunteers and amateurs), as well as knowledge about the field of religious
music (including traditional and contemporary literature and forms of
expression), are important.
SYNTHESIST
An electronic music synthesist creates, modifies, and controls sound
electronically. Although he or she generally uses a keyboard to do this, a
synthesist may adapt and use almost any acoustical instrument to control a
synthesizer. With some additional training, virtually any musician can, in
effect, become an electronic music synthesist, opening up career opportunities
in education, performance, composition, production, software design, and
electronic hardware design, movie commercials, radio TV jingles, etc.
SUPERVISOR/ADMINISTRATOR,
MUSIC
The job of music supervisor/administrator encompasses a vast number of tasks
that will vary daily and that usually are unpredictable. There are as many
descriptions of this job as there are people trying to fill the position. For
example, in a district of twelve elementary schools, the tasks of the music
administrator would be quite different from those in a district of 60 or more
schools that have grades K-12. Another variable is the title used to describe
the music administrator's position. Some of the most common are director of
music education, supervisor, coordinator, curriculum specialist, and music
consultant.
TEACHER, COLLEGE/UNIVERSITY
MUSIC
The role of a music teacher in the college or university is highly diversified.
Within a department or a school of music there are teachers of performance,
theory, composition, history, and education. In some institutions you will find
further specialization in areas of church music, music therapy, commercial
music, and other allied fields.
TEACHER,
ELEMENTARY/SECONDARY MUSIC
If you love working with children and are musically gifted, you cannot find a
more rewarding, enjoyable profession than teaching. A teacher's day is often
long, starting quite early in the morning and often ending in the evening,
especially if there are concerts or rehearsals to attend. But the satisfaction
one can get from helping students learn and understand the beauty and power of
music can carry a teacher through the toughest schedule. Most music education
programs expose teachers in training to a variety of music skills, not just in
the area they may prefer or specialize in. Teaching at the elementary and
secondary levels requires that a teacher be flexible and multi-competent in
instruments as well as vocal techniques, as teachers are often required to teach
vocal and instrumental music at this level. Teachers also need to understand the
development of children, and so are introduced to child development courses
during college training.
TEACHER,
PUBLIC SCHOOL MUSIC
One may be a general classroom music
teacher in an elementary school, a high school orchestra director, or perform a
combination of musical duties at a variety of grade levels. But despite the wide
spectrum of specialties, all public school music teachers must be prepared
educationally in the same manner, must compete in the same relative job market,
and enjoy the same advantages and disadvantages of the career.
Vocal music teachers work with individuals or groups of students, developing skills and techniques related to vocal performance. Instrumental music teachers work with students, either individually or in groups, teaching beginning, intermediate, and advanced technique classes, small ensembles, and band or orchestra rehearsal. These vocal and instrumental teachers work at the elementary level, the middle school level, and the high school level.
TEACHER, STUDIO/PRIVATE
For those who love children and enjoy dealing with them on a personal level,
private teaching offers great rewards. To be an independent music teacher, one
needs to specialize in his or her major instrument. For the piano teacher, the
suggested degree would be the bachelor of music in piano or piano pedagogy. The
piano pedagogy degree offers the educational background, the opportunity to
observe an experienced teacher working with classes, and the practical
experience of actually teaching groups of children under supervision. This
training proves invaluable when one opens his or her own studio.
THERAPIST, MUSIC
A music therapist uses music in the therapy of human disabilities. Music
therapists are most likely to be located in settings that normally employ other
members of the helping professions such as physicians, clinical psychologists,
social workers, and rehabilitation specialists. In these settings music
therapists work either as team members or individually to assist their clientele
to become healed, rehabilitated, or specially educated. Most music therapists do
their work in hospitals, training centers for the developmentally disabled,
rehabilitation centers, and(to a lesser extent(public and private elementary and
secondary school settings.
VIDEO MUSIC CAREERS
There is no single route for a young student who has his or her eye on this
music business, but it seems that an ideal background would incorporate
college-level study in several areas: music business (copyright law, promotion,
marketing, production), television production, graphic arts, visual design, and
communications. A working knowledge of computer programming also would be an
asset in today's technological careers.
VOCALIST, POP/ROCK/JAZZ
Most pop vocalists earn their living in a variety of music areas - concerts,
recordings, club work, radio and television commercials, Broadway musicals, and
even teaching. Versatility is absolutely essential in this career, especially to
the vocalist who may not have the good fortune to gain star status. Performance
situations are competitive, often demanding years of experience to gain a solid
reputation and a high level of proficiency. A vocalist who sings reasonably
well, can sight-read, knows all styles of music, and has a solid knowledge of
music theory is going to be in demand.