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Documents acqufred by ERIC include many informal unpublished materials not available from other sources.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 national 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 operated 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, courtesy 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

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 someone 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 without 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 student 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. Sometimes,- bility is making music contradictions in all .that advice Production: __ose whose.work make it difficult to know wisdom Supports a performance, but- is from foolishness. Eventually,- not actual performing or com- everyone has to make up his or posing. her own mind. In order to make- a good decision, :there has to be Business: the music industry -good information. The aim of this a Education: including teaching, book is to.give some Cif :that in- but also many other kinds of formation and to suggest wiys in work. which interested students can get more information. Many musicians' work takes them from one group to another; for So that, we know what it is we instance,'many performers also ire talking about, we .are going teach, - to start with i rist that tries to organite, the total picture of all the a.reas of musical-work. The scheme of this list divides- music, work into four groups:' Occupations Music

Performance and Creation Music Technical Services Instrumentalists Acousticians Instrument Building and Solo Performers Maintenance Accompanists Orchestral and Band Customarily hand-crafted Musicians acoustic instruments: Organists and other Fretted String Church Musicians Harp Vocalists Harpsichord String (violin) Soloists Brass and Wind Ensemble Music Instrument Repair Conductors Instruments customarily Composers produced in factories: Composers Accordian Arrangers Pipe Organ Librettists String Instruments Lyricists Brass and Wind Instruments Piano II. Production Percussion Instruments Production - Performance Fretted Instruments Management Electronic Musical Symphony Orchestra Managers Instruments Chorus Managers Synthesizer Stage Managers Electronic Organ Sound, Technical Equipment Electronic Guitar 'Operators Electronic Piano Electric Versions of Acousticians Other instruments Sound EquipMent Operators Piano Tuners On-Site Recording and Organ Tuners Broadcasting Road Crew for Traveling Broadcast Director Group - "Roadies" Broadcast Engineer Publishing Announcer. Recording Engineer Publisher .Artist and Repertoire Person Studio Recording Music Editor Record Producer Proofreader Artist and Repertoire Person Music Grapher

Recording Engineer _ Music Engraver Sound Person Music Copyist IlL Music Business IV. Education Arts Business Managemen * Teaching Concert Management Public School Concert Manager Booking Agent Suptrvisor Business Agent Director Hiring Contractor Teacher Sales, Promotion College, Conservatory Community Music School Salesperson, Musical Private Studio Instruments and Accessories Music Store Salesperson, Sheet Music Salesperson, Recordings Museum Services and Tapes Curator, Historical

16 Professional Associations Instrument Collection and Organizations * Library Services '3 Publishing Institutional (public, * Instrument Manufacture universities, college, conservatory) e Recording Industry Performing_Dxganization Legal and Financial Services Music Theater Opera Music Copyright Lawyers Copyright Expert Music Therapy Performing and Bltoadcast Hospitals Rights Organization Clinics Correctional Instiutions * Writers about Music Musicologists Music Critics Program Annotators Album Note Writ6rs Government Services

Note: Items appearing in both Business andProduction categoriesdo bOth kinds of work.'

10 Professional_ Music Activity

Professional music activity is a _Local Musicians'_ Union: The part of most communities no matter American Federation of Musicians how small Or reMote, Large cities, (AFL-CIO) has career information however, seem to have more than and can put you in touch with their share. You can make an in- local musicians able to answer formal'inventory of music activity your career questions. ----3.ri-Your4, community by consulting The Yellow Page;. Look under some pr all of these possible these headings: sources of inforMation: Music Arrangers and Composers of News a er Advertisements: Music Background concerts"; local performances Music Boxes by amateur groups; by prof0S- Music Copyists sionals inconcert halls, audi- Music for Commercials toriums; local-engagement4 of Music instruction inst en- entertainers in night clubs; tal, Vocal advertisements of local teach- sic Publishers ers (classified under "instruc Music Services tion"); music stores; and Music - Sheer private instirent sales Musical Instruments Local _ChurcheSand Synqgogues: Repairing -Music professionals'hold posi- Supplies and Accessories tions as organists, music direc- Wholesale and-Retail tors, choir directors,,soloists, Manufacturing minister of music. ,Someare paid, and some are volunteers. Musicians.

Schools.: Music professionals By Consulting these sources of teach in public, and private, inforMation, you may understand schools, community music schools, your own community's relative Many colleges, universities. musical strengths and weaknesSes. teachers work in their own stu- You will also learn who the music dios, or injiluSic stores or professionals are, and where to churches, giving private or go to get informat on. group lessons. LocaliAmateur Music Groups: Bands, community orchestras, \ choruses, glee clubs, usually 'pay a professional conductor to lead_them in rehearsal and per-. fVnnance. PERFOMING MUSICIANS

Both instrumentalists and vocal- Competition. The range,pf Perform- ists face very crowded job markets. ing opportunities, howeVer, is-Wide For each job available to quali- and varids, as the following list ,fied performers, there is keen shows:

Range of Performance Careers

InstruMentalists Vocalists Solo Concert Careers Solo Concert Careers OrchestraTositions Opera Chamber Music Organizations Professional Choruses Conducting and Accompanying ,Section Leader in Church Choir ProfesSional or Amateur Groups Free-Lance Solo Work with Church and Synagogue Musicians Professional and Amateur Groups Club Work, Entertainment Free-Lance Work with: Broadway Shows Feitivals Dinner Theaters _:era Recording Sessions Ballet Singing Waiters Touring Shows Circuses Ice Shows Casual Gigs Parties Weddings Recording .Sessions \Night Clubs Coffee Houses, Bars Street Music

12 HOW DO YOU BECOME A-PERFORMER?

Preparing yourSelf to 14 a per-' Coniervatory forming musiciands an ill-con- SUming task. Most successful For a student considering.a per- performers begin their prepara- formance career.in serious music tion very early in life -- at age or jazz, either instrumental or -seven or eight.-- with.lessons on vocal, A conservatory may be the, an instrument. Vocal lessons also right kind of postsecondary schoo may begin early, but generally not Most of the well-known conserva- as early as instrumental lessons. tories and music schools offer While there have been successful two programs, a diploma program perfermers wha began theirtrain- Ana a degree program. The diploma -later in life, early'exPeri- program usually requires only music efkb is.cconsidered valuable. courses and lessons'to be taken as well as performing two or more In addition to practising and recitals. Students poncentrating taking lessons, it is important in voice or instruments other than for alyoung musician to have as pdano ate usually required to-take much performing experience as piano lessons. Most conservator- possible.-This includes both ies also require students to,par- solo and ensemble performan es. ticipate in performing organiza- or :,Teachers,arrange recitals tions-such as orchestra and chorus. their students,to give them per- The diploma program of a major , forming experience. Ensemble conservatory usually requires four: experience can be obtained in years of study and includes sub!, school choruses,- orchestras, and jects of music history, literature', bands, church choirs, and civic and music theOry-as well as per- and amateur groups. formance praCiises. Diplomas in For young musicians, studying jazz are available from conserva7 music while going to school can tories with special jaz-z Flepart- present conflicts 'between extra- ments. curricular activities, athletics, A dlord of caution. the word and practising. Musicians, how- 'conservatory".is often used.by 'ever, enjoy working at making community music schools who do music, and would rather be making not offer_accredited diplomas., A music than doing anything else. list'of accredited schools can be After years of-music lessons obtained by writing to:' and high,school, many performers National Association of are faced with difficult decisions. Schools of Music (NASM) Liberal arts college or conserva- One Dupont Circle, N.W. tory? Major in music or in Suite 650 English? _Which is the better Washington, D.C. 20036. music school?Where is the best school for jazz?' Major in music Degree programs inHconservatorles educatIon or in aPplied music? usually lead to a Bathelor of Should I keep going- to.,school at Musicdegree. ;n:addition to all? Where do all these-roads Music, history, theory; literature, lead? and performance requirement$, a

3 deg ee program requires coUrses The conservatory environment ii other-than musiei. Required cour- full ,of talented musicians, and ses genii-a-11y include English students _should keep in mind: that composition, and literature, a musical performance is the total foreign language (German, French, focus of a conservatory. FOr some and/Italian are a4 useful Jan- students , this total- preoccupation guages to musicians), history, with musical concerns may seem too

plus/ electives in science or art. rarefied. A different environ- Bachelor of Music candidates usu- ment is found in the. college:or university music deparment. ally major in an-instrument or - voice, or theory, composition, or education.

1 4 College- and- University disadvantage is that performance opportunities and resources may The music department.of a univer- be-limited. sity must serve the'double func- The life of a performing music tion of'preparing-music majors major is especially:demanding. and providingcourses,for non- Keeping up with the required music Majors. In this environ- three or four hours or-more of ment thé musicians are one ele- daily classwork plus the ,attending ment in community with'many homework, reading and/Paper writ- interest ing, ,the music student must find The degree o feted in many.of time to practise not only jiis or .these departmerits is a Bachelor. her major instrument or-voice, but of Arts degree with 'a,jnajor in often a second instrument as well. music, Non,music req irements Many performing groups rehearse at for, this degree are sometimes night and 12-hour working days more-extensiVe than for the Bache= (or even longer) are not at all lor of Music givenjw the conser- uncommon. vatory. In atts colleges, Students in other fields may take performance Or "applied"-music vacations, and when they l'eturn, majors are outnumbered by students pick up their education from-where whose major subject is music they left off. Because music stu- education-. dents realize that consistent daily The advantages of a large music practising keeps them growing mu- ----department in.a large university sically, they use vacations_to--- are the resources of the active practise. For many perfordance Concert'life, extensive libraries, majors;Irequired-noh-muifc courses _,and the opportunity to play,with --are a source of aggravation be-. 'many performing_groups. -Large cause they, interfere with prac- :universities have enough moneyto tising. Making music all day, attract famous teachers, conduc- everyday, is what they want, and' ,tors, anecompesers.- The as- if'left'to their own devices that .: advantages of.these departments is What,they would have. are-large undergraduate-classes Students planning-conservatory which make it difficult to get or college work in music should the individual attention a dever- know what the entrance require- oping musician sometimes needs in ments are. Usually an audition ear training, theory, and harmony' is required at which the student

. Another disadvantage is that the will be asked to demonstrate skill famous teachers who make the de- and musical sensitivity.i, Sight- partment seem attractive to under- reading and a basic knowledge of - graduateS often teach only the music theory are usually required. Most-advanced graduate students, Many schools have quotas of cer- leaving basic,,teaching responsi- tain instruments. There are, for bilities to teaching assistants. . Instance, many good pianists and Small departments in smaller. flutists, so the competition ameng liberal arts colleges offer the these instruments is very high. -advantages'of close individual Less frequently] played instruments attention=and_supervision. The like oboe, basioon, viola, harp, ordouble-bass are often in demand Although most education ibr per- at conservatories and colleges who forming popular music 'takes place

_need these instrumentsto complete at rehearsals and pedrformances on / their Orchestras. an infoimal basis, there are formal programs in independent schools Other Wars to Prepare which teach the musical and busi-/ ness skills needed to sucneed in !

In music, it is possible to achieve the worlds of rock and roll and / a high level of skill without ever country music. Those conservator7 setting foot in a college music ies with departments in jazz cow-, department or a conservatory. sider jazz as an art form which private, independeat study with a the equal of classical music, and good-teacher is ope'way. Many not to be confused with the popular musicians who develop the habit forms. There is a. tendency for of private study in'addition to styles of music to merge. The regular school work when they are arbitrary labels in common uAe -- young, continue private study classical, jazz, popular,.coMmer- while in college. While majoring cial, rock and roll, country and in economics, for example, a pian- western, gospel, rhythm and blues, ist may continue to practise.and etc. -- are becoming less clearly take lessons, thus actually pre- defined. Many coniervatory trained paring for careers in two areas. "classical" musicians are applying their skills in the service of Preparing.for performance careers commerciAkand-poPUlar forms. in the field.of popular muiic often , Popular recording- stars.are also calls for imagination and resource- broadening their musical vocabu- fulness. Many'successful perform- lary by experimenting with so7 ers in the areas of Country music, called "serious" forms. Someof, rock and_roll, folk musid, and the barrieri which have tradition- jazz, especially vocalists, have ally divided the "popular". and been largely self-taught. Quite "classical" musical worlds are a few of these performers do not being bridged, .,Musical leventS, read.music,'and dontin4e to work dialogues, and encounters pre by ear, but many add to their mu- taking place in conservaiories, sical skills by formal study under colleges, and recording/studios a coach or:tutor. which never occurred even ten In the popular music forms, years ago. experience is considered 'to be the, best teacher. Beginning .performers often find themselves faced with this dilemma, "How can I get a job,without experience, and how cap ilget experience without a job?" Getting eXperience may be a matter of working in a coffee house or club for very little money, or providing free entertainment, at a local event.. -Pro- fessional musicians often call this period "paying the dues." 16 WHAT IS IT LIKE TO RE A PERFO#MER?

Going out on sta e and performing from the rehearsal and the hours a piece of music in front of an of practising. Even seasoned per- audience iS the only way to under- formers get.keyed up and nervous . stand, what a performer goes through. before a performance or solo, but Some musicians find'that they nev- experience has taught them how er play or sing better' than they to direct that extra energy into .do when performing. Others may making music and away from self-

feel diffeieutly, but all agree . conciousness..A performer who that the acturl Performance is iS t4linking about the music and a totally different experience only the music will give the best perTormance possible. If the per- concerts in the Northeast, Randy former is thinking, "How am'I do- also makes recordings With the ing?.Why is that man coughing? . group. Randy belongs to the musi- Why is it so.hot on stage? _What's cians' union, American Federation the next song?" these'distractions of Musicians, and subscribes to interfere with the performance. Downbeat magazine. Physically, the nervous perform- When Randy, as a boy, told his er is an animal in feai, or in a parents that he wanted to be a greatly excited condition.Nature musician, his. parents were not is preparing the body to run or very enthusiastic because they fight -- the blood pressure and knew that musicians have a diffi:- pulse increase, adrenaline flows, cult time earning a living. Now, blood moves to the large muscles, however. Randy says that his par- and digestion stops temporarily. ents agree that music is no more This is why the hands feel cold, or /ess secure than the many other and the stomach feels strange. The occupations Randy miglit have chosen. voice is in good condition for Guitar lessons and other formal shouting, not so much for singing. music study have been permanent Most musicians need absolute con- features of Randy's life. "Can trol over the small muscles, not you ever.learn it all?" he says. the large ones which should be Randy describes himself as being Once this tremendous relaxed. musically taught half by teachers extra energy can be released in.' and half by himself... "My teachers the form of a piece of music per- taught me how to learn. Now I'm s.formed at a high level, the feeir learning even more by teaching s'invof satisfaction can be almdst others." complete -- ,almost and not IETTFJ- ly because professional musicians Randy is a very busy person; he usually set standards, for them- says he only has two or three days. selves beyondwhat the:- can'achieve. a month to himself. 'Rehearsing,' gigging, teaching, and getting ready' for performances and record-, ing sessions take nearly all'of an y is a guitarist. He won't his time. let you'call him a "jaiz" guitar- You can 't just take_Off,when,you ist or a "rock" guitarist because feelIII& it because there is so he does not like the limitations much at stake. If I don't prec- of those -labels.: Randy ha's been tise for one day,-It takes.me working-as a musician for-ten three days to make up what.I years and-studied guitar-for 11 lose. I havd to stay in fOrm -years before-that. He has a like an athlete. Everything I -Bachelor Of Arts degree,in music do', every experienceI. have be- -:from Tufts University and'studied comes part of the-music -- even summers at a college, known for going to the beach._ its jazz orientation, the Berklee School of Music-in Boston,- Massa- Randy does nof own up to having chusetts. He is now working with any hobbies. "When music is your a group called Orchestra Luna,,and whole life, hobbies aren't neces- he also-teaches guitar privately-. sary," he says. But he does enjoy Working in clubs-and playing repairing his own sound equipment, picking up some knowledge of elec- the humhn dimension of the business. tronics as he needs it. Rock musicians and jazz musicians and all other artists, to a cer- To handle the business end of tain txtent, are sensitive, high- OrChestra Luna's development, Randy energyindividuals The interper- and his group have a manager. sonal pressures that can build,up Their manager, who also helps oth- in the heat:Of a recording_iession er performers and groups, was in- at,a perforMance can.and do strumental lin getting their best erupt: Criticism meant, to.help an opportunity so far - a recording artist can', if taken the.wronuway, contra Randy says: sound like a personal insult.: We've been very luaky, for Often, there just is not!eriough- every recording contract there me for diplomacy._ Knowing how .are th Usands'ot-VOups. We've to:deal with difficult.peopleand been h nded thia_on a -silver. how to giVe and tdke Criticism are, piatter.- Of course, nOne of as important to Randr's_work.as us in Orchestra Luna has enoligh knowing how to tune his guitar. tO liv on from just. the work -In spiteof_a]\.1these'predsureg, of .thegroup.q We all need, oth- however-, handy ia ks that t he mu lc, er wc5ek as well 'to_get by. when-it remains *thejocus of every-. thing,mdkes it all WOrthWhile. Randy gets about SO percent of hiincome from performances and The.muSic itself sus-ainS-..'.. about 50 percent from teaching. The music is its own eward. , Although he enjoysteaching, he would like to spend all his time Abbut Auditions working for/performances and making recordings. He coUld easily The challenge;of making a.fliqng as be workineill time in bars e.performer'Of serious or'.'classi- -.and..clubgq excera t that-the work cal" music is just as great as.the would notibe.musically satisfying challenge in popular music. The , to him. / audition becomes 'ai,way of life for the recent graduate of a conserve= The ow/ers tell you what to, tory or college, because it is play, and the people in 4 bar virtually, imPossitle to get aTler-, only want/ to hedrn music they forming job without'an audition. already know. All you can play in a bar is the top 40. Abolition procedures vary from 'four own original style can orchestra to Orchestra, but typi-

get squeezed,out. I could cally most-orChestras follow some- work less hard and make more thing like"thd procedure Of the money doing top 40 stuff, but Metropolitan Opera Orchestra. In I'd rather do my own music an 1974 the positiOn of assistant nRt make so much money. principal string'bass opened up. _Several weeks before preliiinary The conflict between art and auditions,_notice of the vacancy commercialism is not the only was Sent to the players' committee; kind of conflictthat Randy me s made up-of members of the orches- as a performing musitian. What tra. AdvertiseMents were placed

he calls "ego. conflicts" or in two AmericanJFederation of . "difficult people" brings out Musicians Periodicals: New York 7

Local 802's Allegro and the Inter- way to select the best musicians national Musician. Copies of both fairly. Any musician will tell you

advertisements were sent to rep- , that the pressure'of a competitive resentatives of minority groups. ,audition is greater than any performance. The orchestra manager,' principal violist John DiJanni,'took the names of all.candidates who a0- Free-Lance Work plied and scheduled preliminary. .auditions. Of.the 23 candidates Among musicians who do free-lance work, minyiof the distinctions be- seven were selected to.compete in the finals the following morning. tween "serious" and "popular" Each Candidate played the same begin to break down.' It is not material, consisting of difficult unusual for,a conservatory-trained paisages from such operas as oboist to work together with a "Tristan," "Rigoletto,"' "Der rock guitarist who is unable to . Rosenkavalier," and'"La Traviata." read music. Free-lance worican There,-were no demands for sight range from playing at wedding re- reading and no other surprises ceptions to Playing in the orches- all the test music bad been sent tra for-a touring hallet,company , to the candidates several weeks or celebrity. The producer of a beore the audition. traveling show usually contacts the local chapter of the musician's n the boll, the 11 judges were union and negotiates with a con- sca tered about to discourage dis- tractor. The contract6r then hold cus ion amongthemselves during auditions or simply gathers an= .the audition about the candidates. orcheatra of musicians heor-she : Each player .performed behind a has worked;with in th0 past. black cloth screen, to.make sure Success- at free-lanCe musical that the judges,could judge.only performance depends on familiarity by sclund, not by sight. witb a wide variety of styles, Auditions at the Met are gener- sight-reading ability, and often' ally heard by about a dozen judges, skill at improvisation. . The many each Of whom has one vote.. 'The styles represented in.free-lance panel must include-conducters who work make it'possible for a versa- are engaged at the time and the tile bassist or trombonist 'to play first cfiair player of the section for the ballet one nightland for involved. In addition, all Members a swing orchestra at a hotel the of heseCtion --in this case the next. double basses-- may serve as -In recording studiosr time is judges. Voting on the finalists money, -a lot of money, Good Sight this time were.11 men, among them readeri can .make the process of -the Met's principal conductor -getting new music on tape very James Levine. efficient. -Fili scores,.commer- Auditions havd been called cials, background music,and back- "Kangaroo courts," "charades," ing up recordinCartiste-are.ek- "inquisitions," and. they do have amples Of work available,to freer some features in common with a lance.studio 7side-men.". The, , trial by jury. But-the-fact re- livelihoodS of these musicians mains that auditions are the only often depend on their ability t6 : - play unfamiliar music perfectly'' Acconipanists the first time they see it. Some times-studio musicians build a .Talented pianists with good sight- reputation on their. powers 9f reading skill can get work, in large .improvisation. cities accompanying vocal dor in- - strumental performers at lessons or Free-lance musicians have little° recitals. AccompanistS ere also Al- control over their own hours. needed by 'chorusesl or choral soci though most Perfprmances/ are in eties in communities or 'colleges the evening, recerding studios and Universities. often function 24 hoUrs/ a *day . Traditionally, pianists have Recor4ing artists show/a/ lot of variety in their preferred Work- accompanied dance classes but as ing hours. Ai saxopfionist Toni dancers experiment with nevi forMs, Scott has noticed, "/Both Joni other musicians as well have found [Mitchell] and Car9le [King] like work with dancers. The increased to start work late/in the after- use of tape recordings, however,_ nobn and work on into the night. threatens some oE these jot's. [Qeorge] Harrison is outrageous -- he likes to Start recording' Church Musicians at midnight and/ just keep going.11 Since early in its history, the Free-lance musicians have very church his sPonsored musical little control oyez; the, kinds of growth and provided musical employ- music- they piay. ' Although 'they ment. Today, most churches employ can refuse ,/jobs, they may -not be musicians to Play the organ a able financially to pass up work direct the choir. In large city Studio muSitians churches, .the post of music. dirdet dmposing institictmay with the tor can be a full-time salaried ,find it/frustratingc' to bp fulfil- position with many responsibilities ling the will .of others who have including conducting, hiring. voCal- Suc- different musical tastes. ists and instrumentalists,- and-even cessfUl musicians learh h014 tO composing:and- arranging'special deal/ with- the musical malerial, music. Most music made in ehurehes So style, and tastes' of others. is the responSibility of vdlunteers- T9m Scott says, or part-time professionals who I 'm successful because of the, organize groups of volunteers. An important figure in, some churches attitude I take with me into4 is the minister of ,music, who has the studio. I subi imate my desires, my own taste, ahd received special- musical and theo-

my own feel ings. But I need logical training. Although organ- time to thing about what is ists have dominated the field of

going on-. inside a bead-. I church music, more churches are want td spend time composj ng. using the services of other _musi- cians, including jazz and rock ..For once I want the stimula- tion to come from within, musicians, for special occasions e not without.2 and festivals. Paid full-time- and part-time musicians. are'.not neces- eesarily members .of the church which hires them. Military Musical Or anizations Ehlistees who- wish'toserYein,a-band, chorus, The four branches of the military -r orchestrawhile -in themilitary' forces each maintain musiehl or- must audition when thy enlist? , ganizations ranging frowsmall Band_members are-not exempt/ post or ship bands to the large fram any ofthe basic training or , units usecr,in national ceremonies other reutine military duties/. and parades. Military Occupation-. After-two.Years'of-service, how-- al Specialties (MOS) exist for ever,, bandsmen pay auditioni/and all instruments used in bands as apply for "pro-pay" whieh supple- well as for pianists. ments the basic pay check.

. Minimum enlistments-begin at . Bands are commanded and/conducted two-years. Although the emphasis by trained warrantoffices, who . is on'military music and precision usually make military-music their marching', military:bands give con- Officers commanding band certs involving.wwide variety of ,-career. aretrained in management, arrange- band music including.jazz. The ment, conducting, -and mi/litary.- Army,.Navy, and Marine Corps share ceremonies_kat the same/training a music school for ;raining bands- units as the bandsmen themselves men in.Norfolk, Virginia. The Adr Force alsamaintains a special THERE_ IS NO EASrANSWER

The wide range of performing work, Many symphony players also perform the tough competition, the many in other capacities and supplement avenues of trainingr and the many their income through teaching. different requirements of musical Free-lance muipians likewise artists for moneynd security teach, and may perfori,on a regular, make it impossible_to-ffnd set permanent basis at some point in patterns in music'careers. Even their career. kost of the working after graduation with a music muslicians are able- to bring crea- degree, the choices facing the tivity to the pxocess of finding ,musician are not simple. Free- or makilig. work just as much as to lance musicians may find work as music itsele teachers, dishwashers, court e- There are no easy answers to the porterS, or-just about anythiilg cpmplex'career=problems- of a musi- until the>1.hhecome established in cian. These who are following music. Stable positions with, succeisful careers usually had to regular salaries are found with find their own path. established orchestras and schooH. TECHNOLOGYIN\IvithIC

wILDIWG MUSIdAl. INSTRUMENTS

The music of.today needs bilarge- .skill.much'more than on Musical- assortment of musical insruments. ability. The people who build musical in- Musical ability is needed by struments can-work in large fac- artisans who-build instruments-by torics on assembly lines"or in hand in their own worRshops. No small-workshopS. AlthoUghsome one would consider buying_,a boat instrument builders_neLL-musical- built by,a total landlubber. Who ability to-test'the kl4struments would want to buy a.dulcimer from they'makeother buil.ders 4fpen& someone who had no idea-of,how on engineering and.technical to play one?

2 4

19' Jeremy Seeger builds dulcimers After dropping out of=high school;..

and wooden furniture in a small , Jeremy went to college at age 23 to town in Vermont. Jeremy considers 'learn more about trafts.and teach-- himself a craftsperson in wood ing:. He earned.pAachelorof Arts. lbecause his work in instrument :degree, but in the skillS_Of his .building has grown to ipclude craft,,Jeremy is completely self- wooden furniture in addition'to taught. musical instruments.

Ideal InstrmèntBuild

, When Jeremy Was -asked -to descr0e,the ideal person to learn his orAft,i''he 'said the,t, these thing's wouta be important: 1 2 *.Training and Experience

, Hand: craft,:werk liiint ark and,high r school, at least 'threpAiguri-veekly= Seeing traditional-icraftSperions at the wait Talents and Abili =Ability-to.work Intirestj-n_thQ inventiveness' Involvement in music, playing apd iis ,Personality Characteriitics- , A lot-of self-discipline Patience Being ableo come with an unstru - tured day Nobodyii there to tell Jeremy what to do next Jeremy points out some differ- Clavichords ences'between instrument building Harpsichords in the cquntry and instrument Virginals building in the city. In the city, Lutes there are more people who want to Recorders own instruments, and the builder Krumhorns is closer to his market. He/she Kortholts can specialize in instrument Vielles building. An-instrument builder Viols:- in the country, however, may pot Baroque Violins have as many orders fordnstru- Flutes and other instruments. ments. The'country craftsperson may have to make a wider variety Learning to build these instruments-is a matter of experience of, articles to sell. In his rural setting, Jeremy Seeger has gained through apprenticeship and study. to supprement his income by doing_ Until recently, most ba- odd jobs. AdvertiSink in folk roque instruments had net been magazines can get Jeremy more built for two hundred years, and the original ways of 'building them orders for dulcimers. Traveling to'crafts shows where,he can dis- have been lost. Some of the first modern_day builders of baroque play-his Work is another way Jeremy can contact potential instruments learned how to build harpsichords by restoring instru- buyers. ments in museum collections. A For studentE considering d- common way 'for beginning instru- ing musicalsinstruments as an ment builders-to learn skills is occupation-, Jeremy's adv- is: by assembling harpsichord kits which are available from7harpsi- e Try out making instruments chord builders. part time, not dependinon that alone as a source Harpsichords in particular are income. very. expensive because of the high Become familiar with tra- cost of'materials and the long time required...in build and finish ditional crafts: Watch them. Serious study and appren-. craftspeoPle at work. ticeship under the guidance of a Get experience'first hand. master harpsichord builder are s required.to become an-accomplished The Early Music craftsperson. Many accomplished Instrument Building Boom young harpsichord builders must support themselves with other There are more harpsichord build- work until they have 'built enough ers worklmg now than at any time harpsichords toestablish,their since the eighteenth cehtury. reputatiOns. Why? In the past7few years many As,musicians,becoie interested _musiciansohave wantedto perform in the music andinstruments of baroque and .Remaissance music wit different periods:of history, authentic instruments. New in- instrument builders must redis- terest in this early music has cover the best ways of making the created a need for artisans to -instruments musicians need. fashion:

2 6 -AerodynamiCs Engineer from j-deci-ded that-all-- the scratch the Net erlands ing and scrounging you had to do to be a performing Musiciah -Navy Man m Vermont and survive wasn't worth it.1 -College Dropout from New York Each ef these New England instru- -Psychology Major at Unive-sity ment builders has a list of cus, of Virginia % tomers waiting for.Anstruments to - Anthropology Majo at Boston be built. Business in banjos is University brisk enough for Kathy Spencer to say,"We'reselling all we can -Mannes College of Music Student make. And if we could make more -Artist from Greenwich Vilrage we could sellmore.2 Although they have different WhatAo these people 'have in, attitudes about the instruments common? They are all building they build, all of them seem to instruments by hand in their place great value in workmanship. own studios .in rural New England. Davi4 Moore, a pipe organ builder Most of them are self-taught or inVermont 'says, learned their craft-through. ap- No two organs are the samb: prenticeshiP or working for other It's not as if I'm making re- builders. ,But there is more to frigerators or something like their work than the Sort of-tech- that. nical Skill learned from masters. As violin maker Marten Cornelissen "I'm'just fed up with sterile says, 'furniture instruments' and with the designs of currentculture,"3 Yopu have the part which is says Mark Surgies. Showing a reajly a refined way of making preference for the old ways of fbrniture. But then you have doing things-, these and other hand -to,Make something that sounds crafters are rejecting the mass good. No ,one, I think, can', Production, assembly-line world teach you that. for the independence of small workshops and studios .... and 41 of these hand crafters have surviving. a working knowledge of the instruA, ments they build, however,,only one has serious, formal music training. Now a harpsichord builder, Hendrick Brockman, who trained to-be a performer, says,

3 Bos on Sunday Globe, January 18, 1976.

2 7 THE IMPACT OF NEW-TECHNOLOGIES ON MUSIC

Throughout history, technical need a working knowledge of the 'advances have changed the ways synthesizer in addition to the many in which music is made, printed, skills they now have. and recorded.- The eighteenth Electronic musiC is what might century craftsman and-inventor be called an emerging increased the variety of musical field. Electronic music is new sounds by experimenting in his enough so that no one yet knows own workshop. Today, the twen- all the ways it can be made or tieth century engineer or inven- used. The world of the synthesiz- tor does the same. er is changing almost daily. Un- Engineering changes arid new de- til very recently, synthesizers signs have led to new materials could sound only one note at a and new methods of constructing time.s Now some synthesizers can musical instruments. For eXample, sound many notes at once. The compare the flute of the eighteen- constant improvement of these new th century (a wooden tube with a musical instruments is the works_ conical bore and holes simply of audio engineers, electrical covered by the fingers) with the engineers, and acoustic enineers. modern-day flute. The violin of Musicians who experiment w#h today uses steel instead of gut electronics have also suggdsted strings ancruses an improved bow and made improvements. and chin-rest. None of these In the near future, electronic items was part of the original music willneed: design. Plastic has almost completely replaced calfskin for Engineers, inventors and drum heads. Even brass is giving industrial designers to way to fiberglass in Sousaphones develop new models of syn- for marching bands. These and thesizers and new electronic many other changes are the work instruments of industrial designers, engin- Technicians to assemble and eers, instrument builders, and test the instruments independent thinkers. Business people and sales Today, electronic engineers representatives to bring are developing and perfecting synthesizers to more people electronic musical instruments such as the synthesizer Con- Teachers to train musicians servatories are adding courses in the usb of new electronic in electronic music. Independent sounds and equipment electronic music workshops are Composers to create with the being set up in many cities. new electronic sounds new Public school systems are find- music for television, radio, ing synthesizers useful not only popular, and commercial music, in'music classes, but also in -and for their own art. science and media classes. Soon public school music.teachers will

2 8 Technical Develo ments in MusIc

MUsic History Renaissance Baroque Classical &tan* Periods 1500 1600 1700 1800 1900

Developments Organ MeChanical in ViO1 Violin Harpsichord Piano advances for , Instrum nts -Recorder wind and Lute brass

MMMMMMMMMMM am a a a a aa aa.a.a ... a ..a a a a

Developments Moveable type Lithography in and engraving Printing

Dvelopments Musical Clockwork Player Phonograph in (Music Boxes) Piano Tape RecordingQu, Recording Romantic Modern Baroque Classicil 1900 2000 1700 1800

Mechanical Electric advances for instruments Violin Harpsichord Piano wind and Synthesizer. . brass

m . -

Photo le type Lithography processes graVing

Phonograph Stereophonic Musical Clockwork Player Tape RecordingQuadraphonic (Music Boxes) Piano .

A Post on the Frontier The musicians at BSEM see their school as 4 trading post on -01e; On the second floor of an old frontier. "Where we are noW, 20 building in Boston's Back Bay years ago there waS'only wilder- ,section,there are several rooms 'less," writes their chief and full of synthesizers, mixers, founder Jim Michmerhuizen.

sequencers, tape recorders, . Jim discovered synthesizers at 'speakers, reelsof.tape,.posters, age 28 or 30, and has lectured pianos:, wastebaskets., electronic about them-to anyone who will ,gadgets and pathcords, amplifiers, inCluding several colleges chairs and tables piled high with and music,departments. Ile was music and magazines, and ash trays. also responsible for writing'the Ther.establishment is known as the manual for the ARP 2600 synthe- :Boston School of Electronic Music. sizer. Whehoot ledtutingwrit- .The BSEM is an independent col- ing, aod teaching, helikes to .leotion of electronic,musicians realize Bach's compositions on who haye equipped an electronic. synthesizers-. music studio.to teach others,and for their oWn use as well. The school came into being in It'wourd---,be nice if there Were the early 1970's.: Only a short a hundred other schoola like us; time ago the craft of electronic' if the electroniC mesic depart- music had no teachers, schools, Ments in colleaes 'and graduate or textbooks. People were fum-. schools'could admit anybody who bling around in a wilderneSs With wanted to use.thei.r equipment, no maps ot roads.,"We-don't=give for anyrreaseri;.if- electronic guided tours from,a,mice, safe music courses were available bus 7- we givesurvival training,tt -in every public_school_in the claims their brochure. The_cour- country'. But thatfs not the ses are disciplined, thorough, way,'it is. Lab work is em- and intensive. .,So states the'BSEM's catalogue. phasized. aUt with continued interest.in :A prize-winning graduate in electronic music, perhaps the,day composition from Boston Univer- will come when there will'bea sity, John Duesenberry does: hundred schools like BSEM. much of the teaching at the Bos- ton School of Electronic Music. Piano Technology "As more,colleges and schools in- stall electronic Music:equipment One of the most popular instruments there- should be a demand for played today is alsb one of the teacherswho know how to Use it," most complicated. Each of the he says. John finds his work at ten million or so pianos in this BSEM satisfying,-aithough the country has 6000 to 8000 parts. teaching frequently takes time Regulating the action, voicing the away from his own composing. hammers, and tuning the piano are "Our students get so much studio some of the tasks done by piano time-that I can only use the place technicians. For years these on weekends and holidays." workers have been called "piano tuners," but since they do much EconomiCally, the BSEM lives more than tune pianos, the term

John D. . fro, hand to mouth. "technician",or "tuner-technician" says "From time to time we all is more accurate. have 'to take isurvival wages' -- whatever the school can After two or three yeats'in an afford to pay." approved,course:in piano technolo gy,'the beginning piano technician For the benefit of teachers needs,oneOr tWo yeats experience and students, BSEM also acts as as an apprentice in a piano re- a' depot for electronic music building, shop or factory to master supplies and equipment. :Pioneers the art of tuning and repairing have established thia outpost in _pianos. In:the. past, few:years, aoston Where the:survival skills, many schools teaching courses in . 'equipment, and guide services can piano technology have closed be7 -be obtained by those seeking to - cause of a lack of interested explore the terra, inao nita 'Of students, ,electionic music. There are schools that claim to A piano tuner-technician who is be able to teach piano tuning in self-employed can earn a moderate three months, or even less. The and stable income. Using elec- Piano Technicians' Guild, a pro- tronic tuning aids (shunned by fessional association, does not some tuners) a tuner-technician recommend these "90-day wonder" can tune three or four pianos in schools. A list of Guild endorsed a day. A stable income is insured schools can be obtained by writing: by reliability and thoroughness. .Piane Technicians Guild A customer satisfied with a tuning in the fall will be likely to call P.O. Box 1813 Seattle, Washington 98111 the'same piano tuner in the spring:- Such a satisfied customer can provide years of work, as he/she - A:piano technician should have: recommends a tuner to friends and e Patience fellow musicians. ' Normal hearing SoMe of the best steady custom-

ers of a piano tuner can be ; Theoretical knowledge of schools, conservatories, or piano piano structure and acoustics sales studios. In return for a Practice and experience steady monthly salary, a piano a Patience tuner-technician could have the responsibility for the upkeep of Mental ability all the pianos in a public school system. (In a large city that Patience could mean hundreds of pianos.) 0 Fihger dexterity Piano rebuilding is a common More patience (6,000 8,000 ,sideline for tuner-technicians. parts in a piano). They may rebuild customersF pianos, or,they may buy, rebuild, and sell pianos on speculation, as a business venture. Rebuilding a piano takes several weeks to do properly. 4 . ARTS MANAGEMENT

The trouble with 'artists is that field of arts management. It may they will never admit they are be convenient for us to lump"to- what they are. A dance accom- gether all= the promoters, concert panist, when asked what his job managers, synphony managers, pub- should be called, said "psychic lic relations people, producers, energizer." Making general state- agents, policy makers, program ments about dance accompanists is and project developers into one a lot easier than making general category and call it arts manage- statements about "psychic ener- ment, but the individuals in the gizers."The problem comes from field would have nothing to do the way the individual artists with it. Many of them have Cre- see themselves. ,They resist ated their own jobs, titles, po- classification as if it were b sitions, and sources of income. bonic plague. Each one says, Some of them are doing jobs that "I am me. I express myself this never existed before, and some of way, by making these sounds (or them are holding positions gener- movements, or using this time, ations old. space, etc.)" This resistance to convenient labeling of occupations is nowhere more intense than in the

WHO ARE ARTS AGERS AND WHAT :DO HEY

Arts managers could be public Arts managers have the task of relations directors of music arranging for an artist and the schools, or museum directors, public to come together, communi- managers of symphony orchestras, cate, and exchange. One arts man- or rock groups, managers of con- ager describes herself as a "dis- cert series or concert halls, or seminator and coordinator of talent agents, or brokers. Arts people and events, often in a managers could be government diplomatic way." =The following employees working on,a special story of one concert manager will council or in a special office, give you-an idea of what some arts like a state council on the arts, managers do.' or an office of cultural affairs.

3 4

29 Marilyn taught flute and played was on the phone, this is what you Occasional .free-lancejobt around might hear: -the metropolitan area, but her Yes,is this Mr. Alien? This is heart was never in it. ,Whenshe Marilyn Malone, Mr. Allen. I'm -was in college-she had been mana- delighted that the Onyx Chamber ger and librarian,of-thetollege Players pan use your concert During the summers -Orchestra. hall on their tour. Now, the she helped to run a muSic festi- concert is _on the 16th and they- val near:a country resort. That are planning to arrive on the was the work she liked, not teach- afternoon before the concert... ing,-not performing, and.from her No, that won't be necessary, summer experiences she had seen they usually rent a car at the how it-could-be done. airport. No, thanks, they are- She .bigan her career in manage- staying at_the Regal Hotel. ment by'working for a well-known Can they rehearse that afternoon? toncert series; 'At-first she From 4 to 7, good! Are there was a secretary, but eventually music stands or should they she Was making more- decisiont_and bring their own? -How about the policips Finally, because she local papers? You gave them the.

thoughtthe-had.better ways of press releases I sent you? Well, doing things, and.because there please do that right away! They .was no opportunityfor advance- won't do us any good if we sit

ment, Marilyn left the concert on them, I like plenty of ad- series to start,her own agency. vance publicity on these things. At first,- it was such .asmall Mr. Allen, I'm about to send Organization that she did every- the programs:to the printers. Is thing -by herself. Shehad- only there any way we can list the a few pianits, singers', and a local sponsors? Atter all, chamber music group to handle. they do-cohtribute a lot of

-Marilyn was able to find engage- money...Well...yes, I can wait ments'for them, and arranged:some one more day, but please, call tours for one of the pianists. me in the morning, so I can take After each successful concert, care of it.

the referrals. came: othergroups How are the ticket sales go- had seen the retults Of her geod ing? Well, push the subscrip- management, and wanted her to., tions so we know we can meet our Mari- handle their engagements. costs on this. Oh, one other lyn's agency was growing large thing! Myron was very.., yes, enough that -she-would Soon have he's the pianist for the group, to hire someone to help. he was quite disappotnted that Now, what is it like for the piano wasn't tuned, last time ... Can you seeto that? Good. MaiqTyn? Bdsy, very,busy. She. hardly ever stops working. EVen' And can we turn off that noisy at-parties, she is making the. air conditioner during the Con- -contacts so useful in her work, cert? Well, if we turn it on and she-it always talkin ta again at intermission? OK, then

someone on the- phone. If-you- 1 guess we'll have to live with were in her office while she it. Let's hope for a cool night. A radio station wants to record here are Some' ftggestions.: the concert? No, they can't; * To disseminate,and coordinate tell them no, not under any people and events circumstances! The group has 'an exclusive recording contract. To bring together artist-and Tell them to buy the record. No, why don't you give them that To'promote the awareness,of ' promotional copy of the record? Jtheerts as a positive part Local radio exposure would help of life. the ticket sales. Well, if there's anything else, we'll Arts Managers are Made, Not, Born talk about it tomorrow when you Arts Mana-ers are Born, Not Made. call me with that list of sponsors... Sure, well, thank you' Which is true? Mr. Allen, goodbye. Neither, of course. What/js true is that arts .managers 7- make themselVes. (Marilyn hangs up and pushes- buttons for another Call.) :While there.are a few advanced colljege degrees -in arts administra7 Yes George, good... George, if tOn And'managemente and a few,.

I bring you the:Onyx Chamber s4mmer institutes and-seminars, an program tomorrow,'can you print arts manager must be substantially it by Friday? Great! I'll have self-taught. 'When' asked for ad-- it'in tomorrow. Oh,,George, a-re ViCelor aspiring Arts' administra

the posters ready? Pick . tors, a concert manager said;-."Get them up toMorrow. Thanks. =. /practical'experience.as Soon as

possible TheTskiliS required. . (Hangs up, makes another Call. are not learned in a.ciassropm or from books:- There are-twe ways to, Yes, this is. Marilyn Malone, learn arts:management: closely I'd like tocheck on airline obServing';an-arts manager -at work,

rpervations I made-for four Eind doing the Work yourself. peopi_e traveling on a concert tour....

As you can seeMarilyn's work is a constant stream of details,- and keeping them all.Straight:is nOveAsy. A Wrong date or time or place could bring two events together'in the .same.placerin,the same time.. -Suppose you-had paid. 'to see, a.basketball game,and it turned put to bera balleeper- formance? YoU might- have Marilyn or someonelike her to Now you,can answer the quistiorG "Whafis an Arts Manageislob?" 'There, are about as manyanswers asthere are arts managers, but-

3 6 WHAT KIND OF PERSON IS AM ARTS MANAGER?

It takes a person with a first- crashers and counterfeit ticket hand knowledge of the arts. Many holders would be part of the job performing arts managers were once of an arts manager? Or helping performe s themselves, and they to determine the price of a con- have a s ecial sympathy in the way cert ticket?Or deciding who is they supiort the performers on included in a festival or exhibi- -stage. A knowledge of the art tion? All 9f these things could you are dealing with, be it dance, be part of"-the responsibilities music, visual art, theater, or of an arts manager. He or she whatever, will help you to make should be willing, say, to clean the right kind of arrangements, up a concert hall after a concert to prevent problems, and to dis- at which rowdy fans expressed cuss arrangements with the art- themselves through littering. An . ists intelligently. arts manager may have to be as good with a vacuum cleaner or Analm --IgLJLLErl is essen- with a typewriter as he or she tial, and not just for written on the telephone. correspondence. Many times important decisions will require An arts manager needs to be an the ability.to find the right extrovert. An arts manager has words on the spot. Command of to be mobile; has to get around language, diplomacy, courtesy; an easily; has to be abP to think element of persuasion, all add up on,the run. An arts manager has to what might be called "unEEEE," to be adaptable to radical changes, a personal quality essential to must be patient and aggressive. people who work with people. He or she must have a broad Arts managers must make deci- enough outlook on life to admit sions, exercising judgement to that there may be many solutions solve problems. Sounds good, to the same problem, and not just doesn't it? Sitting in an office his or her own. But, perhaps the all day, making decisions. But, single most valuable trait needed it is not like that at all. An in arts management is a sense of arts manager must go find problems humor, and a sense of humor that- to solve, must develop solutions, allows laughing at yourself and convince people that the problem your own failures. A sense of is worth solving, and then con- humor,can provide necessary resil- vinCe somebne to pay for the lance after,disaster. AD arts solution. Now, that is initiative. managemust get over losses quick 1,, begin again, and learn Would you think that loading and' from mistakes. driving a truck would be soffiething an arts manager might have to do? How about buying and arranging flowers? How about library research about sixteenth century painters -- is that, part of an art mdnager!s job?Would you think that dealing with gate , 37 iIL

MONEY

In all the arts there is a..certain part of the arts manager's job. amount ,of risk involved where. Mon- In very general terms, the arts ey .is concerned. This wip-be manager provides the opportunity true as Img as people in general for the exchange of the work of

cemsider i.he arts of secondary . the artist for the Toney, of the ,importance'. Creating situations public. Since both the public where the artist and,publid can and the artist benefit from this come-together for an exchange is arrangementthe arts manager-is paid by each for arranging the percentage ( 5 or 20 percent)-of exchange. What is exchanged the income. A gallery director could be a painting, a sculpture, who sells a work of fine art a performance of a dance, or a such as a painting or sculpture musical work, or a play, or a may take as much as SO percent book. The exchange could take of the selling price. The size .the form of an educational ex- ef an income from commissions perience, like a gallery talk, is directly related to the suc- a youth concert, or even music cess the arts manager has in get- lessons or a dance class ting engagements or in selling work. There are four general ways in which an arts manager can obtain Grants: Almost every level of money for the service he or she government has an agency or provides: salary, retainer fee, council responsible for giving commission, and grant. money in support of the arts. Also important sources of money Salary: Arts managers who for arts projects are large wOrk with established insti- private foundations and corpor- tutions like colleges, symphony ations. orchestras, museums, galleries, publishing houses, conserva- These councils and foundations tories, art schools, government will announce that grants are art councils, and so on are available for artists to do usually paid by annual salaries. certain kinds of projects. Many artists and arts managers watch Retainer Fees: The retainer for these announcements and de- fee is usually charged by a sign projects that the founda- talent agent, booking agent, tions and councils are likely to or concert manager. The mana- support'. The project designs ger is approached by an artist are usually written up in the or group of artists (or perform of proposals. The agencies formers) with a certain project look ac many proposals and give in mind. The inanager estimates money to ones they'feel repre- how much it will cost to do the sent worthy projects. Painting projeCt, and an amount is agreed, murals on the sides of large upon. If the agreed retainer buildings, giving folk darfce ,fee is $500, then the manager performances in neighborhood is paid $500 tocomplete the parks, directing neighborhood) project regardless of whether theater groups, and many other it takes him six days or six projects like these are often months. supported by arts councils, Commission: An arts manager's foundations, and corporations. commtssion is often in the form Arts managers make it their of a percentage of the action. business to design projects for Talent brokers, concert managers, artists, to write proflosals, and producers, and people like them to seek financial support for who arrange performance engage- their projects, the performers ments can sometimes claim a or artists, and themselves. -; THE FUTURE

What does the future hold for Arts managers must constantly arts management'l be aware of what is new in order to provide artists:with new oppor- Arts management has always been tunities to work. Consider for .a rather_risky business, and it yourself how an arts manager might will continue to be. Even mana-. help artists working in these gers within established institu- areas: tions are concerned about higher \costs driving opportunities away. Performing ancient music on ,Disbanding orchestras; folding- authentic replicas of ancient _theater groups, dissolving opera instruments, colppanies, and-failing art gal- Street theater

\ leries become more numerous in econOmically depressed-times. 'Computer art The greatet challenge to-arts Crafts -managers is to find-new ways of obtaining support for artists Video synthesiied images and their work in the'face,of Televisiontheiater _ising costs and inflated Markets. Electronic music On the other hand, there-should

continUe to be more and more lei- ' Modern dance 1 sure time in our society. Pro- 6 Creaticp three-dimens onal grams need to be developed to images 1 ';_..1r beams. include avoCational and amateur involvement in the arts without These areas still largely threatening:thelivelihoods of unexplored. Audiences need to be professional artists. Arts mana- developed for new forms of art, gers' will be needed to develop and arts managers must-rise to these programs. the task- Our attitudes are changing so that advanced technologies -Financial Support by the govern- which formerly might be used by ment of arts'programs has in- military, industrial, or commer- creased recehtly;although con cial interests now might just as tinued.support dePends on legis-- easily find artistic'expression. Arts _managers axe needed- lation. The laser is.a good example. It to work-on government commissions, can send messages' to the moon and councils, and agencies for the back, and burn through metal' But arts, as well as to-lobby in the the laser beam could be used by legislatures'Ior laws helpful to a sculptor as well as an engineer. all kinds of artists. As technology is applied by art- School systems generally-are' ists to new art forms, arts mana- placing Mord emphasis on_arts gers must help develop a new programs now than in the past., audience dnd a new market for the alified managers are needed to artist and artwork. help school and community programs' grew,

40 uwrapwvtreivt _ iiçker aCar By GERRY WOOD., . r 0 'ILLELeapingonto Hot Country LPs chart star and onto. the Top am_ o chart at 82 with a star in NEW YORKThe

DEL .sekir a on both: u!A!IONI3 01: istri, sides as both-as Onotia ttim-=3THAFISYNt a buye' back. she -311fAllS- S1111033E1 111011110 3N 'THE MUSIC USINESS

-.- THE MUSIC INHUSTRY

For some people music is big large clearing hous organize ions business -- the music industry'. have developed sole out of the These.are.the'people who bring' need to keep things traight.

the work of the musician to the These'organizations co.11ect royal- - market place to make a profit. ties and performance fees from, The relationships among people radio stations and in turn.make in the music business are very payments to the copyright owners. complicated-- indeed so com- There are two main'things to plicated that many lawyers earn keep in mind about the-music in- their livelihood arranging agree- dustry:--interdependence and ments, writing contracts, and speculation. settling disputes among musical Interdependence: No one_aspect artists, publishers, recording of the music business can sur- companies, film companies, agents,. vive without the others. 'Art- L ins an composers epen, 9n

The whole:Ticture is blurred publishing and recording and . even more by the fact that. record-' vice versa'. EaCh provides the ing companies are often owned and other what it-needs. The artist operated by movie companies who provides a service to the record- might also own.and operate music ing company which in turn pro- publishing companies. Also, many vides the artist with advertis famous composers own their own .ing and public exposure. A publishing companies. Broadcast- record doesn't-sell Well unless ers may have interests in record- the artist is famous, but the itf*P; ing companies and music publishing artist can't become famous un- houses. Famous recording,stars less the record sells well.-- A may even own tlikir own record record that is attractively companies and publishing houses. packaged, well promoted, and There are more than enough com- played over the radio stations

,_ binitions to boggle the*mind. owes its success as much to the .f record'company as.to the artist Business deals involving copy- on the record. rights, recording licenses, and royalties are so involved that

37 S eculation: This is the busi- Arrangers ness risk factor. In music, "Side-Men" - Studio 'just as'in fashion, in popular Musicians 'literature, in movies, and in. Recording Engineers television, the consuming public Mixers has the ultimate power. Espe- Graphic Artists /cially in popular,music, the Promoters successful'buSiness operator Broadcasting must second-guess the public taste. A record producer must Broadcast Directors 'be able to tell the difference Programmers between a momentary fad and a Announcers and Disc Jockeys long-term trend in order to Record Librarians make wise decisions. RecOrd Concert Production and publishing companies must have the financial resources Managers to underwrite the risks of Agents recording and publishing, Arts Managers which are far too costly for most musical artists. Other areas of the music business include: motivational music Music Business Occupations (like Muzak or 3M), and production of musical commercials. A partial list of the kinds of The music industry depends on occupations in the musiC business several institutions which help (arranged by the areasthey are it.function efficiently and concerned with) includes: legally: .Publishing Library of Congress Copyright Service :PublAshars Editors' Performing Rights Soc eties

. Arrangers:- CopyiSts (ASCAP and BMI) Composers and Lyricists' Mechanical Licensing Agencies' Autographers. (-hu'ry. Fox Office) Graphic Artists Wholesale Distributors Musicians and Performers' Retailers Unions (AF of M, AGMA, AFTRA, Copyright Experts AEA, etc.) These institutions are of such , (Most music-printing Is- sent out by publishers-to great importance to the music independent:printing com- industry that hardly any part of panies-whe'do general off- it can function without them. set, printing.) Recording Producers Artist and Repertok e Persons ..,Recording Artists Copyright -Service ,a second 28 year term. A_ter-both f terms havp expirpd, the wrk is no longer under copyright an1 is said The copyright law: as soon as a to be in the ' n " .song ic-composed-it_isiprotected Such:a...work an-be_freel0 r- by "common law copyrig t." It formed, re rded, arranged, and is illegalsfor anyone to print printed. Copies or make recordings except Copyr ght experts and 1.awyers, with permisiion of the author or work f r PUblishing firms, com- composer. The copyright is like 1 poseT, recording companies', per- a piece of property w lich can be forMIng rights organizafions, film assigned to someone b> a written and many other companies re- document, or bequeath d in a will. slearching copyrights, d6Wing'up- Copyright litera means the //contracts, and eVen bringing1 court "right to copy." Fhe law gives ' action against people. the copyri t hol/ er the exclusive The copyright law isextremely rights to: anges are /1/ complicated and many c Print and piblish copies being considered. Thecopyright-- service Of the Libraryof Congress Perform ie work in public *ill provide informati_n on re- for profit - / -quest. . Make sbund recordings/of the work Performing Rights Societies Make other versions/ or There are two principal performing arrangements of -4fhe work. rights societies: ASCAP (American When A music publishing company Society of Authors, and wishesto'publish a musical work, Publishers), and BMI (Broadcast.

. it muSt obtain:the copyright, _ Music, Incorporated.I 'These agen- After,negotiatinvan agreement cies act as clearing ihoUses for' or contract/with the compoAer or the collection and payment Of per- writer, he publisher registers' formance fees,-one of the largest :the work by filing a formwith sources of musical income..- :the Libiary'of Congress-Copyright' Performance fees are payments Serv*Ce. When- the Library xeceives made to-the copyright holder -fOr a copy ofthe best printed edition, the right to perform musid for a,certain form, (Form,E for musi- profit. INlight clubs; large hotels, cal work), and a fee, it sends television, radio, or live con- :the,publisher a certificate prov- certs are the kinds,of commercial ing ownership of,the cOpyright. u§ers of music who must pay these This service provided by the performance.fees. Without per- Library of Congress gives the forming rights societies like entire music industry one central- ASCAP and BMI to collect and dis7,, ized source of copyright informa- tribute these fees, eauh perforM- tion.- ance would have to bekindj.vidu- A work is protected tinder al_ly contracted. The;resulting for-an initial period of delaYs and`the chaos Would seem -28 years. "After that first term, minor next to the preposterous "the copyright, -On be renewed for amount of paper and' accounting work that would have to be done..

4 4 . The ,next time you bear a song played;on the radio, remember that' the station has to pay a percen- Like their counterparts in other

tage-of its receipts te a perform- industries, workers in music have .

ing rights society for the right sought-the strength_and protection_ _ to play that song oh the air, and of unions. The following list of thatIthe perforMing rights society 'important unions indicates the pays the'copyright holder. kinds of musical workers who belong to each: Most performance fees- are paid for the use of music_for profit. Actor's Equity Association In the case of musical shows, how- ("Equity")'- actors and per- ever, a royalty( a performance formers in musical comedy .fee) must be paid to the copyright -and light.opera holder regardless of whether the American Federation of Mus ,show is-put,on for profit or not. cians (AF of M) - most in-.. strumental Musicians A Mechanical Licensing Agency American Federation of T6le- If a recording company wishes to -vision and Radio Artists' make a recording of a oopyrighted (AFTRA) - singers who make comPosition, it must get permission phonograph recordings from the owner of the copyright. American Guild of Musical Permission is given through an Artists (AGMA) - solo concert agency like the Harry Fox Agency artiSts and singers in opera in the form of a "mechanical license" which autherizes the com- e Associated Actors and Artistes pany to make recordings-of the of America,:AFL-CIO -:variety composition and requires it to pay artists and other performers, so much peiA record to the copy- and -also serves as a coor-- r t-holder-as yalty. 'Jhe -dinating-union for several HarrFox'Agencyupervises the others. collection and pa4ent of these fees in a similam nner to ASCAP Threugh collective bargaining, and BMI. The Har y x Agency unions have won many'improvements. also provides researching_of for- for the workers theY repretent. eign copyrights'for recording"and Most 'importantly theyjiave set publishing companies. standards for contracts which are agreements between- employers'and- The next time you buy a record, employees. They have also set the_ remember-that the price includes minimum pay rate.for musicians, a few pennies paid through the what the trade calls "union scale" Harry Fox Agency to the copyright (currently $100 for a three-hour holders of the songs on the record. non-symphonic-recording sessioh for AF of M members). THE COPYRIGHT LAW AND THEMil.SICBUSINESS

4 ights of Copyright a Products for Consumers Cow] Owners .___1_ Musicusiness

:.1.1

To print and publish !loyal! ____.... __. ____ Copies of the work PubliShiig -Sheet Music to -0

, . .

:./7,1.

To make arrangements ,Pdlishing and Arrangements and Mec6i

. of the,Work i'ecording records fees

. .,...

, To perform the work Concert Manageffient Live performances lerf0 in public for profit , a COIN Broadcasting Entertainment . EMI' c

Television and. . forroM sociel radio broadcasts _.1 y

Mecir To make sound record- Recording Records and tapes ,.,.

fees4'. ings of the work . r4g. , Motiop pictures Film,soundtracks POO, Background mus# Background music in agent

restaurants, Stores Hari.,. airports, etc.

. . -.=

This chart shows how each right guaranteed a copyright owner under the law resuli music busine#, a musical product, and money paid to the owners of the copyright this chart you can see how important the copyright.iaw and serviceis; you cakal how importantperforming rightsana mechanical rights agencies are in collectin distributing fees for the copyright holders. Ye-

_ ;. 1.kg; LAW 'AND TIE MUSIC BU5INES8 . usinessi

!loyalties on sales to composer

4shingand goat qding

w.eTt Management Live Orforminces Performance fees collected by ASCAP, casting -Entertainment BMI,'or other per- .Televisionand formance right 'radio broadcasts, society'

Ition factures ickground music

5.;.1

t4..laranteed_a_topyright:,owner un4qthe law Tesults in'a mductrAnd'money.paid to the owners'pfthe copyright. ,From tportant the .copyright lawand serViceis; you can also'see Cghts'anOechanical rights agencies'arein collecting and mprIght holders. Unions are active in lobbying musicians, to,work at their craft for legislative,change beneficial or art regardless of whether or tO musicians..;-The AF of IC for notjt pays well, just because 'one, is seeking changes'in the tlity love doing it. There are, _copyright,law,_ so that performing however, plenty of people around artists would-share in,royalties who are willing to exploit_ fcir received by publishers'andcorn- their own profit the musiian's, posers. Musicians'-unions are love of music. It is- to protect/ alSo concerned with tax reform: musicians-from'this exploitation. -and competition by foreign musi- that the unions were formed. cians, especially in the recording:industry..It is characteris- tic of all artists, not just

FROM THE COMPOSER TO THE PUBLIC

ere are four:ways that a new Recording s_ng or musical.work moves from

e composer to the public: . Recording companies vary in size and prestige from small outfits Publishing made up of a handful of people to RecOrding large conglomerates With thousands of employees. There have been Aroadcasting examples of-amazing growth such as JAve performance. the Motown Company. In Detroit,, in l9S7i ex=assembly,line worker At several steps,along the way, Berry Górdy borrowed $80Wto start these' separate ways.are related what-is now Eine of the.most power- or connected ilisome manner, usu- ful companiesin thepopular music, ally by a business agreement. industry. However, for every suc- As a member of the music-listen- cess story like:that of Motown, - ing public you must be aware of there are hundreds of failures: the ways you hear new songs. The record companies cannot survive most likely source of 'new music . very.long without a hit ' is the radio or possibly tile- The jobs listed on page 38 are - vision; next comes recordings usually fbund in moderately suc- ,which you buy; then live concerts cessful record companies. The that you attend, and, finally, same work is done,in all record sheet music that you buy,and learn- companies, but in smaller com- to ,play or sing. The Same song, panies the same person may have can (and-usually) does move seveial responsibilities. The through all of these,routes. same person could produce, promote, and advertise,, or one person could be both engineer and mixer in a smaller company. Producer Artist and Rçpertoi Person

It:is the producer's ')ob to Most large record companies employ -PrOdUce the record. He must artist and repertoire persons or l'range for studio time, ,make as.the,trade calls them, "A &.R ' sure People'are there at the time men." Their job is to decide

required, make sure they get paid . which recording artist,should re- on time, and be a' general super- cord what Music. The "A & R. man" visor dUring and between record- -must listen,to ell of the demon- ini sessions'. He .may negotiate stration tapes; must audition new contracts, clear mechanical li- talent, look at the:manuscripts censes, check copyrights', and' and professional copies of neW find ways to raise money. songs and decide which ones 'are ..going to be worth the pompany's A.producer usually has had.ex- time and money. perience Managing time, equipment The A & R man is responsible for the company sound, dnd people. :In order to be ef- (the'particular kind of music the fective, a producer should-under- company records), but his concerns stand the needs of mUsicians as are usually public taste and mar- well as ,the ways of the music ketability. An artist and reper-- business. A record producer needs toire person must know what the personal contacts,and sources .of public will buy not just today information among broadcasters, but six months or a year in the concert managers, publishers, future. musicians; and promoters He/she Andst know about the'latest record- It is the artist and repertoi --ing:techniques and the latest person's job to make the connec eqUipment. tion between promising material and.promising artists and to in- Lately, the record industry has' terest producers in hew sounds and seen the growth of the indepen-. talent. .dent record producer. "Indepen dent" refers to the fact that the In a record company's office producer is not on salary at a buildihg, the A & R person's of- recording company. Anjndepen- fice is easy to find. It is the dent producer may use his own one surrounded:by the hopeful re- time, money,.and expertise to cording stars,:composers, and

produce a master record which is . groups of tomorrow, along'with then.sold to-d major.record com- their managers, agents, and pro- pany for commercial production. moters. The artist'and reper- ThiS\type of free-lance proddcer toire person's job is to dicover is free-to deal with several re- new talent, but much of his/her cording\companies. :By providing tithe is spent insulating the'com; record cOmpanies'.with a ready pany from the not-so-talented. made product, the independent producer saves:the companies the , trouble and expense of all but the final stakes of manufacturing and distribution. . -.---7---- Recording Artists prOduct hag-a big advantage over , one who cannot. demonstratiOn Nowhere else in the'-'musi record-is very, expensive tO pro-- try'is the risk factor bi duce and.can be a-risky-investment- than,among recording artis of a greatsdeal ef'money; but it "Hit or miss, "make or bre & a necessary-tool for the advance-.

' "here teday, gone ,tOMOTTOW, : ment of a-recording artiStis-career.-- "easy come, easy go," and "ma are called, fpw are chosen, Arranger& expressions often;heard from recording artists,. The arraager's job is to make a Hescribing all the different musical arrangement of a tune to ways of becoming a recording ar be recorded and to cond'uct the usicians at the recording session. ist would fill the pages of a e arranger's job is sometimes large book. Basically, becoming di e by one of the musici* play- a.recording artist.is a matter of arranging for'exposure to in the .session. An arranger must be thoroughly trained musician, repord.producers or artist and .espe ially in orchestration and repertoire persons. Serious fo -condu ting. mal training in music seems to The creativity of the arranger contributes greatly have little to do with success, to the success of a song. since many successful recording The arranger may simply change keys, or artists are musically illiterate, may make an elaborate orchestra- especially rock and roll and coun- tion: Some arrangers may also try and western stars. Their in= work for publishers,'preparing ability-to-read or write music tunes in-various forms for printing. is no handicap in a business that 4

depends so heavily on.image crea- , Few arrangers work on'a regular tion and advertising.'Many songs salary basis, although some are today are not actually written permanently-on call by recording down until after they are record-, companies; most others work free- 'ed, -when a trained musician will lance, combining arranging with be hired for the task.. other musical jobs in their. careers. Ohe device that is indispensable Studio Musicians -- Side-Men" to a recording artist in further- ing a career is the demonstration' Studio "side-men" are the work- recording,/br "demo record.,"' horses of the recording business.

Many sounds on today's records 1 They are usually union members can'only be.produced in a record- (AF of M) on.call who may_have ing studio on advanced electronic other performing jobs. They come equipment. It is sometime& im- into a recording session to "back" possible to demonstrate live to a recording artist.- Today's ar- an artist and repertoire person rangers are making use of a great- or prod6cer that a sound or song er variety of:instruments than- is marketable --.that it will iell. Furthermore, many producers and formerly used in 'popular music. Conservatory-trained string pla- A & R persons cannot read mu'sic ers and double-reed players are themselves.'An artist who can taking their places beside jazz show, a professionally finished

5 0 bassists And rock drummers at requires not only akill,in oper- recording sessions. ating techpical equipment, but

, With today' st sophisticated also A.semisitive ear for good" multi-track record*ng equipment, qUality,sound. The miker- has fi- it is ,possible for a musician nalscontrol over the Aoudnesa.of' to add--his part to a recording the different recerded tracks-, and and never meet the other musicians. must,balance.each track to the -over-all sound as the master tape *s made. Recording Engineers -Thetechnidal jobs-in the record- , What are engineers doing in a ing industry are very similar to

;hook on arts And humanities and . other anditiYcontrol jobs,in broad-

in a section ,on music? It is . casting:and motion picturea.- All the7Akill-of the recording en- of them need technical training, gineer that makes possible the alulowledge of physics, electrenics, physical existence of sound ri- 'Mathematics, and the ability. to .cordings. The -duties of a record- read i sehematic drawing-- ing engineer vary from microphone 'electronic blueprint.. Engineers placement to mixing. In smaller muatnot,only Operate but also studiossan engineer may be the repair equipment.-They= must keeps only technician, with many non- up. with the latest technology,- technical duties aS well -- for advancing their_knowledge,with the instance, answering.the telephone industry.'For examPle:,:Dolby noise or managing studiotime. In large reduetion systems.are new-in common studios, the technical work may use, although they Were.onlyLde- be done by a-staff of trained en- veloped a-few years ago.,Stereo- gineers working as a team to keep_ _phonic sound is still oommon, but the recording equipment working many atudios are now equippe4 to properly. record'in quadrophonic sound: The recording engineer must Gra hic Artists know howto us-i-microphones and other devices for picking up the wide variety of sounds used iA Record companies use graphic.artists to make their'record album today's music. Recording a piano and recording a synthesizer pre- covers attractive.tothe public, sent two completely different eye; ,in spite of the Old SaYing "never judge abook by its cOver," audio,control problems. The.recording engineer must know how mostpeople doY,If people judged-- . a record by its seund; then all to operate the console of a multi- the hullaballoo Of advertising -track studio to the best advan- and "groovy" artwork on albuth Cov- tage of the recording artists. ersnwould not-be necessary. IA smaller studios the same engineer may also have t e-responsi- Graphic artists-help present a bility of "mixing d wn" the var- visual image.of the qualities the ious tracks into -twd tracks for recordhuying public connects stereo, or four for quadraphonic the recorded sounda. The images sound systems. In large sound can be used for.posters or On systemsthis job is done by a album_oovers or in printed-adver-, mixer. Doing a good job of-mixing tisementaat newspapera and Magazines. Graphic artists'who di? re ord Promotion orkers,7 "Promo _ en" covers have usually been trained in art schools.. They May work The promotion worker's job -is to_ -free-lance in combinatiOn with see that a new-Tecord'is played .other jobs, or they may-be on the on radio stations. The_"promo permanent art staff of a large man,"as the trade.calls him or her,

company, as a full-time worker-, or. ' visits radio stations and_networks part of a 'staffof designers at a . talking with disc-jockeys: and pro- design studio working on other gram directors urging/them .6 play, things besides record covers. the latest company releases on,the 5 2 air. To insureihe success of best-selling records. From infor- the company's rebrds- a promotion mation iii--"tradéS" business people worker.will often _buy.air time can find stronvand weak areas in for the company's pre-recorded- the music market and keep track coMmercials. of competing companies; Anyone Promotion workers are always on seriously considering a career in the lookoutrfor "hot masters," the entertainment or popules =sic trade's terwfor locally produced shoUld read one of the trades to' recordings that do well on the find out in What directions the radio. The large companies will music business is going. then try to buy these masters for national distribution, acting on the advice of their promotion' There are recording studios in worker. many smaller cities and large com-

I A great controverSi raged=in munities throughout the country. X960 involving the relationship Some are small enough to be run between promotion workers and disc entirely by one to three people. jockeys. Many disc Sockeys weie Small studios outside large cities receiving secret.gifts of money, usually provide a-ide,variety of cars, or other valuable items in recording serviCes which include: return for favoring certain .colliT Demonstration records for panies' records during their shows. local performers After,Congressionafhearings, this was considered an unfair practice Commercials for local- merchants called l'payola," and laws were pissed against it. Disc jockeys, Announcements and station programmers, record librarians, identification spots for as well-as promoters working to7 local broadcasters'. day must observe the legal limi- Recording.for local amateur tations\of their jobs. The fact that these laws are needed shows music groups how powerful disc jockeys and On-site recordings at remote_ promoters' can be in influencing locations of concerts or music_ record_salles. festi vals

"Trades" Audition tapes for schools and-colleges News of the recording industry is Production of master, tapes reported in special magazines and to he sold to maSor.record newspapers which provide record- coMpanies .ing and other entertainment worker's with the latest information 8ome Of these smaller studioi- may tpecialize.in one,recOrding ser- in the industry. Examples are vide, for instance,producing Cashbox, Billboard, Variety, and- cotMercialS.: In smaller:cities. Rolling Stone. They are to the it is not uncommon' to find some-- entertainment field what the Wall one who-packages'the whcfle-cOMMer Street Journal is to the financial ,cial for a client. world: instead of stock quotations, The.same per- Cashbox and Billboard list the son writel fhe Achi6rtising copy, composes music, arranges for the record in their own studios, but musicians to come and record the others are having music recorded commercial,- "and even participates in European studios where strudio in the recording session. time and musicians' labor, are cheaper. Background music compan- Even though recordings are be- ies are now using computerized sys- ing made,throughout the country,- tems to program their ripisic- the majOir league recording companies are centralized in three Background msicu is-.. now used cities New York, Los Angeles, commonly'to provide a pleasant,en- and Nashville (for country-western vironment by masking unpleasant music). There are,over 200 record- noises or by filling-up uncomfor- ing studios listed in the Manhattan table Silence., Some people, how- Yellow Pages and even--more in Los ever, do consider-such mulic-as'-' Angeles. yet,another form of noise pollution.

Movie Music Rock and Roll is Here to Stay --Maybe, Baby The motion picture indtistry is an , important user and creator of re-- -From background music to hit recorded music. kmusic publishing -cords, the rec9rding industry 'house; recording firm,_and motion offers everything -- eXcept :perhaps, picture company canizdfien -be owned security. The industry "offers and operated by the same" larger wealth and bankruptcy. Howeyer,

corporation. -SoMetimes popular , just as in fashion, movies,'popu- tunes are used in movies,to in- lar literature, television and crease public appeal. More often theater, Public taste controls the amovie sound track will be ar- industry. Public taste is not rangeel, recorded, ancfreleased-as unified, so no one Company.can _ a record, to take-advantage of : possibly "corner the"market."The the film's popularity. recording,business is one of fads. Just as swing-music, be-bop; boog- Major motion picture companies . ie woogie, and others before'it, employ the same kind of people a almighty rock and roll-will even- the recording industry itself to tually give Way to another kind_ provide the recording services' ; of music -- perhaps a kind of needed for film sound tracks. music not even on the scene.yet. Producers, engineers, composers, musicians, copyright experts, record librarians -- all help in making that part of a movie ia.m.L?xiA_il which,may slip by completely un- The-music publishing industry noticed, the sound track. carries the composer'S Work to the Marketplaci in printed fdim. Background Music ,In order-to carry, out its business, a publishing company must have con- Another important use of recorded trol-of, two of the rights' guar- musie is background music in fac- anteed the,copyright holder. -- toris, stores, waiting rooms,' printing copies-and-making restaurants, and even vme schools. arrangements. Many background mpsic companies .

5 4 Thepublic very seldom sees a of all the orchestral instruments._ song in the form originally made This training is best obtained in by-the composer. As a piece of a conservatory of music or as an music is handled hy different applied music major in college. members of the publishing indus- For some specialized kinds of ar- try, each worker contributes his ranging, such as marching band, or her own talents to the final experience should supplement for- form. mal training. An arranger must be careful to Publisher tailor the arrangements for the use intended. A school orchestra By listeningto new songs on demon- arrangement of a popular song that stration tapes, .talking with com- is arranged in F-sharp major will posers,and-looking at their man- be avoided by teachers in favor of uscripts, publishers decide whose one written in C or B-flat.-,Uow- music will be_published. After , ever frustrating it may be'to he accepting a work.from a=compOser arranger, only "safe" and "easy" for publication, a-publisher nego- keys sell well. Also, arrange- tiatet.agreements with.the coMPoser ments for school groups with long about ffiayments, of royaltie$ and rests for any of the parts do not the format of arrangements. The do well. Arrangements where every- _____publisher_must, also iron tart-any -body -p raysall th-e-t tinearepre= problems that arise ftom)copyright ferred. These are special concerns infringements.- in large publiSh- of arrangers of music for school ing firms, copyright pxpertsor use, but arrangers of other kinds legal consultants may help with of music also have their own contracts and copyrights. special worries. Arranger Arrangers in publishing may have salaried positions on a staff, or An arranger's_job is tomake mu- they may work on,a free-lance sical arrangements of songs in basis. A3reparation foY public use. A clever arranger will be able to Bditor make several kinds of arrangements for piano solo, vocal, cherai, The editor's business is detail. instrumental groups,.orchestras, Misspelled chordsmisaligned even matching bands. Sometimes,. words, incorrect key signatures, an arranger will-make "easy" awkwardljr notated rhythms, stems arrangements of difficult songs,. going the wrohg way, and hundreds or "low" arrangements of songs of other careless mistakes which -with high ranges. Many times an can slip through waste'rehearsal arrangement will require more time, therefore, money. Musicians creative-effort and time thanthe: prefer to uso clearly printed, eoriginal composition. correct editions,which are the work of responsible editors. An arranger must be a highly trained musician in theoretical Training for an editor's job can musical'practicein harmony, and best be obtained by frst working orchestration. He or she must .as an assistant in an editorial know the strengths and weakness-. department of a large music

5 5 publisher. An editor should have Broadcastin an advanced degree in music theory as well as'a thorough and practical The broadcasting industry provides knowledge of the conventions of new records with their first music notation.r exposure. The first stop for a newly releasedrecord is usually Autographer a radio'station. Record companies (Pronounced au-to-grapher and broadcasters alike ate aware of the relationship between record Using a M119ie typewriter,_special sales and the number of times 4 pena-, transfer type, and other record is played on' the air. For tools often.associated with gra- moreJnformation about jobs in phic artistS,, the autographer pre- broadcasting, see the sectionon pares the autograph -- the final radio announcers,:including disc form of the music before the print- jockeys in Exploring Theater and ing by phote-offset methods. This Media Careers: A Student Guidebook. job requires the ultimate in pa- Radio:stations employ progratmers, tience and attention to detail. disc jockeys, audio-controllers, An autographer must know all of and record librarians, as well as the conventions of standard musi- other.people who need no special _ -cal notation, which means musical musical ability. training plus apprenticeship. DiseJockeys -Photo-engraving and other graphic.probesses,- such as photo- 'Special schools of-broadcasting, lithography- and photo-offset exist for the training of all printing have all but eliMinated types of_radie announcers, and the time-honored craft-of engrav- some two-year colleges give asSoc- inglusicen copper. plates-by- iate degrees-to broadcast'workers hand. Many large musie publish- they train..A disc jockey must ing companies are finding it more 'keep abreast of current events in economical to send music autograph all Areas, but especially.in the work to. Korea and other Asian music field. He/shemust deal Countries and to Europe where with promoters from'record com- such work can be done very cheaply panies,(see promotion workers) and by experts,_ fulfill other dutieS-When off the --air, -such'aSfilling out program The,Photoco Connection logs. Music publishing companies-as well' Record Librarian as the composers to whom they pay royalties are suffering many in Duties of A record librarian re -__fringements .againstLtheir_rights - to keep, organize, and-lOcate under-the copyright law from the recordings-for.programs to be wide use of copying:machines. To broadeast. Responsible fer thou- copy, by Xerox or other methods, sands of recordings, a record a copyrighted-work is against the librarian supports.the work of law, and the same As stealing from disc-jockeys and programmers in the copyright holder. large stations. 56 ,- ."Programmers fadtotum or "do-all." Protecting the artist from unattract4e offers Programmers are responsible for is a,valuable service performed by selecting music to be played on some managers. Others administer radio- shows. In smaller stations, .publishing companiekowned by the' disc Jockeys themselves must- do 'artist. 'Managers offtm have so thisjob. Selections have to be much authority from the artist timed.by the programmer to fit in that they handle all, even-personal with- newscaststation Wentifica-money matters; For these compre- tions and-cOmmerciais. hensive services, a manager, re-r ceives anywhere fromten to 25 Agents and_Managers percent of the artist's income.-

In the popular music business, "There's No BUsiness,Like..." _ musicians, who are seldom trained in business,,seek professional Show business, has always been big. managers and agents to help_them business -- and expenSiye business. develop careers and make business The income-from box office receipts Aecisions. These-important jobs must.go to pay: are Often confused with one Rental of score and parts another,.

lioyalties_to_authaxs . Agent. tors,. designers- Salaries to,cast, musicians, 'An agent has ihe responsibility,. company, business manager, of developing the long-range plan production secretary, assiS- ofan artist's career. -The agent, tants;theater'party repre whether working as an individual sentativeS,-stage hands, and or-with an agency finds employment other technical workers or "bookings" -- engagements for the performing artist. Negotiat- Expenses of theater rental ing contracts and.dolleing fees and advertising from the employerand. paying the Returning'the investMents artist are-all facets of-theN, of financial backers'. agent's job. An.agent is usuaIly serving several artists from whom' -The cost of Producing an original

he/she receives q,cammission of -Broadway show is approaching such ' ten to fifteen pereent of the prbpOrtiOnS that writers and pro- fees collected. ducers are often.forced to create shows which can be .inexpensively,- Manager producecE Large choruses, Or chestras, and.companies of dancers,_ In contrast to the agent, the and elaborate sets and costumes manager handles the day-to-day mean tremendou8 costs ,Shows now development of the artiSt's 'career; being produced on Broadway and.in offering personal advice,and gui- theaters across the Country are- dance. Many managers help with often ecenomized -- done without- both-creative.,and business deci- large orchestras and choruses, on sions. Some travel everywhere simplified sets. with the artist and act as:

5 7 HOW A,SONG GETS TO WU -- D WHO GETS IT THERE

With a basic knowledge of the song is traced from person to musicians and business people who person, from procedure to procedure, bring musiê to the marketplace, from agency to agency, until it you are now ready to trace a song -reaches the public in each of the from the composer to the listener. foul ways controlled by the,copy- In the steps outlined below, a right law.

* Recording_Artist writesnew song, makes demonstration tape, and brings it to Artist and Re- ertoire PerSon ("A R man"). As soon as it is written, the song is covered by "common law copyright," so no one else. may make copies or records of it. To prove he/she wrOte it first, the writer mails it to him/herself by registered mail in a sealed envelope, or files a form with the COpyright Service Of:the Library of Congress. Artist and Re ertoire Person retommends song and ---art-ist-to7Producer whobegins= liningup talent through Agents,including an Arranger and "Side- 'Men." Recbrding Artist-assigns,copyright to Publisher who obtains-regiatrationtertificatefrom the Library of Congress. Recordin-g_Artistublisher, and recording company negotiate contractthrough:the HarrY Fox Office for a mechanical reproduction license needed to make recordings of copyrightedmusic. Recordingisession held involving at least,these workira: ProdUbe'e-, Recording_Artitt, Studio,Sidemen, Arranger, Rebording Engineer, Mixer, TeChnicians.- Recording artist-is Paid an adVanceagainstluture, :royalties from record sales. Musitiana and others are paid only for the session..Others may be on salary or commission: Tape maater ia transferred to disc master and actual retords are pressed. ProMotion Workers strategically_time the-release of a new record so that it doesn't compete unfavorably with other records of the same company, and ao that an.advertising campaign can create'anticipation.

* - Pointa:at which developed musical skills are necessary. Promotion workers visit Disc-Jockqys and radio Program Directors puShing the new release and buying air time for advertising. The record is distributed and sold in record stores or through record clubs: Radio broadcasts of copyrighted music result in payment of performance fees to ASCAP or ,BMI or other performing right organizations, who, in turn, pay thecopyright - holder. "Trades" indicate that sales are good. Publisher negotiates agreement with Recording Artist and recording company to produce sheet music. Arranger develops arrangements from lead sheet and recording for piano, vocal, and instrumental ensembles. Editing department prepares arrangements for printing using talents of capt, Graphic Artist, Autographer, Proofreader, Editor, Printer. Sheet music distributed and sold i music stores, Roya3ty paid on each copy to the sbng writer by the publisher. * Publisher sends professional copies of new arrangements to professional Performers who add it to-their acts in large hotels, televiSion, and concerts. Each performance for profit means a fee must be paid ta the copyright holder through ASCAP or BMI. Movie Director needs the new song as part of a sound track for a new film. He must negotiate for a syn- chronization license with the copyright holder in order to make the song part of the moyie. When, after 56 years (two 28-year terms) the song's copyright expires, the song may be,freely recorded, arranged and performed. The song ,is then said to be "in the public domain."

5 9 MUSIC BUSINESS TERMINOLOGY

'Actor's Equity AssociatiOn - Associated Actors and Artistes of union for actors and other per- America, AFL-CIO - union for formers_in light opera and many performing musical artists musical_comedy (affiliated with AEA, AGMA, AFTRA) Advance - money paid to recoTding artist against the income of a' Auer - prepares music in record.-As a record earns money final form for printing the,company deducts the advance BMI (Broadcast,Music, incorporated) and the dost of.taking the re-- - performing rights organization cording before paying royalties similar to ASCAP to the artist. Copyright -the right to produCe AF of M (American Federation of copies Musicians) - professional musicians' union'for instrumen- Copyright Law - restricts printed talists copies, public performance for profit including broadcast, AFTRA (American Federation of recording. Original works are TeleVisiOn_And_Radio Artistair-_ pro-tected by-Hcormtorrraw"copy- , union representing singers who right from the moment they are make recordings written. Agent - plans long-ranim careers of recording artists, finds copy_y_ihrarof CongreSs - filing a'form with employment, negotiates contract the Copyright Service 'secures a AGMA (American Guild of Musical registered copyright certificate. Artists) union for solo con- The term of copyright is 28 cert artists, and singers and years,renewable for a second choralists in opera 28-year term.

% Angel - person who finances a Copyyight Specialist (Copyright BrOadway musical show, the cost ExpeTt) - works with recording, of which can approach $1 million file, and publishing companies researching and securing copy- Artist and Repertoire Person _ _ rightsand mechanical licenses 1"-1( & R MarrY - works for record company deciding which artists Demon'stration Record ("Demo") should be recorded and what- recording made by artist, com- songs they should record poser, publisher, or anyone, to demonstrate the potential ASCAP (American Society of Com- worth of a song or artist or posers, Authors, and Publishers) group - a performing rights organization which collects perforMance ilai=rLcaL_cOffice clearing house fees from radio and television organization which issues me- stations, theaters, music halls, chanical licenses, collects fees, hotels, and concert performances pays copyright holders, and researches foreign copyrights

6 0 Lead Sheet Manuscript version of Public Domain when a copyright a song whickincludes melody, expires, a work is said to be lyriCs, and chords "in the public domain." _The Congress work can be freely recorded and _ Servide - registers music', poems, printed. New arrangements of plays, books, etc., and issues the work are protected by copy- rTgistration certificate as right. 'prcisbfef eontrol of:copyright Royalty - percentage of sales of . (see Copyright Service, Library sheet music or recordings paid of Congress) to composers or recording artists _Manager - provides day=to-day flt2t.:_.y_iable- recording guidance for'recording artist, company,pays royalties after may Control money and protect costs of recording and advance's artist from unattractive offers are met MeChahicatt.License - authority Staff Arranges_--in publishing, granted by copyright holder to arranges music for publication record,company to make record- as piano, vocal, or instrumental ings for'cOmmercial distribu- music; in recording, makes ar-- tion.of copyrighted music,' -rangements for use in studio loapjA- unreported_and illegal recording sessions Jlayments or.gifts to disc jockeys Studio "Side-Men" - musicians an- ta push the Company's records call by reCording studio who ,during-radio broadcasts support recording artists at Performa ce Fee-7 money paid for recording sessions -the right to.perform or broad- S nchronization License - author- cast copyrighted Music for' A.ty needed by film company to prcifit collected by ASCAP and use copyrighted recorded music BMI on sound tract of film ,Producer, Reeord = arranges and "Trades" - magazines and periodi- manages recording sessions cals published with news of the either'for record companies. entertainment industries; these -or-independently periodiCals publish charts of ProMotion Person - 'works for the 40 best-selling recordings record company visiting disc in several categories -- popular, jockeYs andradio programmers classical, albums, and singles OroMoting the company's records, (examples are Billboard, Cashbox, may buY advertising time en Variety, and Rollin Stone) radio stations

6 1

MUSIC EDUCAT ON

KUSIC TEACHERS

One out of every five Americans .Public School Music Teachin 'age 16 pr older,plays a musical instrument. That is around 30 Teachers working in public school million people making music, as music departmentS can specialize someene said, to-their own amaze- on three levels: elementa,ry, ment. Another 10 percent:of junior high OT middle school, and 14or-15-million sing high school. -In-most-schoolsys- ers,belong to choral_groups and, tems teachers concentrate on ei- choirs. The millions of amateur. ther vocal or instrumental music. singers'and players are the-re- instrumental music teachlers work -,Sult of music education, the work with individual students;Jsmall -of music teachers. classes, andjarge orchestras or erhe field of music draws many bands- 4n many schools, teachers people in search of a career. specialize-in winds, or strings. Among the thousand5of students At the high school; an inStrumen- who graduate'each year from music tal techer'maY have severallarge schools and colleges, the largest :groups such as bands ,or orchestras, :ingle group :chooses music educa- Directing these largegroups- is a tion as their work-. A smaller very 'complicated job for which number enter the highly competi--, APJ:gerschools mayAleed a staff tive and crowded areas-of perfor- of seVeral teachers. manceand business. A few take The music director Of a-high jobs unrelated to music,:prac- School instrimental program needs Using, performing, composing to be: duting spare time. It'is safe to say that most musicians Who An organizer gO into perforthance Will teach A conductor at one time or another. Some performers give lessons to help A teacher support,their performing.career. ' An arranger 'There are different "settings A public relations per n. or places in which to teach and different'ways to teach music. WHERE MUSIC TEACHERS WORK

Public or Private Conservator es 'Private Studio or Schools ,Collegps Community MUsic School Universities or Music Store

KIND OF 1TACHIN

Teaching classes in Teaching private les- Teaching ,priVate instru- theory, appreciation,- sons, in voice or Mbntal or vocal lessons band, orchestra, c-or- instrument (either individual or

us, marching band groups) : Teaching classea in composition, theory) or history Coaching chamber music Conducting choruS or orchestra _ DIPLOMAS OR DEGREES NEEDED'_(MINIMUM)

Bachelor of Arts in Usually Master of Experience and/or Music Education plus Music preferred diploma from certification from conservatory State Board of Edu- . cation

.TYPES OF STUDENTS TAUGHT

All kinds, talented orStudents seriously'Con-Studenta interested in not. Some may be sidering professional muSic,and usually thusiastic, some may career talented nbt. - - INCOME

Moderate income, Moderate income, fairlyModerate'or low income,

- fairly secure salary secure salary, per insecure.,pay, per , course or per student student_per_lesson- ..

6 4 ic director should also Money, Degrees,Advancement l'\ __ Music teachers in public schools Able to-make out a budget are paid like other teachers. In Able to organize a music most schools this means that a library teacher with a more advanced degree, like Master of Arts in Teach- Able to do publicity ing, is paid more than a teacher Able t6 interest new students with a Bachelor of Music Education, in the music,department. who has taught the same number of years. In order to make more mon- In addition to directing bands, ey and become better teachers, orchestras, and groups, he/she many music teachers continue to may also work on extra musical take college courses at night and productions and shows. A music during summer vacations. director may have to teach courses Teachers with exPerience and on music theory, appreciation, or course credits in administration' history, and quite possibly super- may want-tp become supervisors. vise a study hall as well. Music supervisors have the job of A high school vocal teacher overseeing and organizing the mus c needs most of the same skills and programs of entire school systems-. abilities as an instrumental teach--They interview prospectiVettach- er. In addition, vocal teachers ers, attend meetings, and make should be able to read music at suggestions to individual teachers. first sight, understand voEal prob- Supervisors also try to get good lems, and know a vast amount of financial support for music pro- music, from 16th century madri- grams from the school board gals to the latest popular hits Of course, in addition to hiring It helps greatly if he/she is a teachers, the supervisor may have pianist. to fire them. Also, financial support from the school'committee may not come at all.

9, because then nyJath At'," an a don4t,linni. Tobe

00 - -each class once every two-- eeks,:which isn't nough. The classroom teachers.are supposed to keep

up the songs 1 teach-when I'm not there. Some of them do, some of them don't.The students really don'tclmprove as much as they could. -Elementary Vocal Teecner

Satisfaction Guaranteed? Many schools are providing syn-, thesizers, instruments for elec- Teactling music in some public tronic music.SYnthesizers can schools can be a difficult and be used in muiic classes in a_num- thankless job. In some communi- ber of ways, and they can also be ties because music is not consid- used in_science and media classes. ered important, the music depart- Future musia:teachers 'will nee& ment is small. Such a situation electronie music skills to teach can frustrate a teacher who is courses which may not exist now. trying to build a strong music Music teachers in colleges, Con- Often, the music teach- program. servatories, and universities are er must become a public relations professionalsrtraining--pmfesSion---- person trying to build support als. The highest standards of for music in the schools. performance are maintained in In many communities, elementary- these schools. Often, performing music teachers must move from professional symphony players will school to school, spending a few be part of the faculty of a con- hours in each. Such traveling servatory, combining performing, may be necessary in communities and teaching into one,career. that cannot afford to hire a music Advanced degrees, Master of Mus c teacher for every school, but it or Doctor of Philosophy-in Music doesn't make the teacher's job (Ph.D.) are required to teach:at any easier. this level. Accomplishedyirtu- osi teach their.special instrument. Yhat's ew? .privately in .individual lessons,

Theways music is experienced and Private Teaehin& taught in'public schools are changing. .In lower grades,,new tech- In colleges, "applied musi ma- niques of instrumental teaching j.Ors are those who concentrate on are creating, a demand for teachers performance of one instrument or of-violin-who-can-use-the Suzuki- voice.7while taking courses toward In vocal and instrumen- method. a dilloma or a degree. While some tal classes new methods of_teach- of these students:will become.yer ing-baSed On.the work of Kodaly formers, many of them will become A musi- and Grff are being used. teaChers of their instrument or cian planning to teach young chil- voic_. ..Such music :teachers work dren should find out about these in arge and small communities, and other new approaches to music sonle teaching in their own studios, teaching. someteaching in community music The teacher, heweVer, may need the -schools. :Many use teaching as a student for the money. He or she part-time job to support a, per- must decide whether to tell the forming- careers. '-kusic,stores student td stop music study, or-to often supply studio space to continue taking the student's'moneY. teachers who will attract-students who become custemers. The Future. A private teacher,'s income is Students thinking about music edu-

insecure. Whenever a student . cation as a career should know that calls to cancel a lesson, it rep- the population is declining, and resents Jost income for the teach- that fewer elementary and secondary er.'Many people do not take lessons in the simmer, creating-two teachers will be needed through the 1980's.' However, innovative pro- .months of,very 'little inCome. A teacher who wises a stable income- grams' already mentioned will create a demand for specially-trai,ned should establish a good reputation in the community. teachers_ If 20 percent of the population Between the. Devil continues to be interested in play- and:the Deep Blue_ Sea ing an instrument, then there should be work enough-for private Times of economic hardship are instrumontal teachers. Today's 'difficult for nearly everyone. schools provide much more e4osure 'For private music teachers, re.- to performing arts than ever;before. .cession and inflatiOn canresult Such new programs may interest pore in special problems.. SoMeone with-.'people in.studying music, creating out-musical abilities studying mu- a need for more teachers. sic can be disappointed at hisiber 'Lack of progress..A teacher who

. encouragessuch a student to continue is not helping the student.

MUSIC LIBRARIANS

There are many different kinds librarians work.lor public librar of music librarians doing com- iesor music libraries of conser- Tletely different kinds of work. vatories, collegesi or universities. Music librarians work for large 'Still other workers called music performing groups like symphonies librarians work at radio stations Or operas. Other kinds of music keeping track of thousands of records and tapes. Vmpb9ny_OrChestra and \, Librarians for major symphonies 221_21-_Librarians and opera companies work full-time and make a moderate but stable in- Conductors select music to be come. Civic or community orches- performed months ahead of time. tras use volunteers working for Long before each piece is rehear- free. In smaller orchestras, the sed, the conductor wilINStudy both,librarian may also be a player in the score and tach individual play the orchestra. er's part. Changes, corrections, The outlook for orchestra librar- dynamic cues, bowings, and phras- ians is closely connected to the ings usually have to be added to outlook for orchestras. Many major ,-the printed parts.. The orchestra symphonies and operas are in finan- librarian helps the condOctor do cial difficulty. Hopefully, or- If new parts need to this,work. chestraA,will find new sources of be copied out, the librarian will income and financial support bene- do the job. The librarian also, fiting not only the players and must keep the orchestra's library conductorsi. but also the music of'music in order, send fOr neW librarians. music, and correspond with future guest conductors (to find out Public libraries in large cities which edition fhey prefer, or and special music librarieain con-

whetner-they- will bring-thtir-own-- s,ervatOries and universities hire , parts). It is the librarian's re- librarians with specialized musical . spo ibility to see that each knowledge. Many music librarians pla er has the printed parts combine-library duties with Scholar- nee ed for each rehearsal and ly researchiyi music. Music li- each concert, to-Collect music brary duties' would include acquir-. after rehearsalsa.nd concerts, ing and cataloguingjpooksi musical and to care for,music with the scores, periodicals, and recordings. orchestra on tour. In,some libraries-rare books and manuscripts:will* be preserved by Orchestra and-opera librarians_ the librariaaand selected for should have-a musical background microfilm collections. The music in theoretical subjects,like librarian may also,be responsible - harmony,.instrumentation,'and fof setting up special exhibits of orchestration.They must be able books and storesi,arranging for to write clear, neat,:precise mu- concerts,.and giVing lectures,in sical notation. A Bachelor of special fields of interest,. Music degree,in theory, frOm 4 con-

servatorY, College, or university NormallyAmusit'llbrarians need ' As usualli expected of music ii- a Bachelor Of Musit degree, or a-- brarians,Larger_orchestras_and Bathelor of Arts An Music, and a operas may use assistants who gain Master of Library Science-dr-Mu- knowledge and experience while sidology, The relatively small helping the librarian. number of jobs available to music ;librarians pay moderately and

'provide a stable income, . musxoLoGy AND ETHNOMUSICOLOGY

Musicologists are the historians Many.colleges arbtrying to es- of music. They study the music tablish courses in ehnic cultures of the past, 'often consulting old and courses that comine science manuscripts and books, to deter- and art. Ethnotusicology.uses mine hoW the music was performed. anthropological tools as well,as-, Occasionally, a musicologist will musical skills to hell understand discover a piece of music from the ethnic cultures and musit's4lace past that has not been heard in in them. A small-demand ler ethno- our time, and prepare this piece -musicologists-to-teach-tourses-in- in a modern edition. Black-or native American mi4ic may Musicologists also study the create a few academic job oppor- lives and times of musicians in tUnities. the past to see more clearly the Job opportunities for musicolo- relationships between musicians gists and ethnomusicologistsare and society. very'limited. Most research in The past is not the only area these fields is supp-orted by pri- musicological study. Musicolo-' vate foundations and government gists analyze and,write articles agencies who provide-money for on the latest musical compositions specific prolects and studies. and discoveries. Musicologists Many musicologists work as teachers help musicians communicate with of music history and literature, or each other. as musie librarians. Some work at jobs not related to music, often Ethnausicology is the s,tudy of using their own savings to pay ethnic music, dance,-and culture. travel and other,expenses for theig As civilization expands into areas research in music. that were formerly remote, cultures. become absorbed and lost. Musicologists negd a wide know- For,instance, in our own country ledge and variety of skills. Com- we know almost nothing about the mand of a foreign language is a music and culture of eastern In- necessity to understand ancient dian tribes. An ethnomusicolo: treatises in ,Latin, German, French, gist would have worked hard to or Italian. Ethnomusicologis preserve Indian songs in some form. should know the languages and tures of ethnic groups they ar The twentieth century composer concerned with. Studying his ry, Bela Bartok worked as an ethno- sociology, and anthropology is as musicologist making sound record- important to a musicologist as ings -of Hungarian and other Balkan musical studies are. Musicologists folk songs, preserving them before usually earn at least a Master's they were forgotten. He later of Musicology degree, concentrating transcribed these songs into musi- their studies on the music of a cal notation and catalogued them.' particular historical period or ethnic group. MuSIC THERAPY

, - Menially ill pat, epts. whO:have.lost- the_'ahility, to coMiunitatein_woida,mayfstille:able io Ommpnicate j111-41i,VerbaLway','=such':Ai:Musit, art4;or Once- 7 ,movemOthe.music thel:apiat'usesV muiit the-- emotiOnally ill, communicate tOli:TiWand thoughts the patiept-cafihot-express iri-other waya.. _

Music's pewerto affect moOdAand by,teaching the patient how to play stir emotions ,11;a: been; well known, an instrument. Speech defects can for-as long as.music has existed.' sometimes be helped by singing ac- Stories'about the music Of-anCient tivities.\Some patients need the' Greece tell of.the healing powers social awareness ef group activi- of Greek music. .Leopold Mozart, ties, but others may need individ7, the father of Wolfgang, wrote,that ual attention to build self-con- if theGreek's meic could heal fidence. The music therapist must the Sick, then'our music should' learn what kinds of activities are be able tohring the-dead hack to best f,r ealch patient. life. Unfortunately, tOdWs In.additilon to working with pa- music cannot do quite'that much. tients, the music therapist has -The healing power of music, to attend meetings with other taken fox-granted by ancient man therapist and doctors who werk and-by many primitive societies, with the sanie patients to discus is only recently becoming-accept- progress and plan new activities. ed_by medical professionals as a: Written _eperts to doctors about new way of healing the emotion- patientS responses to treatment ally ill. are al-tether facet of the music therap st's work. Using, musical activities involving patients., the music therapist Typtical duties of a music thera- sepks tO restore mental And phy- pist/can Anclude: sical health. Music-therapists Selecting background music' ,usually work with emotionally= disturbed patientS as part of a Arranging,for concerts for _team:of therapists and.doctors. or by patients' Music therapiSts work together Accompanying and leading with: physicians, psychiatrists, singing:or,rhythmicactivities psychologists,'physical therapists', nurses, teachers, reeteation lead- s Teaching indiVidual or group erS, family of patient. music lessons :The/ , therapy that a music thera- Encouraging musical Creativity pist gives to patients can,be in patients the form of listening, performing, * Directing vocal and instru lessons on an instrument, Or even mental groups. composing. A therapist may help - A patient regain lost coordinatien Hospitals, idhools, retireMent Capability for college or homes, andcpmmunity agencies and university study. clinics are, some Of the sites where Versatility to adjust to ,music-therapists work. Some music different work situations theraPists work in private:studios witivpatiehts' sent to them-by Medi- Good physical health and cal doctors, psychologists, and, stamina psychiatrists. Musid therapy can Emotional stability, maturity. be done in studios,-recreation rooms, hospital wards, or class- Other important personal quali- rooms depending-on the type of ties are patience, tact, under- activitY and needs of the patients standing, a sense of humor, and, Training ability to cope with disappoint- _ ment. :Therapists see a great deal of human suffering, and should be Qualified-music therapists have able to have compassion without followed a fOut-year cpurse with too much emotional involVement a major emphasis in mutic plus with patients and their problems. courses in biological science, anthropology, sociology, psycho o- Graduates in music therapy find gy, and music:therapy. General out about available jobs from studies in--English,-,history, their college placement office; speechand government complete job openings are also listed in the requirementsforallachelor the Journal of Music Theraa, sent of Music,Therapy. After college' to members of the National Associ- training, a-music therapist Must ation for Musid-Therapy, Inc. partiCipate in,a six-month train- The income of a music therapist ing'internship under the-guidance- is moderate but stable for year- of,a,regiStered music therapist.- round full-time work. Generous fringe benefits such as health in- Students who haVe completed surance, vacations, regular salary college courses and'haVe demon- increases, tenure, and retirement stratektheir ability .during the plans tare common in large hospitals six-month internship can become, and institutions. registered music therapists_ by applying- to the National.ASsoc- The first college training for iation,for Music-Therapy; Inc,. music therapy was established in New methods -and techniques of 1944. Now (1975) 32 colleges and music therapy are alwayS being universities offer at least bache- developed,'so the trained thera- lor degree programs. Eight of pist must continue_to study new these institutions offer advanced

articles,books;:,and reports 'degrees. , Approximately 600-hos- throughout his her career. pitals and institutions located in all parts of the country employ The following qualifiCations music therapists. Since the es- are nepded by those who are con- tablishment of the National Associ- sidering-a:music-therapy career:- ation for Music Therapy in_1950, . Seriousness about_music this pioneering field has grown, and-music study and growth is expected to continue. The continued growth of Music experiments and seie ific research. therapy depends on doctors.accep One:growingarea ng music ther- ing mu-sic therapy As -a way-of apy is-specia1:4cation of excep- treating_patients. In order to tional childrerl./Music therapistS _prove hOw.effeCtive music therapy- wishing tu vier in special educa- is and_to discover new methods, tion should. a 0 be certified -Music therapiSts are involved in music educa_ s.' ASSOCIATIONS: PROVIDINO MUSIC CAREER INFORMATION.

American Music Conference 332 South Michigan Avenue Chicago, Illinois 60604

National Association for.Music Thera P.O..Box 15 Lawrence, Kansas 66044

Music Educators National 'onference Suite 601

8150 Leesburg--Pike . Vienna, VirgAnia 22180

Piano Technicians' Guild P.O. Box 1813 Seattle, Washington 98111

7 3

* t..LE GOVERNMENT PRINTING OFFICE: 1976=A-0703/59 Companion-Documents in this Career Exploration Seriesi.

Student Guidelloo_ks

EXPLORING DANCE CAREERS

EXPLORING THEATER AND MED_A CAREERS' . EXPLORING VISUAL ARTS AND CROTS tAREERS

'EXPLORING WRITING p\REERS------, EXPLORING CAREERS IN'THE HUMANITIES

Materials for Teachers and Counselors.

391 WAYS TO EXPLORE ARTS AND HUMANITIES CAREERS: CLASSROOM ACTIVITIES IN .DANcE,MUSIC, THEATfR AND' MEDIA,

VISUAL ARTS AND'CRAFTS,'WRITING, AND HUMANITIES .

CAREER .GUIDANCE IN THE ARTS AND HUMANITIES: ACTIVITIES, INFORMATION AND: RESOURCES FOR GRADES- 7=12

EXPLORING ARTS AND HUMANITIES CAREERS IN THE COMMUNITY:. A PROGRAM PLANNING GUIDE

AN-ANNOTATED BIBLIOGRAPHY OF SELECTED,,C RR CULLA MATERIALS.IN -THE ARTS AND HUMANITIES

A PRELIMINARY EXPLORATION OFOCCUPATIO_S IN THEARTS AND HUMANITIES