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MRS AGENCY Bureau of Occupational and Adult Education (DHEW/OE), Washington, D.C UMENT RESUME ED 137 615 .08 CF 010 '744 AUTHOR Cornell, Richard; And Others TITLE Exploring Music Careers. A Student Guidebook. INSTITUTION Technical Education Research Center, Cambridge, Mass MRS AGENCY Bureau of Occupational and Adult Education (DHEW/OE), Washington, D.C. Div. of Research and Demonstration. PUB DATE 76 CONTRACT OEC-0-74-9253 ;NOTE 74p.; For related documents see CE 010 734-744 AVAILABLE FROMSuperintendent of Documents, U.S. Government Printing office, Washington, D.C. 20402 (Stock Number 017-080-01639-7, $1.30) FORS PRICE MB-$0.83 HC-$3.50 Plus Postage. DESCRIPTORS Business; *Career Exploration; Instructional Materials; *Music; Musical Instruments; Music Education; Musicians; *Occupational Information; Occupations; Resource Guides; Secondary Education ABSTRACT One of six student guidebooks in a series'of 11-arts and humanities career exploration guides for grade:7-12 teachers, counselors, and students, this student book oneexploration of writing =careers presents -informatiort on specific occupatiOns in five: different-career areas: Performing musicians, technology:in music, arts management, the music business, and music education. An introductory section-lists nearly 100 job titles under the-five career areas. A chapter devoted to each career area includes general discussion of- the field and whit people in that field do, various sPecializations-within job categories, descriptionof personality characteristics and interests that are appropriate, education or axperience required, where and how jobs are found and the job outlook, and suggestions a. person in the field would make to students. The chapters-and: their:subheadings areas follows: (1) Performing Musicians: (How AO youHBecome a Performer? What is it like to be a performer?),(2) Technology in.Husic (Building Musical Initruments And the Impactfof Nev Technologies on Music), (4 Arts 'Management (Who Are Arts Managers and What Do TheyDo? What Kind-of 'Person Is an Arts Manager? Honey:, and The Future), 00 The MUsic Business (The music Industric grom CoMposer to the,Public,. Boy kSong Gets to You and-Who Gets It There, iold Music:.Business Terminology), and (5) ,Music EduCation (Music Teacherse:Husic Librariansi Musicology and Ethnomusicologyt and:Musid Therapy). A list of professibnal associations is appended. (3T) Documents acqufred by ERIC include many informal unpublished materials not available from other sources. ERIC' makes every effort to obtatn the best copy available. Nevertheless, items of mmiginM reproducibility- are often encountered and this affects the quality of the microfiche and hardcopy reproductions ERIC makes available via the ERIC Document Reproduction Service (EDRS). EDRS is not responsible for the quity of the original document. Reproductions supplied by EDRS are the best that can be made from the oflginal. EiOloring Music Catee-s a stugent guidebOok U.S. DEPARTMENT OF HEALTH. EDUCATION A WELFARE NATIONAL INSTITUTE OF EDUCATION THIS DOCUMENT HAS BEEN REP DUCED EXACTLY AS RECEIVED THE PERSON OR ORGANIZATION DRIGIN ATING IT POINTS OF VIEW OR OPINIONS STATED 00 NOT NECESSARILY PEPRE SENT OFFICIAL NATIONAL. INSTITUTE OF EOUCAT ION POSITION OR POLICY 01( RICHARD CORNELL MARY LEWIS HANSEN, PROJECT DIRECTOR : SHEILA DUBMAN, ILLUSTRATIONS TECHNICAL EDUCATION RESEARCH CENTERS, INC. 44 5RATTLE STREET CAMBRIDGE, MASSACHUSETTS 021 8 2 U.S. Government Printing Of f ice Washington! 1976 For gale by the Superintendent of Doeumente,y.B. Government Printing Gahm, Washington, D.C. Mei ' Stock No. 0174380-01639-7 Developed and disseminated pursuant to Contract No. OEC-0-74-9255 for Curriculum Development Branch Division of Research and Demonstration pccecti of Occupational and Adult Educatron U.S. Office of Education Department of Health, Education and Welfare under Part I. Curriculum Development in Vosticiia1 and TeChnic 1 Education Vocational EduCation Amendments of 1968 Public Law 90476 Discrimination Prohibited - Title VI of the C vil Rights Act of19o4 itatra NO person in the United States. shell, on the ground Of race, color, or na- tional origin, be excluded from participation in, be denied the benefit of or be subjected to discrlm- ination under any program or Activity receiving fed- eral financial assiatance." Therefore, the Vocational Education program, like all other programa or actiVi- ties receiving finAheiel 2531Steeee from the Depart- ment of Health, Education and Welfare, muSt be oper- ated in compliance with this law. The project prelented or reported herein wts ptr- formed pursuant to a contract from the U.S. Office of Education. Department of Health, Education and Welfare. However, the opinions expressed herein do not necessarily reflect the position or policy of the U.S. Office of Education, and no official endorsement by the U Office of Education should be inferred. U.S. Government Printing Office Washington: 1976 Photo Credits: cover and p. 12, Richard Braaten, Kennedy Center; pp..3 and 56, Linda Ford, courtesy of the Washington, D.C. Youth Orchestra; p. 17, courtesy of the U.S. Navy Band; p. 19, courtesy of the Boston Globe; p. 25, David G. Evans, cour- tesy of Boston SZEToOl of Electronic Music; p. 30, Fletcher Drake, courtesy of Arena Stage, Washing- ton, D.C.; pp. 44 and 60, James buttmann. 4 TABLE OF CONTENTS 1. INTRODUCTION -1 Occupations in Music 4 PERFORMING MUSICIANS 7 How do You BecoMe a Performer? 8 What is, it Like to he a Performer? 12 TECHNOLOGY IN MUSIC = 19 Building Musical Instruments 19 The Impact of New Technologies on Music 23 4. ARTS MANAGEMENT 29 Who are Arts Managers and What do They do? 20 What Kind of Person is an ArtManager? 32 Money 33 The Future 35 THE MUSIC BUSINESS 37 The Music Industry 37 From the Composer to the Public 42 HoW a Song Gets to You and Who Gets it There 52 Music Business Terminology 54 6 MUSIC EDUCATION 57 Music Teachers 57 Music Librarians 61 Musicology and Ethnomusic ogy 63 Music Therapy 64 ASSOCIATIONS PROVIDING CAREER INFORMATION _67 5 iii I NTRODUCT ION Whom is This Guidebook For? It is for -any_h4h school _student work with their hands in wood, (9x-perhaps younger ) who is in- metal, or electronics. There is terested in music.as a possible even a section withinf'ormation career. It is also for anyone to interest students who will be _who wants to know as a consuMer entering health careers. what happens to some of the_ money Many of the ideas- in, this book spent at record stores, concerts, abeut music careers can also be or for that matter at the drug applied-to other kinds of careers. store or super market. StUdents who have no intention of Some of the book mill especially ever being involved with Music interest students going into bus- , careers can still find uSeful iness br law. Other parts,of the ideas about'getting along in. the book may.interest students who working world. What-Do Teachers Sa o Students Vho Want Music Caeers. Some comments: When students come to me and ask me if I think they have what it takes to succeed as a performer, I usually tell them no. If they doubt their own abilities ,so much that they need reassurance from anyone, then I know they laLk an essential belief in themselves, an essential component needed to be 'a good performer, self-confidence. But when some- one comes to me.and says, 'I hear the music this 'way,' then I know I'm in the presence of a musician. I try to encourage all-Of mY students, particularly the ones with talent.-. Talent needs to be encouraged; cultivated, supported, especialiy in our society where:the economic rewards are 50 few. It is so difficult for even the most talented musicians to get along these days. It's up to all of,us to support them. Irs wrong to encourage anyone towards a mUsic career who sn't going to succeed. Itls not right-to giVe students false hopes, to let them set goals they can never achieve -- then theY will only know failure. 'Why tell them about.something they can never be? In a world of hype and show, it is important to Know what tO lbok like. A certain amount of talent is n e ces s a ry7ut t 5 o ther th ngs that get you ahead-7 your image, your agentyour publicrelations, your, friends. so Five year5ago, When a young person came to me with- out a great deal of background and expressed an interest in a music career, I would caution him : ( against it. Now, don't. I encourage him, because at least he has a direction,-a goal, and 'he will be miles ahead of all of his contemporaries who don't have any ideas about'what they want to do with their lives. o When we teach music, we don't simply teach skills techniques -- these are tricks easy enoughlto master. 'What we teach is a yay of:living, an approach to - - life. It doesn't matter about careers; people=grow in other ways when they5tudy music. They become more complete persons. o Music careers? 1 knoW so many would-be musicians driving cabs and typing._ I suppose that makes cab driving and typing 'Music careers'? These were the comments of music his or her own work, and about teachers when describing their music. own attitudeg toward the careers 'On..one side, they say that'real/ of their students. Each comment reflects a different point of alent will succeed without help view, a different outlook on the and:those who can_ be discouraged, ought to be discouraged:. On the career possibilities of music. Each teacher stems to have adif- other side, arethoSe who say that -ferent idea about what success eVen-thehest tilont needs all. the meanabout the word "career," -help and encouragement the stu- dent can get. aboUt what talent is. Each Aeach- er has a different attitudeabout Students in music heir adviCe Performance and_Creation: from parents, teachers, friends, those whose central responsi- people around them.
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