TOO OLD TO ROCK? INVESTIGATING THE QUEENSLAND MID-CAREER POPULAR MUSIC SCENE
Chanel Lucas Bachelor of Arts Graduate Diploma in Writing, Editing, and Publishing
Submitted in fulfilment of the requirements for the degree of
Master of Philosophy
School of Creative Practice
Creative Industries Faculty
Queensland University of Technology
2019
1
Keywords
Adult learning, andragogy, career development, mid-career, music, musician, professional development, research, training, work-life balance.
i Abstract
The average age of a working artist in Australia is 46 years. Recent data suggests that artists in Australia work through until their old age and have long careers in their creative work, with established artists practising for longer than before. Numerous studies on career development have investigated the capabilities of emerging artists and university graduates, but few have focused on the large group of established mid- career musicians in Australia. Additionally, there has been minimal discussion on how mid-career musicians conduct their professional practice or careers long-term, and what professional development is accessed or required by them in the middle stage of their career. This study will investigate the career support needs of independent mid- career musicians in Queensland and will provide a contextual review of the musical landscape and the state of independent mid-career musicians in Queensland from their perspective.
The research process for this project utilised a standard social research method that included an online survey and interviews with professional, independent
Queensland musicians from popular music genres. The participants are independent
(no record label), professional, practising musicians from across Queensland. A ‘mid- career’ musician is defined as (1) one who has worked for 15 or more years in their profession and (2) was aged between 30-55 years. The project utilised online survey responses from 131 musicians and subsequent phone interviews with nine musicians from across Queensland.
This thesis discusses the mid-career career development needs of musicians in
Queensland through a literature review, collection of survey and interview data, and through analysis of the data in relation to the literature. It reviews the current literature
ii related to adult learning and andragogy, career development for mid-career workers, collaboration and networking, and the nature of work in the creative sector. The thesis outlines the research design and investigative process of the project, and presents the survey and interview findings on mid-career musicians, including the needs associated with their careers. It also provides discussion, interpretation, and evaluation of the results, with reference to the literature. Finally, conclusions and limitations for the project are presented, and recommendations are made for future research or projects related to mid-career musicians and their career development needs.
iii Table of Contents
Keywords ...... i Abstract ...... ii Table of Contents ...... iv List of Figures ...... vi List of Tables ...... vii List of Abbreviations ...... viii Statement of Original Authorship ...... ix Acknowledgements...... x Chapter 1: Introduction ...... 1 1.1 Introduction ...... 1 1.2 Researcher Background ...... 3 1.3 Recent research into career development for musicians...... 6 1.4 Purpose of Research ...... 13 1.5 Significance, Scope, and Definitions ...... 14 1.6 Thesis Outline ...... 16 Chapter 2: Literature Review ...... 18 2.1 Introduction ...... 18 2.1 The Music Industry in Queensland ...... 20 2.2 Social Support ...... 23 2.3 Professional Network...... 26 2.4 Professional Attitude ...... 30 2.5 Theoretical framework for the project ...... 38 2.6 Summary and implications ...... 48 Chapter 3: Research Design ...... 51 3.1 Introduction ...... 51 3.2 Methodology and research design ...... 51 3.3 Participants ...... 55 3.4 Procedure and timeline ...... 61 3.5 Analysis ...... 62 3.6 Ethics ...... 63 Chapter 4: Results and Analysis ...... 65 4.1 Introduction ...... 65 4.2 Mid-career issues for musicians ...... 66 4.3 Professional network and social support ...... 84
iv 4.4 Career development and learning ...... 90 Chapter 5: Conclusions ...... 101 5.1 Introduction ...... 101 5.2 Career support for mid-career musicians in Queensland ...... 102 5.3 Recommendations for Facilitators ...... 107 5.4 Limitations of the project...... 108 5.5 Suggestions for further research ...... 110 Bibliography ...... 113 Appendices ...... 131 Appendix A: Survey Questions ...... 131 Appendix B: Interview Questions ...... 134 Appendix C: Summary of open-ended answers on the survey ...... 135
v List of Figures
FIGURE 2-1 DIMENSIONS OF HOLISTIC EDUCATION...... 45 FIGURE 3-1 WHERE DO YOU LIVE? ...... 57 FIGURE 3-2 GENDER OF SURVEY PARTICIPANTS ...... 58 FIGURE 3-3 HOW OLD ARE YOU? ...... 58 FIGURE 4-1 DO YOU THINK ANY OF THE FOLLOWING HAVE HAD AN IMPACT ON YOUR MUSIC CAREER? ...... 67 FIGURE 4-2 ISSUES IDENTIFIED BY SURVEY RESPONDENTS FOR MID-CAREER MUSICIANS IN QUEENSLAND ...... 69 FIGURE 4-3 INCOME FROM PERFORMING MUSIC LIVE ...... 72 FIGURE 4-4 INCOME MADE FROM LICENCING, ROYALTIES OR SYNCHRONISATION ...... 76 FIGURE 4-5 MID-CAREER MUSICIANS IN QUEENSLAND: MUSIC RELATED JOBS ...... 80 FIGURE 4-6 MID-CAREER MUSICIANS IN QUEENSLAND: JOBS OUTSIDE OF MUSIC ...... 81 FIGURE 4-7 HOW DO YOU USUALLY CREATE MUSIC? ...... 86 FIGURE 4-8 TRAINING COMPLETED BY MID-CAREER MUSICIANS IN QUEENSLAND IN THE PAST TEN YEARS...... 94 FIGURE 4-9 PROFESSIONAL DEVELOPMENT COMPLETED BY MID-CAREER MUSICIANS IN QUEENSLAND IN THE PAST TEN YEARS...... 98
vi List of Tables
TABLE 1.1 DEFINITION OF CAREER DEVELOPMENT AND PROFESSIONAL DEVELOPMENT ...... 2 TABLE 1.2 PAYMENTS FOR MUSIC PRODUCTS BY TYPE ...... 10 TABLE 1.3 DEFINITIONS OF KEY TERMS ...... 16 TABLE 3.1 METHODS OF RESEARCH AND REASON FOR USE ...... 54 TABLE 3.2 INTERVIEWEES (NAMES HAVE BEEN CHANGED) ...... 61 TABLE 3.3 TIMELINE FOR RESEARCH PROJECT ...... 62 TABLE 4.1 THEMES FROM THE RESEARCH PROJECT ...... 66 TABLE 4.2 SOURCES OF INCOME (OTHER THAN PERFORMANCE) FOR MUSICIANS ...... 75 TABLE 4.3 TOP FOUR WAYS QUEENSLAND MID-CAREER MUSICIANS FIND INSPIRATION FOR THEIR MUSIC ...... 87 TABLE 4.4 TOP THREE FACTORS THAT QUEENSLAND MID-CAREER MUSICIANS BELIEVE WOULD IMPROVE THEIR ABILITY TO CREATE MUSIC ...... 98
vii List of Abbreviations
APRA Australian Performing Rights Association
AMCOS Australasian Mechanical Copyright Owners Society
IFPI International Federation of the Phonographic Industry
Q Music Queensland’s music industry development association
TAFE Technical and Further Education (Australia)
viii Statement of Original Authorship
The work contained in this thesis has not been previously submitted to meet requirements for an award at this or any other higher education institution. To the best of my knowledge and belief, the thesis contains no material previously published or written by another person except where due reference is made.
Signature: QUT Verified Signature
Date: 2 December 2019
ix Acknowledgements
Thank you to my supervisors, Dr Kristina Kelman and Christy Collis, for your advice and support throughout this research project. Thanks also to
Dr Karen Anne Lonsdale for editing the document. A big thank you to everyone who participated in this research and who gave their time and thoughts to it – I have learnt so much from all of you.
Thanks to my friends and family who kept telling me I could do it and who gave me endless encouragement along the way. Thank you to my husband Chris Kellett for being a sounding board, data interpreter, and chef throughout the project.
Finally, thanks to my peers - the mid-career musicians of Queensland - who inspire me, who write and perform great music, and who I hope to emulate in my own music and work. Best wishes for your life-long musical career. May you continue to make music with your friends and colleagues for many years to come.
x Chapter 1: Introduction
1.1 Introduction
The average age of a working artist in Australia is 46 years (Throsby, 2017, p.
107). Artists in Australia work until their old age and have long creative careers (D.
K. Throsby, Petetskaya, 2017, p. 50). Established artists are practising for longer than previously (Higgs, Freebody, Anderson, Cunningham, 2010) and many professional mid-career artists in Australia will continue to work on their creative projects in the future. To date there have been numerous studies on career development, investigating the capabilities of emerging artists and university graduates, however, this project will focus on Queensland independent mid-career musicians (with 15 years or more professional experience, who play popular music) in Australia, how they conduct their professional practice or careers long-term, and what professional development is accessed or required by them. This study is situated in the field of music careers and vocational learning and draws on themes of social capita, networking and adult learning. It will investigate the career support needs of independent, mid-career musicians in Queensland and provide a contextual review of the musical landscape and the state of independent mid-career musicians in Queensland from their perspective.
Creative and technical skills are acknowledged as integral for artists to develop their creative work, however, this project will focus on the complementary skills required for career development. Firstly, I will discuss the career development processes that may be relevant to mid-career musicians in Queensland, as well as the training or professional development that may exist, or be required, to support these musicians. I will explore themes in relation to the development of musicians’
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 1 work, related skill development, as well as the professional development requirements for popular musicians’ careers. The following definitions are useful for the purpose of this study.
Table 1.1 Definition of career development and professional development
Career development The continual or work-life-long process of developing skills
and knowledge related to education, training and work.
Professional development Learning related to building professional credentials or
knowledge related to work or artistic practice. It can include
formal training e.g. an academic degree; or informal
learning e.g. peer-learning, industry workshops, or situated
practice.
In 2016, Music Australia, in conjunction with key music industry organisations, published the National Contemporary Music Plan for Australia (MusicAustralia,
2016). Two of their top six recommendations relate to developing musicians’ industry and business skills, and providing development or training towards a long-term music career in a global industry. In particular:
4. Foster industry skills and business development to build capability and
competitiveness
5. Strengthen artist development to deliver a more secure vocational
livelihood for musicians and a more globally competitive industry
(MusicAustralia, 2016, p. 12).
These priorities associated with training and vocational livelihood are one of the inspirations for this research project. This study attempts to examine the skills that independent mid-career musicians require to continue working long-term at a
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 2 professional level in music. It will investigate the perceived professional development needs that these musicians express, provide an overview of the current climate for mid- career musicians in Queensland, and examine how they develop skills to continue their professional work. This study is specific to the unique situation of Queensland musicians and contributes to the knowledge on Australian artists’ careers and learning by providing research into mid-career musicians in the state of Queensland, Australia.
In this chapter, I will discuss my own experience as an independent musician, examine recent changes and current trends in the music industry, and the context of this research, as well as a set of definitions of key terms used in this study. In the final section I will provide an outline of the remaining chapters of the thesis.
1.2 Researcher Background
As a professional mid-career musician, with more than 20 years in the industry,
I wanted to research the professional development needs of my peers and associates.
As a facilitator of various music industry and career development workshops, I have observed that many mid-career musicians ask questions such as, ‘what do I do now?’
In discussions with my peers I found that specific skills were identified as important for long-term career success. We discussed the importance of resilience, realistic goal setting, and the self-management skills necessary for continual lifelong and self- directed learning. Staying up-to-date with current technologies and changes in the industry were essential to most of us and the ability to persist and be a ‘jack-of-all- trades’ was common. Most of us acknowledged that to be a professional musician in the present day, we need to be more than songwriters or music makers. We also have to be project managers, small business owners, entrepreneurs, and multi-taskers.
Bridgstock and Bennett (D. Bennett & Bridgstock, 2015; Bridgstock, 2011,
2012) had similar findings about artists and the importance of employability in the
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 3 current economic climate: the key is to be active in seeking work and opportunities, to be skilled in employability instead of one set of job skills, and to enhance social capital and networks in order to gain work (Bridgstock, 2005, p. 40). The recent work of these two researchers has been influential on educational planning and tertiary courses for students and early-career musicians, and for professional development for high school and tertiary music teachers. Their discussions led me to ask the question: how do mid- career musicians, such as emerging musicians, develop a wider suite of skills while conducting an established creative career and dealing with general mid-life issues?
Due to a paucity of data on mid-career musicians, I decided to focus this study on mid- career musicians and their perceived career and professional development needs. For the purpose of scope for a Master's project, I focused on Queensland mid-career musicians as a specifiable group within the wider Australian music industry.
As a researcher, I bring my experience in the music industry to this project. I am a musician, tertiary teacher, writer, and event producer. I have been a professional musician for more than 25 years and have toured Australia, the USA, China and
Germany with my contemporary Australian folk-pop band, women in docs. Our music has reached the Top 10 of the Blues and Roots charts in the USA and has been playlisted on radio stations such as ABC Radio National, Triple J in Australia, and on stations in the USA and Europe. I also sing and perform solo at festivals and venues around Australia and produce music events, such as The West End Sessions concert series in Brisbane, or concerts and workshops for festivals, city councils, or community groups. Although I have had some record deals with independent record labels, the majority of my career has been as a self-managed, independent musician based in Queensland.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 4
I have earned a Bachelor of Arts, a Graduate Diploma in Writing, Editing &
Publishing, a Certificate IV in Adult Assessment & Training (TAE), a Cambridge
Certificate in Teaching English as a Second Language (ESOL). I am an Associate
Fellow of the Higher Education Academy (AFHEA), and am currently completing a
Master of Philosophy at QUT. I was recently nominated for the ‘Mentor of the Year’ award by QUT for my work in assisting undergraduates with their career plans and I received a Sessional Teaching and Reflection Award (QUT STARS) for my teaching practice. I also work as a freelance grant writer for arts organisations, businesses and individuals. My experience is across a wide range of areas in the music industry and music business, and this experience has informed and influenced this research project.
For the past 10 years, while continuing to work as a professional independent musician, I have also worked as a lecturer and tutor at the Queensland University of
Technology (QUT), and at a private music industry college, JMC Academy, in
Brisbane. I have also been contracted by community organisations such as the
Queensland music industry organisation Q Music, the music training and development programme, Music Industry Inside Out, and by government organisations such as Arts
Queensland, City Councils, and Youth Centres to run workshops and mentoring sessions with local musicians across Queensland. This has provided me with experience in working with emerging and established musicians in Queensland and has given me an understanding of the training required for the music business and career planning. This experience as a professional, international performer, and my years as a workshop facilitator and tertiary teacher, have led me to this research project.
I am interested in how musicians learn and develop their work and want to find ways to support musicians throughout their career development.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 5
1.3 Recent Research into Career Development for Musicians
Numerous studies have analysed the career development of graduates and emerging musicians. In developing the present study, I was influenced by the work of
Bennett (D. Bennett, 2016; D. Bennett & Bridgstock, 2015; D. Bennett & Chong,
2018; Ghazali & Bennett, 2017; Hennekam & Bennett, 2016a, 2016b; Reid, Petocz, &
Bennett, 2016) on music teachers and skills for graduate music students, and
Bridgstock (D. Bennett & Bridgstock, 2015; Bridgstock, 2005, 2011, 2012, 2014;
Hearn, Bridgstock, & Goldsmith, 2014) on career skills and employability for university graduates. The longitudinal research by Throsby and Petetskaya on
Australian artists and their careers was also a valuable resource for this project (D. K.
Throsby, Petetskaya, 2017). Their finding that Australian musicians are, on average, middle-aged, sparked interest for me, and highlighted that Australian artists work well into middle-age and beyond. I will refer to several of Throsby’s key studies and publications (C. D. Throsby, 2010; D. Throsby, 2007a; David Throsby, 2007b; D. H.
Throsby, Virginia, 2003; D. K. Throsby, Petetskaya, 2017) in my analysis, to compare my results against the overall Australian data, and determine whether the situation with
Queensland musicians is consistent with these findings.
The existing research on career development suggests that employability skills are necessary for work in the creative industries (D. Ashton, 2015; D. Bennett, 2016;
Bridgstock, 2011). Career development is a long-term planning process which involves a holistic approach and recognises the impacts of life, health, family and other work on a mid-life career (Beattie, 2009; Miller, 2014; Pierce, 2012). Various other studies have been particularly influential on my writing about career planning for independent, mid-career musicians who are located in my home state of Queensland:
Mezirow’s (1996, 1997, 2010) research on learning from shared experiences and
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 6 reflection; the work by Savickas (2016; 2016; 2009) on reflexivity, long-term career planning and building identity through social interactions; as well as the theories of
Knowles (2005; 2012) on andragogy, adult learning, social connection and acceptance from peers.
This study will focus on mid-career musicians in Queensland who are not represented by a major label or corporation. The purpose of focusing on this group was because this group of independent musicians in Queensland have not previously been studied in detail and partly due to the scope of a Master of Philosophy research project.
Several years ago, Rogers sparked interest in the ‘indie’ music scene in Brisbane and
Queensland, which provoked discussion around the value of music and the professional indie scene to city councils and the economy. He also shed light on the strong community of musicians which existed in Brisbane and worked together to create ‘scenes’ within the indie music community (I. Rogers, 2008; I. K. Rogers,
Ninan, Hearn, Cunningham, & Luckman, 2004). This research will build on his existing focus on Brisbane independent musicians, contributing further knowledge by exploring issues of career development and community for both city-based and regional independent musicians in Queensland. Previous studies by Canham
(University of Queensland), and Tolmie (Griffith University), highlight the skill development and career planning that could occur in tertiary music programmes in
Queensland (Canham, 2016; Tolmie, 2017). They focus on the employability skills required by graduates for work in the current music industry and build on the ideas of employability advocated for by Bridgstock and Bennett for music or creative industries graduates within tertiary programmes (D. Bennett, 2009, 2016; Bridgstock, 2009,
2011, 2012).
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 7
The importance of music to the Australian economy has been highlighted by many researchers (Australia Council for the Arts, 2017, Australian Goverment, 2014,
2016; A. J. Baker, 2017; Burke & Schmidt, 2013; Eventbrite, 2016; R. Daniel, 2013,
2014a; Tschmuck, Pearce, & Campbell, 2013) and the value that music and musicians bring to Australian culture and their development has been outlined in music industry and music organisation reports (AMCOS, 2018; Council, 2014; Australian Research
Council, 2018). This research analyses formal and informal support or training opportunities that mid-career musicians in Queensland access for learning, towards sustaining music careers.
Several arts reports have been published in Australia in recent years on the needs of Australian artists and their careers . According to the Australia Council for the Arts report, What’s Your Other Job? A Census Analysis of Arts Employment in Australia, there was an increase in 2010 in the average employment growth rate for people aged
40-65+ years, which includes employment in artistic roles, as well as arts-related or industry work (Cunningham, 2010, p. 11). This report found that older artists continue working within the industry into their 40s, 50s and beyond, and continue to develop careers related to their artistic practice or skills base. This has implications for support or further training, as mid-career workers have different career needs to emerging artists. This will be discussed in detail later in the thesis.
In a more recent Australia-wide study, the average age of a musician in Australia was identified as mid-forties (D. K. Throsby, Petetskaya, 2017). Throsby and
Petetskaya suggest that because artists (including musicians) work outside of standard working conditions, rules, and motivations, they continue to work past standard retirement ages. This report also suggests that artists take longer to become established and refine their skills and craft, therefore may find success at an older age compared
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 8 to other types of work (D. K. Throsby, Petetskaya, 2017). Australian artists are generally aged over 35, have been working for some time in their creative work, and will continue to practice into their later years. This means that Australia will see a
“larger body of senior practitioners in the artistic community over time” (D. K.
Throsby, Petetskaya, 2017, p. 14). These studies provide evidence that Australian musicians are still working in middle-age and beyond. In order to address the relevant issues of age and work among Australian musicians, the focus of my research is analysing the career development needs of mid-career musicians, within Queensland, with the aim of providing an evidence base for further research or training which could assist this group of artists.
In order to consider the needs of mid-career musicians, I first examined the current working environment for musicians in Australia and in the global digital music industry. The industry in which these musicians conduct business has changed rapidly over the last 15 years, in particular, in the way audiences listen to and participate in music, how music is distributed via technology, and the financial impact of changing technology on musicians. The International Federation of the Phonographic Industry
(IFPI) found that globally, “total industry revenues for 2017 were still just 68.4% of the market’s peak in 1999” (IFPI, 2018, p. 10). There is a dramatic difference between income levels within the industry in the 1990s compared to current industry income, which has created challenges for the business practices of mid-career musicians and how they generate income from their work. When mid-career musicians started releasing their music in the late 90s, they could sell a CD for $20-30 (10-12 songs =
$2-3 per song), then in the iTunes era of the mid-2000s they could sell individual songs for about 99c-$1 each. In 2019, the current pay rate from streaming services is anywhere between .002-.004c per stream (Digital Music News, 2019; Marshall, 2015).
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 9
Independent musicians are responsible for the labour, production, and distribution cost of generating their work, but they do not see a great financial return for these continuing costs (APRA AMCOS, 2018; Australia Council for the Arts, 2016;
Cunningham, 2010; Klein, Meier, & Powers, 2017; Marshall, 2015). These changes in music technology have affected the way audiences interact with music, and therefore sales from music products.
Table 1.2 Payments for music products by type
Music Distribution Price/Item Price/Song or Track
CDs $20-$30 album $2-$3
iTunes $10-$20 album $0.99-$1.50
Streaming $.002-$.004 stream ? Depends on the number of
streams the song receives
In Australia, we mostly listen to music online and engage with it through experiences, as seen in the Australian National Arts Participation Survey that found that, “eight in ten Queenslanders engage with the arts online (82%)” (Australia Council for the Arts, 2017, p. 4), and 77% of Queenslanders listen to music online (Australia
Council for the Arts, 2017, p. 4). The way that the majority of audiences interact with music is through: online platforms; listening to music on the radio or via streaming; or through attending shows, gigs, or festivals (Australia Council for the Arts, 2017, p. 4).
In Australia, the performing rights and royalty collection agencies, APRA (Australian
Performing Rights Association) and AMCOS (Australian Mechanical Copyright
Owners Society), reported that the majority of royalty income for music makers in
2018 was from digital sources such as audio streaming, followed by video on demand,
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 10 and websites like YouTube (APRA AMCOS, 2018). This is due to the rapid technological changes and the globalisation and digitisation of music platforms. APRA
AMCOS predicts a continued increase in songwriting royalty income across the global economy over the next few years.
The second largest source of income identified by APRA AMCOS for musicians was from public performances of music and later, television synchronisation. Digital, live performance, and television royalties made up about 70% of songwriters’ incomes
(APRA AMCOS, 2018). These statistics highlight the main sources of income for musicians as: live performance; digital music releases; and television synchronisation deals. Mid-career artists, therefore, need to be performing live, releasing music online, as well as accessing and developing royalty or synchronisation deals, in order to generate income from their music.
The development of streaming platforms such as Spotify and Apple Music, along with international digital distributors such as Tune Core, CD Baby and Distrokid, has arguably made it easier than ever to promote and sell music (Hracs & Leslie, 2014).
This has largely contributed to the shift from a local to a global music industry in which music online can be accessed internationally by fans. These changes have had an impact on the development of musicians’ careers and changed the sources of income from their music products (Tschmuck et al., 2013). According to the Global Music
Report from the International Federation of the Phonographic Industry (IFPI), however, “after 15 years of decline, global recorded music achieved its third consecutive year of growth last year, with more fans listening to more music around the globe in increasingly rich and immersive ways” (IFPI, 2018, p7). The primary way that musicians earn money from their songs or recordings is through royalties from digital distributors, either directly, or via their record label. Recent industry estimates
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 11 indicate that a musician will receive about $0.004 per stream (every time a song is played) on a digital streaming site like Spotify (Digital Music News, 2019). It is the difference between the income received by music creators, versus the actual income generated by the work, however, that will be the main issue for music creators in current and future years (Marshall, 2015; Rynderman, 2016).
In 2016, Frances Moore from the IFPI (International Federation of Phonographic
Industry) claimed that in a global context, “the value gap is the biggest constraint to revenue growth for artists” (IFPI, 2016, 2018). Smaller acts who rely on income from music sales are concerned about the low royalty rates they receive from these digital platforms. While larger acts who have other sources of income, such as touring, or who have a record label to negotiate a higher royalty deal, are not as worried (Swanson,
2013). There is a gap developing between music makers (especially smaller, independent musicians) and their royalties, because streaming services make deals with record labels and distributors and not directly with the artists (Marshall, 2015).
This has an impact on the money that independent musicians can generate from their music, and their ability to have a long-term career in the industry. While statistical debates about the exact financial impact of digitisation on musicians continue, there is agreement that in order to access this income, musicians must be actively involved with, and participate in the global economy through their business practices and music releases, or have formal representation such as a record label or distributor to collect these royalties (Marshall, 2015; Rynderman, 2016; Swanson, 2013).
Independent musicians are essentially small business owners who must develop a business plan that will work within the music economy in order to generate income and to build a fan base or client list (Zwaan, 2010 #526). They are usually self- employed and must respond to flexible work hours, competition within a market
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 12 saturated with independent musicians, graduates, and home-made musicians, maintaining a career in which labour, production costs, and professional development is solely their responsibility (Hennekam & Bennett, 2016a, 2016b). Skills related to building an online community of fans; developing an experiential live show; creating an online profile in a contemporary context; and generating income via digital distribution, are essential to success. But, how do mid-career musicians develop these essential career skills as they also try to run a small business, write music, and deal with the other commitments that middle-age brings?
1.4 Purpose of Research
The purpose of this study is to analyse the needs of independent, mid-career musicians in Queensland pertaining to current work conditions in the music industry.
It will discuss how independent Queensland musicians create their work, who they work with, where they learn new things, as well as how and where they access training or learning opportunities. It will focus on independent musicians, as small business owners, who may be more vulnerable to industry and technology changes because they do not have the financial backing of a major label or corporation. Additionally, it will highlight the needs of mid-career musicians, a large group of the Australian artistic population, who have not previously been studied in detail. This study will provide an evidence base to inform future training for independent mid-career musicians in
Queensland.
This project will include an analysis of a range of research studies, theoretical frameworks, and issues that are relevant to mid-career musicians and their professional development needs. The study will examine the current statistics and findings from industry and government reports related to musicians and artists in
Australia. It will explore issues associated with creative work, artists’ income, long-
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 13 term career development for musicians, and the challenges that regionals artists face compared to city-based artists regarding their creative work and access to training.
Finally, it will explore concepts of adult learning and creative collaboration towards identifying opportunities which support mid-career musicians in their work.
Research Question: This study will address the question: What are the career support needs of independent mid-career musicians in Queensland?
Objectives: x To define the career development skill requirements for mid-career (aged 35-
55 years) musicians in Queensland.
x To survey and interview Queensland mid-career musicians, examining their
experiences with professional development, work and career changes.
This thesis will provide a contextual review of the musical landscape for independent mid-career musicians in Queensland. This study adds to the literature on mid-career artists in Australia by offering insights into the experiences of professional practising musicians in Queensland, their work as creative practitioners, and needs related to their career progression. It will investigate how to best support independent mid-career musicians in Queensland based on the skills required for their professional career development.
1.5 Significance, Scope, and Definitions
Mid-career musicians must respond to technological changes in the industry and associated professional needs through their business practices, and creative products or services. While this presents challenges, it also provides significant opportunities for creative artists. Developing new skills, building a business approach, and
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 14 constructing social networks, are integral to musicians’ successes as small business owners and professional creative artists. This thesis analyses the unique career development requirements of mid-career musicians in Queensland by considering their professional development, peer support, networking, and collaboration needs, which are different to emerging artists or graduates. Key issues which must be considered are: aspects of adult learning; the importance of social capital and networks for adult learning and an independent musician’s career development; and their importance to
Queensland mid-career musicians.
There are existing bodies of research on emerging musicians and university graduates (e.g. D. Bennett, 2010, 2011, 2016; D. Bennett & Bridgstock, 2015; D.
Bennett & Chong, 2018; Dawn, 2010; Freer & Bennett, 2012; Ghazali & Bennett,
2017; Hennekam & Bennett, 2016a, 2016b; Reid et al., 2016), and on music teachers and their professional development and employability needs (Bridgstock, 2005, 2009,
2011, 2012, 2014; Canham, 2016; Hearn et al., 2014; Ruth, Shane, & Greg, 2011).
Some projects focus on regional Australian artists (Carter & Welsh, 2018; R. Daniel,
2013, 2014a, 2014b, 2015, 2016; R. Daniel, and Johnstone, Robert, 2017; R. Daniel &
Daniel, 2015; R. Daniel et al., 2017; R. Daniel, Fleischmann, & Welters, 2018;
Fleischmann, 2017) or Australian artists in general (C. D. Throsby, 2010; D. Throsby,
2007; D. H. Throsby, Virginia, 2003; D. K. Throsby, Petetskaya, 2017), however, these studies analysed a combination of creative artists including writers, visual artists, dancers and musicians. This study will provide new data that focuses exclusively on mid-career musicians and their specific professional development requirements, within the scope and purpose of a master’s research project, making a contribution to the current knowledge on musicians careers in Australia.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 15
Table 1.3 Definitions of key terms
Mid-career musician A musician who is more than 15 years into their professional career and is aged between 30-55 years.
Independent musician A musician who does not have major record label support or financial input from a large corporation or business.
Artist A person who creates art e.g. musician, visual artist, dancer, creative writer.
Covers musician A musician who plays music written by other people e.g. in a pub band.
Original musician A musician who writes and creates their own music, and who earn royalties as income from this music.
Professional musician A musician who considers their main source of income or main work focus to be music.
Creative practice The artistic work conducted by professional artists, in this case, musicians’ songwriting and performance.
Professional development Training or learning undertaken by professional musicians in order to advance their career or work.
Andragogy Self-directed, problem-centred learning for adults, which is closely connected to their social roles and tasks.
Adult learning The range of formal and informal learning activities that adults undertake after high school. This could include formal tertiary training or informal workshops or online activities.
Social capital The networks or relationships that musicians have which enable their ability to work and develop their business.
1.6 Thesis Outline
This thesis will discuss the mid-career career path needs of musicians in
Queensland through a literature review, collection of survey and interview data, and through analysis of the data in relation to the literature. Chapter 2 will review the current literature on adult learning and andragogy, career development for mid-career
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 16 workers, collaboration and networking, and the nature of work in the creative sector.
Chapter 3 will outline the research design and investigative process of the project.
Chapter 4 will discuss the results of the survey and interviews into mid-career musicians, as well as their professional development and other career needs. It will also provide a discussion, interpretation, and evaluation of the results, with reference to the literature. Chapter 5 will include a summary of the conclusions and limitations, as well as the recommendations for future research or projects related to mid-career musicians and their career trajectory.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 17
Chapter 2: Literature Review
2.1 Introduction
This chapter will look at the current context for mid-career musicians in
Queensland, Australia. It is inspired by the work of Throsby & Petetskaya, Bennet &
Bridgstock, and the longitudinal study by Zwan, Bogt and Raaijmakers on musician’s careers. This chapter discusses a range of studies associated with mid-career development, creative work, and adult education. The 2017 Australian report, “Making
Art Work: An Economic Study of Professional Artists in Australia” (D. K. Throsby,
Petetskaya, 2017) was part of a long-term study that provided an inspiration for this research project; I will refer to this seminal document on Australian artists’ careers, throughout this research project. Throsby and his associates present a great range of statistical and qualitative data on Australian artists, their backgrounds, income and work, but do not discuss professional development or support strategies for mid-career musicians in any detail. Studies by Australian researchers such as Bennett and
Bridgstock shed light on emerging musicians, music teachers, or graduates, while
Daniel has contributed a range of research on Queensland regional artists and their career needs. This research will provide a background to these Australian reports and add some qualitative description on Queensland mid-career musicians.
The present study will make a contribution to the literature by focusing on mid- career musicians in the state of Queensland and will focus on music careers and vocational learning for musicians. It will discuss some of the current theories around adult career development and learning and how they may apply to Queensland musicians. I will attempt to identify why these current career statistics exist and the reasons this is happening in Queensland in particular. It is a unique study because it is
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 18 specific to Queensland musicians and the Queensland music industry. It will provide rich qualitative description of Queensland musicians and their careers and learning and contribute to the current field of knowledge, as there is no similar prior study on
Queensland mid-career musicians.
The focus of this research project is: independent musicians, aged between 35-
55, who are based in Queensland, and the support needs for their career. Several studies within the music and education fields have assessed the career development needs of graduate and emerging musicians (D. Bennett & Bridgstock, 2015; Bridgstock, 2011,
2012; Canham, 2016); and studies on mid-career workers in more traditional careers exist (A. Brown, Bimrose, Barnes, & Hughes, 2012; Maddox-Daines, 2016; Reiff &
Labovich, 2014; von Bonsdorff, Kuh, von Bonsdorff, & Cooper, 2016), but there is minimal examination of the career development needs of mid-career professional musicians in particular. There is extensive discussion on career development planning and education for university music graduates (Bridgstock, 2011; Hearn, Bridgstock, &
Goldsmith, 2014), mid-career music teachers (Bennett, 2016; Bennett & Chong,
2018), and orchestral musicians (Kenny, Driscoll, & Ackermann, 2016; Middlestadt
& Fishbein, 1988). It is interesting to note that a combination of economic, cultural, human, and social capital was seen to effect the success of those involved in cultural production (Bourdieu, 1998, p. 385) or classical or jazz musicians (Pinheiro, 2009, p.
531). I wondered how these studies would relate to mid-career contemporary musicians in Queensland.
There is also discussion about mid-career practitioners in fields outside of music such as, health (Bernhard-Oettel, n.d; Davidson et al., 2014; Johansson, Huang, &
Lindfors, 2007; Middlestadt & Fishbein, 1988; Sternbach, 1993), or accounting (Lorinc, 2013; Smuts, 2014), but, there is an opportunity for a research
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 19 focus to be placed on contemporary, independent, mid-career music-makers and performers and their career development needs. Key themes emerged through the existing research, including targeted professional development for mid-career workers, mid-career desires for work-life balance, and career adaptability skills to keep mid-career workers progressing through their portfolio careers. It also seems that social support, a professional attitude and a professional network are influential on the career success of musicians (Zwaan, 2010, p. 526).
The discussions included will be useful for those who intend to design professional development for mid-career musicians and will provide a link between mid-career musicians and learning planners. I will also discuss how adult learning theory could apply to mid-career musicians and will review how independent musicians working in the contemporary music industry may respond to career influences, and how they could be supported through professional development. I will investigate how Queensland mid-career musicians are continuing their careers, what their professional development needs are, and how they might access and respond to learning support.
2.1 The Music Industry in Queensland
The 2016 Australian Census data shows that the median age in Australia is 38 years and in Queensland, 37 years. Over 4 million people in Queensland, the largest group within the population is between the ages of 30-54 (Australian Bureau of
Statistics, 2016). About two-thirds of Queensland’s population live outside of the capital city, Brisbane (Queensland Government, 2018) and recent studies have found that nearly 18% of Queensland’s population is made up of practising professional artists (D. K. Throsby, Petetskaya, 2017, p. 25). This places Queensland in the top
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 20 three states in Australia with a large professional artistic community. The state also has a large group of mid-career, middle-aged residents, who are artists, and this makes it an appropriate area for study for this project.
Queensland currently has one major music industry organisation, Q Music, which is based in Brisbane. This organisation focuses on delivering professional development workshops for the music industry: the annual Big Sound music conference (the largest music industry trade event in the Southern hemisphere); the
Queensland Music Awards; and it is also responsible for managing some music-related arts grants on behalf of Arts Queensland. Q Music also facilitates the Women in Music industry group, a regular newsletter and Little Big Sound (a one-day conference aimed at young, emerging musicians and music businesses) (QMusic, 2019). This project does not aim to critique the professional development programmes provided by Q
Music, but may present findings that impact on those offered by this industry organisation.
Funding and grants for Queensland musicians are available from Arts
Queensland (Arts Queensland, 2019), through the Regional Arts Development Fund
(Regional Arts Development Fund, 2019), and some local councils also offer arts grants. These opportunities are open to all musicians and provide a range of criteria or funding focuses from touring, to professional development, to creating new work.
Queensland musicians can also access arts funding from federal bodies such as the
Australia Council for the Arts (Australia Council for the Arts, 2019), or private philanthropy organisations such as the Ian Potter Foundation (Ian Potter Foundation,
2019), and The Seed Fund (The Seed Fund, 2019). The Queensland government also provides small business grants for creative businesses (Queensland Government,
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 21
2019). Given these resources, Queensland musicians can access funding at key points throughout their careers to contribute to their business or career development.
Location should be considered when analysing work and career options for musicians in Queensland, as some live outside of the capital city of Brisbane. In
Queensland, the distances between regional cities and towns can be 3-4 hours or more.
A recent study on the economics of the arts in Australia found that “almost three- quarters of Australian artists reside in a capital city, reflecting the fact that major metropolitan centres are where arts infrastructure tends to be concentrated” (Throsby,
2017, p.7). By comparison, more than half of Queensland’s population live outside of a capital city (Queensland Government, 2016) and musicians in Queensland often live outside of the capital city of Brisbane due to family or financial reasons (R. Daniel,
2013). There are different issues which apply to regional musicians as opposed to capital city-based musicians, particularly with regards to the ways in which they access industry networks, professional development, and collaborative opportunities (R.
Daniel, 2016). The need to connect with industry and access learning opportunities, however, often draws artists to urban areas, for example, to attend an industry conference, or to connect with industry businesses and contacts (Daniel, 2017, p. 240).
Although cities are generally where the music industry congregates for conferences or because the formal organisations and businesses are located there, regional areas are also appealing to artists for different reasons. Some studies have shown that artists are attracted to smaller towns because of cheaper housing, cheaper rent on workspaces, family commitments, or the availability of services and amenities
(R. Daniel, 2016). Artists also find more freedom in their artistic expression due to being away from industry expectations and restrictions (Andersen, 2010; Markusen,
2013). Utilising online learning and support, therefore, is one way in which regional
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 22 musicians manage the difficulties of limited access to industry specialists, and the expense of attending major industry events held in the cities (R. Daniel, Fleischmann,
& Welters, 2017). Networking is also a way to develop professionally, but this is hard to access in a regional area, therefore artists often have to attend a capital city-based workshop or industry event (R. Daniel, 2016) to access these opportunities. This project will study musicians in both regional towns (Babinda) and regional cities
(Townsville, Cairns, Toowoomba) and capital-city-based (Brisbane) musicians in
Queensland, with the expectation that their professional development needs may be similar, but that different formats or mediums may need to be considered to cater for regional needs.
This research project focuses on Queensland because it is an Australian region with a substantial artistic population, of which a large number are in the mid-career age group. It will examine mid-career musicians in Queensland in view of the existing research on artists in general, graduates, music teachers and emerging musicians in
Australia. It will focus on mid-career contemporary musicians who identify themselves as professional, or who declare music as their main source of income, or main career focus. The evidence and discussion will shed light on this population of independent mid-career contemporary musicians in Queensland, and explore possibilities to support this group of artists in the Australian population, to further develop their careers.
2.2 Social Support
There are several studies which suggest that career success in creative work, or cultural production, is tied to a combination of factors. Zwaan identifies three factors, such as social support, professional attitude, and a professional network (Zwaan, 2010, p. 526). Bourdieu suggests that the circulation of economic, social and cultural capitals
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 23 is essential for creative success (Bourdieu, 2011, p. 409). Similarly, collaboration, networking, and a sense of community (Hanken, 2016; Ireland & Lent, 2018; Maddox-
Daines, 2016; Mezirow, 2010; Moon, 2013) are seen as contributors to successful adult career development. All of these studies seem to suggest that it is the combination of a musician’s professional network and their ability to collaborate with peers, and their professional knowledge and drive or approach to work, that are the keys to their career success. These ideas will be explored further in this chapter.
Collaboration and social support are an integral part of the creative process for mid-career artists. “Collaborations offer opportunities for experimentation and innovation where the strengths and weaknesses of each collaborator are complemented and exploited” (Homan, 2011, p.24). Collaboration can lead to new work being produced, new creative partnerships and businesses, cross-form art being developed, and further career opportunities for those involved. “Anecdotal evidence suggests that the amount of cross-artform work that artists are engaging in has been increasing over time” (D. K. Throsby, Petetskaya, 2017, p. 50) in Australia, and this is aiding the development of artists’ careers as they can explore more opportunities for work outside their specific field. This is beneficial for long-term career development (Savickas,
2016; Savickas et al., 2009), for future creative output, for work across disciplines
(transdisciplinarity) (McWilliam, Hearn, & Haseman, 2008), and subsequently, for generating further income and artistic fulfillment.
Our experiences in work and life are integral to the construction of our career. Social constructionists suggest that our identity is created through social interaction, and our meaning is created through discourse with our peers (Pellegrino,
Kastner, Reese, & Russell, 2018; Savickas et al., 2009). By interacting with our networks, and through collaboration with others, we are able to make decisions about
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 24 our career and work. Adult educators, for example, have found that “informal conversation and collaboration among teachers was one of the most effective opportunities for their professional development” (Shin & Seog, 2018, p. 86). While current technology provides opportunities for online collaboration, face-to-face networking is still seen by many outside of the city centres, as the most effective way to develop clients and work opportunities (Felton, Collis, & Graham, 2010). Musicians often learn aurally, and share songs by playing them with others, or jam to develop their music skills and knowledge (McAndrew, 2014, p. 532). It is important for independent musicians in mid-career, to seek new opportunities to generate income, collaborate with others, and challenge themselves creatively.
The desire to connect socially and work with peers of equivalent experience is desired by mid-career learners and workers (Pellegrino et al., 2018; Sargent,
2009). The need for connection and acceptance is a strong psychological motivator in adult learning and adults learn best when the learning is connected to a social role
(Hagen & Park, 2016; Knowles et al., 2012). “The personal qualities of persistence and passion in approximately equal measure [are] the most important intrinsic factors advancing their [Australian artists] careers, whilst support and encouragement from others [are] the most important extrinsic factor.” (D. K. Throsby, Petetskaya, 2017, p.
45). The social support that musicians receive from friends and family assists with the pressures that boundaryless careers have on them (Zwaan, 2010, p. 526). If mid-career musicians can access support from peers and learn within a collaborative environment, they are more likely to succeed in their career, and work on their music for longer throughout their life.
Human learning is social (Beattie, 2009; Bridgstock, 2001 ; Rifkin, 2010;
Wenger, 1998; Wenger-Trayner, 2015), and a community of practice is a simple
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 25 system that encourages interaction, sharing and learning between practitioners
(Beineke, 2013; Farnsworth, Kleanthous, & Wenger-Trayner, 2016; Hargreaves &
Gijbels, 2012; Virkkula, 2016; Wenger, 1998). On the one hand, participants engage in socialising through conversations, reflections, and participation in the group, while on the other, producing artefacts of learning such as concepts, documents, tools or resources that reflect their participation and shared experience (Farnsworth et al.,
2016; Wenger, 1998). A focus on social learning highlights the importance of the individual involved in a community of practice, the experience they bring to the group, and how they interact and learn with their peers. The learning is not dependent on the learner or the teacher, but occurs within a social, cultural and historical context
(Farnsworth et al., 2016). Learning can occur across all forms of work such as creative development of products or ideas, problem solving, or practice-based learning.
Although communities of practice and social learning experiences can assist in knowledge and skill development they may also add to the professional network of the mid-career musician.
2.3 Professional Network
In a longitudinal study of contemporary pop musicians, “social support, professional attitude, and professional network” were found to be significant influences on musicians’ careers (Zwaan, 2010, p. 526, p11). The social support that musicians receive from their family, friends and peers builds their resistance to the anxiety and pressures that boundaryless careers can have on artists. A professional network (social or music capital), however, is crucial to work success for musicians, especially if they are moving between contracts or roles regularly. This is because a contemporary musician’s network includes individuals involved in formal organisations such as managers, record labels, radio presenters, who assist in career
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 26 development. This study focused on independent, popular musicians - artists who run their own music and business without the support of a major record label. Although these musicians may build a team of other independent businesses around them, such as publicists, distributors, or an independent label, this support is often based around short-term agreements or financial commitments. Working within this environment of short-term contracts and temporary support means that independent musicians require a strong professional network in order to gain these connections and business support.
The entrepreneurial or business success of an artist is influenced by their human capital (Bourdieu, 2011; Olmedo-Cifuentes & Martinez-Leon, 2015) and social capital
(Chen, Huang, & Davison, 2017; Erickson, 2001; I. Rogers, 2008) and these are key determinants for economic success in the creative industry. Human capital – the knowledge, skills and assets employees bring to their work (Olmedo-Cifuentes, 2015, p. 141) – can assist with creative or career success (D. Throsby, 2007). Generally, older artists or musicians have more life experience, knowledge and work skills than younger artists, and therefore, may achieve career success because of the human capital they possess. However, social capital – the personal relationships, networks or connections that a person has (Sargent, 2009, p. 173) – can also be an asset for career development. The more people that a musician knows in the industry, with complementary skills or knowledge, the more likely they are to find collaborators, work partners, or clients who can contribute to their success. Coulson suggested that musicians develop music capital: “the interconnected cultural, social and symbolic assets that musicians acquire and turn to economic advantage in the music field”
(Coulson, 2010). Mid-career musicians with extensive music industry networks, relationships, experience, and knowledge can be more successful than emerging artists or recent graduates because of these career assets of human capital and social capital.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 27
The ability of musicians, for example, to build a fan base and peer network online is integral to long-term sales, income generation, and peer-to-peer support for them and their music.
The arena in which contemporary musicians are working can be seen as “post- industry” (Sargent, 2009), where independent musicians can potentially reach mass audiences and media via grassroots means, without the support of formalised industry structures. In the current music industry, musicians have more opportunities to exert creative control over their work and to engage with entrepreneurial opportunities, rather than rely solely on a hierarchical formal industry to do the work for them. Often work is gained through networking in the music industry and this is seen as a proactive tool to developing an artists’ career (Coulson, 2012, p. 529). Musicians also engage with audiences and use their social networks to construct a lucrative career for themselves.
Mid-career workers find value in interacting with their peers when undertaking professional development, or while career planning. Zwaan et al. (2010, p. 526) found that peer support was a significant contributing factor in the success of pop musicians, and this support can have a positive effect on musician’s attitudes and resistance to the negative aspects of precarious artist careers. It is important for mid-career workers and artists to find acceptance and recognition from their peers and to share their stories, so they can make choices about their future career development. Studies on suburban or regional artists in Queensland have also stressed the importance of networking for creative work and business development (R. Daniel, 2013, 2014a; R. Daniel, and
Johnstone, Robert, 2017; R. Daniel & Daniel, 2015). We can surmise that artists who are mid-career workers find support and motivation to further their career, and build
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 28 their skills by working with, and learning from their peers, continue in their careers if they have support from friends and family.
As many musicians work in multiple roles, or accept simultaneous short-term contracts or opportunities (Carter & Welsh, 2018), they are dependent on developing their own career-related networks and partners, rather than having these provided by one employer (e.g., a traditional record label deal which included A&R, marketing, finance in one contract or deal). Carter and Welsh also found that “in an environment of decreased profits and increased contractualisation, artists respond by turning themselves into brands that can outlast contract terminations.” (2018, p. 14) The ability of musicians to make a living from music is closely connected with the learning activities they experience throughout their career and by the exposure they have to other musicians (Coulson, 2010, p. 527, p 257). Additionally, a professional network was identified as a factor strongly correlated with career success in Dutch pop musicians (Zwaan, 2010, p. 526). By collaborating with multiple artists and moving between short-term business relationships and contracts, musicians extend their network and develop longer-term careers, creative outputs, and extend their creative practice.
Access to professional networks can be challenging for regional professional artists, however, and it can be difficult for them to build appropriate professional relationships or work partners. Previous studies arguing for the need for further research into regional arts scenes are extensive and have provided significant insight into regional artists and their career development (Andersen, 2010; A. Bennett,
Cashman, & Lewandowski, 2018; D. Bennett, 2010; R. Daniel, 2013; Fleischmann,
2017; Gibson & Robinson, 2004; Welters, Daniel, & Fleischmann, 2018; Woodward
& Bremner, 2015). Often, professional networking events and face-to-face meeting
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 29 opportunities take place in cities or urban centres (R. Daniel et al., 2017; Felton &
Collis, 2012) and many regional artists struggle to get to these. Although about three quarters of Australian artists are located in urban centres, it is interesting to note that, of those living outside of a city, about 1 in 5 are musicians or writers (D. K. Throsby,
Petetskaya, 2017). Planning for professional development for mid-career musicians in
Queensland should, therefore, take into account the needs of regional musicians, providing networking and face-to-face collaborations alongside online opportunities.
2.4 Professional Attitude
A professional attitude, or a strong identity as a professional musician, was most strongly correlated to career success in a study on Dutch musicians (Zwaan, 2010, p.
18). Pop musicians who have a combination of a professional attitude and a professional network, therefore, are more successful, in long-term careers, than those who just had a professional network. This professional attitude gives independent professional musicians the strength, and skill, to survive in the landscape of work in the creative sector which involves regularly changing contracts, short-term work, and unusual business structures.
The careers of artists have been described as portfolio, protean, boundaryless and precarious (Bridgstock, 2011; Savickas et al., 2009). A portfolio career describes one that contains multiple projects or contracts at one time. A protean career describes someone who can move from one role to another easily and can adapt to changing work conditions and opportunities. A boundaryless career is one that works outside of usual structures, roles, or parameters, whereas a precarious career is one that may involve many short-term contracts or roles that change regularly (Bridgstock, 2011;
Savickas et al., 2009). These terms describe the employment conditions in which artists have always worked, and that now many non-arts workers, find themselves in.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 30
Musicians, for example, often build portfolio careers, taking on multiple contracts or roles, which includes securing and booking gigs, negotiating contracts, and developing performance or songwriting opportunities for themselves, in a precarious industry that is experiencing rapid technological change (Bridgstock, 2012; Canham, 2016).
Therefore, the current discussion around these kinds of careers or employability themes is not new to the artistic community. What is interesting, is the linking of career development theory and practice to artistic students, graduates and their long-term careers. Firstly, prior research into the career needs of mid-career workers in other professions must be considered.
Mid-career workers have particular skills or requirements for their career development needs. They are generally confident in their basic skill levels, and are looking to advance their skills further, or challenge themselves with new ideas or projects. In Shin and Seog’s recent study of mid-career music teachers, for example, those with 4-20 years of teaching experience were found to be more secure in their career, and existing skills, and were more creative in their teaching choices. Emerging teachers, however, were focused on fundamental skill development and surviving the new experiences of a new job or role. Mid-career teachers, therefore, need training and professional development to meet their more skilled, higher-level creative requirements (Shin & Seog, 2018).
Independent musicians need to be competent in management, networking, marketing, and in developing their own creative work, while finding opportunities to share and sell that work through current technologies and distribution platforms. “Individuals in all [artistic] fields will be required to navigate an increasingly challenging employment sector, where employability, constructivism, social networks and adaptability are likely to remain paramount.” (Daniel, 2016, p.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 31
97). Musicians conduct a simultaneous series of jobs or roles, and construct their own careers, with regular changes in employment and skill requirements integral to their working life (Savickas et al., 2009). In music careers, musicians are often now their own manager, record label, distributor, booking agent, songwriter and performer
(Sargent, 2009), and their network is essential for the development of their business
(Beeching, 2010; Erickson, 2001; Felton et al., 2010; Gold & Fraser, 2002; Övgü
Çakmak-Otluoğlu, 2018; Sargent, 2009).
For career development purposes, artists require a range of skills particular to their creative work and business (Bridgstock, 2011, 2014; Clark & Lisboa, 2013; R.
Daniel & Daniel, 2015; Ghazali & Bennett, 2017; Tolmie, 2017; Vaag, Giæver, &
Bjerkeset, 2013). Disciplinary and technical skills are essential for artists, and their ability to self-manage their career, while working in many jobs and roles, to become successful (Bridgstock, 2013). In this context, career management skills are essential for an artist to establish and maintain long-term, financially viable work. The career management process should include a process of reflection to evaluation, decision making, information gathering, and further reflection (D.
Bennett & Bridgstock, 2015; D. Bennett & Chong, 2018; Canham, 2016). The development of an artistic career is continuous and circular, rather than a vertical, stage by stage career path (R. Daniel, 2016; Maddox-Daines, 2016) and although technical creative skills are required, it is the skills that relate to career management and development that are integral to long-term success in a creative career.
Self-reinvention and entrepreneurship are key to self-management and self- employment in the creative industries (S. Brown, 2018; Jacobsen, 2013; Rae, 2005).
Kanter’s (1989) entrepreneurial career outline suggests that artists experiment and adapt their business and creative work, to build “career capital” (Inkson, 1999), and to
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 32 improve their long-term career experience. This may not necessarily mean that the artist has detailed skills such as tax or business management, but more general skills associated with starting a new project or adapting their career (Bridgstock, 2011; A.
Brown et al., 2012). Skills related to entrepreneurship are highly regarded for careers in the arts, especially for those involved in freelance or independent work, as the ability to adapt, take advantage of new opportunities, or build on their social capital is important to success (D. Bennett, 2009; Menger, 2001; Vaag et al., 2013). Some artists may find it beneficial to partner with entrepreneurial people but skills in identifying creative opportunities, and being able to value-add to these, are arguably what make modern artists successful.
A professional mid-career artist also needs to find a work balance between core arts practice, arts-related practice, and a non-arts job that supports the creative practice
(Maddox-Daines, 2016; D. Throsby, 2007), and artists in Australia cannot spend as much time as they would like to on creative projects because of a lack of paid work or low income (Bridgstock, 2005; R. Daniel, 2016). Within an artist’s creative practice there may be tension between artistic versus commercial, or satisfaction versus availability of work; however, if an artist feels financially secure, they are more likely to allocate time to their creative practice (D.
Throsby, 2007). Mid-career artists often must have paid work outside their creative practice that pays their rent and keeps them financially secure. It can be difficult to balance financial needs against a creative practice or artistic business needs, and this can impact on an artist’s ability to participate in networking events, or professional development opportunities related to their creative work. This tension is often an issue for mid-career workers in general, who seek a balance between work and home life, and between higher level creative skills development and working commitments
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 33
(Maddox-Daines, 2016; Shin & Seog, 2018). Tensions between mid-career commitments such as family, health and paid work, and spending time on creative work, must be considered when developing career support for mid-career musicians.
Their desire to find a balance between paid work, life commitments, and creative work must be met with strategies to support their careers.
Career adaptability is also a factor in mid-career success; having clear career control strategies can aid in positive career transitions, improved mental health, and job satisfaction for older workers (Ramos & Lopez, 2018). Mid-career music teachers, for example, who have developed career plans and are provided with professional development that is aimed at them, are more successful throughout their teaching career (D. Bennett, 2016; D. Bennett & Chong, 2018; Freer & Bennett, 2012; Ghazali
& Bennett, 2017; Hennekam & Bennett, 2016a). In order to explore new opportunities, mid-career workers may take a either a ‘test and learn’ approach, by trying out new roles or projects until they find one that they like, or take a career planning approach, where they work through a process of identifying skills and potential jobs, then repeating the cycle (Smuts, 2014b). Mid-career is a time of new development and changes for many workers, but, arguably, career planning, targeted professional development, and the ability to try new roles and cycles through the career planning process, are essential to career success for middle-aged workers. However, not everything in our career and life can be controlled by forethought.
Career planning “can be a tricky proposition, especially in the context of an uncertain, changing, and sometimes unkind environment” (Lent, 2013). We are not entirely in control of all aspects of life and career and sometimes things happen that are out of our control, such as changes in technology, or the work environment.
Therefore, although we may have a career plan in place, it can be affected by outside
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 34 influences and social changes. Perhaps more focus should be applied to life-planning or career construction, rather than just career planning (Savickas, 2016)? Reflection, and subsequent use of reflexivity (taking action on those reflections) may be what is important for long-term career development (Savickas, 2016; Savickas et al., 2009;
Savickas, Porfeli, Hilton, & Savickas, 2018). Career planning needs to include a range of planning beyond work-related plans, and must also generate action or practical, life- related outcomes, in order to be successful.
Resilience, and the ability to create positive change from hardship or career challenges is also important for the career development of artists (R. Daniel, and
Johnstone, Robert, 2017; McLauchlan, 2016). Middle age and mid-career are often times when musicians make changes and begin to develop new, more complex skills, or take on new work, which challenges them and extends their career (Lorinc, 2013;
Maddox-Daines, 2016; Rae, 2005; Shin & Seog, 2018; Smuts, 2014a). Reflection and reflexivity have been highlighted as essential in career development, adaptability, and counselling processes. The career construction research by Savickas (2016) found that by reflecting on their work, clients could develop self-awareness, which led to reflexivity, and action, and helped them to make changes in their career plans and choices. Clients use “reflection about self, stories, and scripts [that develops] concrete knowledge and prompts self-examination relevant to the current career transition”
(Savickas, 2016, p.24). It is the decision to take action, to make change, that is important for adults in their career development, and career self-direction can come from this (Canham, 2016). Musicians can use their previous experience, stories, and their current environment to frame these decisions and come to conclusions based on their reflections. This approach to mid-career learning or professional development could assist mid-career workers with the technological and work-related changes that
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 35 may occur in their careers. It may also assist them to become more resilient and able to make positive changes in their careers.
For many mid-career practitioners, the desire to succeed or move higher up the bureaucratic chain decreases, while the desire to find a balance between work and life demands is more important to them (D. Ashton, 2015; Maddox-Daines, 2016; Teague
& Smith, 2015). Overall, a sense of ownership over their career or self-efficacy is important for mid-career workers. If they feel that they have agency over their career, they are able to take risks, embark on new projects, and move forward with new plans
(Maddox-Daines, 2016; McLauchlan, 2016). It is often a stage in their career where they ask, ‘what is next?’, and developing skills around self-management and their personal growth becomes the focus of their working life. Instead of taking a stage-by- stage or hierarchical approach to their career, many female mid-career workers, for example, prefer a more inclusive career model where they find “meaning and experience through relationships in practice” (Maddox-Daines, 2016). This is not to suggest that mid-career workers do not care about their career anymore, or their work is not important to them, but they are also looking for agency within their job, self- efficacy over their careers, balance between life and work, and authenticity in their roles.
In addition to these general mid-career motivations and concerns, artists and musicians are also motivated by their creative work and the amount of money that is generated from work is not indicative of whether an artist sees themselves as professional or not. It is the creative output or recognition by their peers that drives their artistic careers (R. Daniel, 2016). Artists in Australia spend, per week, “on average 28 hours on creative work of various sorts, nine hours on paid arts-related work and eight hours on paid non-arts work”, regardless of the pay cheque (D. K.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 36
Throsby, Petetskaya, 2017, p. 9). Additionally, more than half of professional
Australian artists work full-time on their creative work, however, most artists earn between $18,000-$48,000 per year from that work (D. K. Throsby, Petetskaya, 2017).
Although artists in Australia do not earn large amounts of money from their creative work, it is still what they spend the most time on. For artists and musicians, the desire for personal or creative growth is more important than generating large amounts of income, and it is what they want to spend their time on. That is not to say that artists do not want to make money; it is just that they understand that their creative work will generate limited income (R. Daniel, 2016; R. Daniel, and Johnstone, R., 2017; R.
Daniel & Daniel, 2015; C. D. Throsby, 2010). The longitudinal study by Zwan et al. found that pop musicians who had a combination of a professional attitude and a professional network were more successful over the long-term in their career than those who just had a professional network. Overall, those with a strong professional attitude were most successful in their careers (Zwaan, 2010, p17). The combination of developing a professional attitude, and being able to do their creative work and earn an income, contributes to more successful long-term careers for musicians.
The above research identifies several key themes emerging for mid-career workers and how they can develop a professional attitude. Firstly, they require professional development that is targeted at them and their specific mid-career needs.
These needs should be identified within a long-term career plan as a creative practitioner, which may not be linear, and may include a range of roles, jobs or multiple employments at any one time. Mid-career workers need skills related to career adaptability, self-efficacy, and agency over their work and projects. Musicians and artists, in particular, are looking for a balance between work and life, opportunities to try new projects and creative work, and to collaborate or network with others. If they
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 37 have strong peer and social networks, and develop a professional approach to their work, they are more likely to succeed as an independent musician.
2.5 Theoretical Framework for the Project
In this project I consider the needs of mid-career musicians in Queensland and in particular, how they as creative artists can utilise social support, a professional attitude and a professional network to sustain their work over the long-term. This research examines strategies related to professional development and adult learning for mid-career musicians as integral to success. How adults learn, and how support can be provided for the needs of adult learners, incorporates a broad area of research across multiple fields, but I will consider key learnings by highlighting the needs of mid- career musicians in Queensland, and providing suggestions on ways to support their career or professional development in mid-life. These theories of adult learning will provide a framework for this project and assist me in connecting the needs of this group with potential support for their career development. I will provide an overview of some of the key theories in the field, including andragogy, holistic education, and contemporary theories of adult learning. Within holistic learning, I will highlight the value of experience, community, interconnectedness, integration, and environment for the learner. I will also analyse the benefits of communities of practice for adult learners, and the value of life and skill based learning for this group. The theories discussed are mainly from adult learning outside the field of music, although some refer to creative workers in general. Firstly, I will discuss the framework of adult learning and some of its key theories.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 38
2.5.1 Mid-career training and adult learning Previous research indicates that adults learn differently to children which has changed educators’ approaches to training and professional development (Malcolm S
Knowles et al., 2012; Lindeman, 1984). As a result, the emergence of a separate strand of training or professional development became necessary for older workers.
The focus of early adult learning programmes for mid-career workers was skills-based or involved job-related training. However, it became apparent to early researchers that advanced technical knowledge could not be learnt in one course early in an adult career but that learning should occur throughout life and work (Houle, Cyphert,
& Boggs, 1987). Educators, therefore, developed a range of profession-based, ongoing training for mid-career lawyers, doctors, engineers and other practitioners, to allow them to respond to challenges and changes in their work. Training options such as in-service training, conferences, discussion groups, and the idea of life-long learning became popular in many fields of work (Thibeault, 2013; Pearsall, 2009 ;
Bennett, 2009). Later, Dewey suggested a move away from rote learning (focused on facts), to problem solving as a means to learning, and advocated for active learning, which engages students in activities and practical experiences, and enlarges their knowledge base (Shook, 2014). All of these concepts continue to influence adult learning and tertiary courses today and should be considered when developing learning opportunities for adults (Curry, 2017; Dezuanni & Hearn, 2015; Hunt, 2012).
In the 1980s, however, theorists criticised adult education for being too intent on work-related skills and ‘instructional’, and only focused on the ability of practitioners to succeed in their practical work. Further forms and styles of training were examined and explored for adult learners, where existing skills could be celebrated, and reinforced, through professional development; and training could link to actual work
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 39 practices and not just teach particular skills predetermined by an outside educator. At this time, ‘inquiry’ or collaboration between workmates was also acknowledged as being essential for developing new career or work ideas and learning outcomes (Houle et al., 1987). Adult education became focused on building onto existing skills, within the context of work, in partnership with workmates or peers.
2.5.1 Adult learning in a contemporary context The focus of current education and learning opportunities for adults include: critical reflection, independent thinking, self-directed learning, and life-long learning
(Kessels, 2014) with a social or networking aspect (Bridgstock, 2011; Kubatova, 2014;
Zhao et al., 2016). The concepts of andragogy have also influenced the development of education programmes, with the focus of adult learning being on the learner themselves, as active and self-directed (Knowles, 2005; Lindeman, 1984). Lindeman’s five assumptions of adult learning form the basis for many adult learning approaches and programmes: adults are motivated to learn, their learning is life-centred, experience is the source of their learning, they need to be self-directed, and age increases the differences between learners (Knowles, 2005; Lindeman, 1984). More recent research adds to these original assumptions and forms the basis for contemporary adult learning theory. These are summarised in Table 2,1.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 40
Table 2.1 Lindeman's five assumptions of adult learning in a contemporary context
Assumption Contemporary adult learning theory
Adults are motivated to learn Experiences create needs and interests in learning; and these should be the basis for creating learning tools or programmes. Learning is life-centred Adult learning should engage learners through real-life situations, not subjects or topics. Experience is the source of their Analysis of experience should be the core of adult learning learning methodology. Adults need to be self-directed The teacher/facilitator should create an atmosphere of mutual construction of learning and knowledge, and not just transmit knowledge to the students. Age increases the differences Style, time, place, and pace of learning should be considered between learners and cater for different learners.
Adapted from Knowles (2005).
These theories of andragogy and adult learning are complemented by transformative learning theory. ‘Individual experience, critical reflection and dialogue’ (Mezirow, 2010, p. 4), in the context of an authentic social experience, are seen as complementary or additional to, focusing just on the individual learner.
Transformative education theory also suggests that adult learning should involve a holistic approach, engage with the learner’s context, and provide an authentic relationship between teachers and learners, and between learners and learners
(Mezirow, 2010). Learning opportunities should recognise the whole learner and the existing experience they bring with them and situate them in the context in which they work and live.
2.5.3 Transformative learning I found inspiration in the work of Mezirow (Mezirow, 1996, 1997, 2010; Ted,
2018), in particular, and the theories of transformative learning provide valuable insight into developing learning tools for adults. Transformative learning recognises existing individual experience as integral to encouraging critical reflection; and this
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 41 allows learning to take place that may cause significant change in the learner’s life or work. If adults are able to share their existing knowledge and experiences it can lead to an environment of critical reflection and learning, which leads to personal transformation, engagement in new roles or practices, or social change overall
(Mezirow, 2010). This approach is a consideration for developing learning tools or opportunities for mid-career musicians in Queensland, as it would acknowledge their existing experience, provide them with social and learning opportunities with their peers, and encourage them to make choices and changes which may impact on their career and music work in the context of the current music climate. The existing experience that adult learners bring can also contribute to the construction of learning experiences and more genuine participation in the learning.
2.5.4 Andragogy and experiential learning It has been established that adult learners need to participate in the development of learning goals, resources and assessment for themselves as autonomous learners.
And in the field of adult education, teaching and facilitation should engage teacher and student mutually assembling and dis-assembling cultural products to enable learning
(McWilliam et al., 2008). Teachers can now be seen as ‘co-editors’ and participants in the learning experience rather than conductors of information or theory. A truly experiential learning experience is where teachers and students create, fail and succeed together (Kelman, 2015; Knowles, 2005; McWilliam & Haukka, 2008). The experience that adult learners as contributors to the process, throughout their learning, is essential to the success of any learning tools provided for this group.
Adults are also interested in learning things that will contribute to their immediate role in work or society and the purpose of adult education should be to build on existing knowledge and frameworks, using ‘competency development and life
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 42 situations’ (Hagen & Park, 2016, p. 180). Adult learning for mid-career musicians, therefore, could consider the approach of andragogy and recent developments in adult learning and involve and engage these mid-career musicians in creating and editing their own learning programmes, connecting them with peers and industry networks, and linking this learning directly to their work or current life situation. This also links to Mezirow’s belief that the context in which adults work and learn is important for learning (Mezirow, 2010). Mid-career musicians can benefit from programmes or tools that will connect with the context in which they work and live and provide them with opportunities to connect with their peers.
Adult learners prefer to have freedom of choice in their learning, and training opportunities should encourage them to build a critical framework from which they can create their own meaning and pathway (Knowles, 2005). Educators should ‘should create an authentic climate conducive to learning, including mutual trust and respect, and collaborative activities’ for adult learners (Kessels, 2014; Mezirow, 2010). In fact, most creative artists surveyed in Australia, utilise self-learning and on-the-job learning throughout their careers, and there is an existing environment in the artistic community in Australia that encourages self-motivated learning through artists’ careers (Throsby,
2017, p.107). This environment of self-motivated learning could be exploited further to assist and support mid-career musicians in their career development. Independent investigation or learning through which they can create their own knowledge is also preferred by adult learners (DeMaris, 2012; Knowles, 2005; Rae, 2005). If the learning environment in which adults work can be improved, then an atmosphere which encourages life-long learning and active participation in learning can be generated.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 43
2.5.5 Holistic learning The planning of learning activities, events and tools for mid-career musicians can take a holistic approach – and acknowledge the whole person as a human, situate the learning in the context of their life and work, and value their experience and existing knowledge (Miller, 2014; Savickas et al., 2009; Teague & Smith, 2015).
Pierce, for example, suggests that music education needs to move beyond the competitive and technical focus that it currently has, to be more nurturing of individuals, and to provide more diversity in experiences of music.
This means changing not only the balance of competition and nurture,
providing person-centred learning environments, and adding knowledge of
music’s broader meanings and influence, but also including general mind and
body health and injury prevention information into the curriculum.
(Pierce, 2012, p.161).
This person-centred, holistic approach could offer solutions to the stress or mental health issues mid-career musicians may experience due to life changes and pressures. It could also provide support for these musicians within the context of their commitments to family, health and work outside of music. A holistic educational approach acknowledges the growth of the whole person, related to the development of body, mind and soul (or human experience). It also involves interconnectedness and integration between a learner’s environment and their experience (Miller, 2014).
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 44
Whole person
InterconneIn Community cct-edness
Integration
Figure 2-1 Dimensions of holistic education (Miller, 2014)
These four principles govern how holistic education functions and show how this theory defies traditional didactic models of learning. The student is considered as a whole person within learning, and factors including their human experience, mind, and body are integrated within learning and education. The learning is connected to the work and life experience of the student, and integrated into the current industry, climate, or understanding of the student. Finally, an atmosphere of community is encouraged over competition and individual gain (Beattie, 2009; Miller, 2014). These principles suggest that a holistic approach to learning tools for adult musicians could assist them in connecting with their community of peers and inspire them to create transformational change in their lives and work, in the context of dealing with the common mid-life concerns of work, income, family and health. It also allows them to integrate their experience with current music industry models and technologies and connect them more closely with their peers and musical community. A holistic approach to career support and learning acknowledges, engage with, and makes allowances for, the musician’s life, family commitments, health, and other work.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 45 Social context and community are integral to learning success for adults, and if learning experiences can bring together workers with shared interests and learning goals, and involve them in the construction and development of learning, then this will create an environment conducive to learning (Kessels, 2014). Adults bring a wealth of knowledge to the learning process, they are self-directed and enter ready to learn, and want to apply their knowledge to a practical application immediately (Hagen & Park,
2016). Adults also have to know the reason for learning something and have a strong motivation to learn (Hagen & Park, 2016). Learning tools and opportunities for adults should be focused around life or task-related applications and include social components to build the learner’s social competency and capital. The extrinsic factors identified by Throsby (2017) as affecting Australian artists’ success align with this approach to learning. Family support, peer support, and recognition by others, are all essential factors to career success for artists, and by including social interaction with industry or musical peers, or providing learning opportunities that fit within their family commitments, we can build successful professional development opportunities.
Mid-career musicians in Queensland could benefit from learning opportunities directly targeted at mid-career needs, which encourage independent learning directly related to independent musicians’ work, and which encourage collaboration, and networking opportunities with other mid-career musicians.
2.5.6 Collaboration and communities of practice Similarly, reputation or industry recognition is more important to artists than qualifications or formal training (R. Daniel, 2016). Recent studies in the international field of cognitive science (Hagen & Park, 2016) have argued that adults are mostly interested in learning things that will establish them further in their social roles, and that content and learning tools for adults should be focused towards these needs.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 46
Bourdieu (1998) suggests that social interaction builds a sense of community and that can contribute to the development of a shared identity. This is beneficial to learners because it helps them develop their own identity through the group and to share their knowledge and skills with others. Collaboration and interaction with others are important for adult learners, and in particular mid-career workers, as they seek recognition from their peers, and opportunities to work with, and learn from others.
Communities of practice are tools for educational research, face-to-face learning, and for creating online learning communities (Bridgstock, 2014; Lin, Mills,
& Ifenthaler, 2016; Martin, 2015). In a case study on music students in a Finnish music conservatory, Virkkula found that participation in a professional music community, with shared goals, and with expert peers involved, contributed positively to music student’s knowledge, skills and understanding of their work and the industry (2016).
And, De Rosier (and associates) found that there was no difference between learning in a face-to-face context, or in an online community, as long as the learning opportunities were similar in both situations (DeRosier, Kameny, Holler, Davis, &
Maschauer, 2013). Regardless of whether it is face-to-face, or online, sociocultural learning occurs when a small group works together, with shared goals, and shared interaction, to produce products or learning items. This then leads to the development of individual expertise and higher-level competencies (Virkkula, 2016).
In order to respond to the collaborative, networking, and community needs of mid-career workers (and musicians) – communities of practice could be considered as a practical learning tool. Although some studies have argued that face-to-face networking is preferred in some circumstances (Felton et al., 2010), well-developed online communities of practice, which include regular challenges, tasks, and additions to the membership, could provide career support and networking for mid-career
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 47 musicians who cannot access face-to-face meetings. These communities of practice could involve a combination of face-to-face opportunities, or online communities, that bring musicians together, with shared goals, to create products or resources, and to build their experience and knowledge base within a supportive group of peers and experts.
2.6 Summary and implications
Musicians are working in boundaryless, portfolio careers, with challenges in their work related to changes in technology, economics, society, and their age/life pressures(Teague, 2015; Bridgstock, 2005). They are working in an industry where skills related to technology, self-direction, and entrepreneurship are essential for success (Sardeshmukh, 2011; Rae, 2005; Passaro, 2018). Technology and rapid changes in the music industry are a dominant issue for generating income in particular, and musicians need to be aware of, and competent in, using and interacting with current online tools(Yu, 2016; Coulson, 2012). Mid-career musicians are motivated by their creative work and music-making but do not seem to generate significant income from this. They seek collaborative opportunities to create their work and are interested in learning from their peers and on building their network.
To develop a successful programme of education for mid-career musicians, educators must, consult with and include their learners to create activities that will engage with their existing knowledge and connect with practical, real-life examples or work opportunities (Reifinger, 2016; Ted, 2018). Learning for mid-career learners should be self-directed and connect with their desire to continue learning throughout life and connect with their career or work directly (Canham, 2016; Hagen, 2016). It should be holistic, and respond to the life and work conditions that mid-career musicians are in, and work alongside their commitments to family, work, and health
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 48
(Beattie, 2009). The learning experiences should involve a community of practice: some collaboration or peer-learning, where mid-career workers can interact and build their professional network and social and human capital (Coulson, 2010; Pellegrino,
2018; Wenger, 1998; Wu, 2016). It should utilise technology to engage and challenge learners and encourage interdisciplinary activities (Martin, 2015; Hearn, 2014). For mid-career musicians and creative artists, it is important to consider practical creative outcomes alongside learning related to business skills, industry knowledge, and high- level creative skills like musicianship, or music theory.
Current career development theorists propose frameworks and guidelines for adult career development, and educators suggest styles or formats of education for mid-career adults, but, there is a need to identify the specific requirements of established creative artists for their careers and professional development, as opposed to mainstream, traditional, or linear careers. How should we be meeting the career support needs of this very specific group of Queensland mid-career contemporary musicians who are established, knowledgeable, are socially connected, and who have high-level musical, creative, and business skills? This study will investigate the current career development needs and desires of mid-career musicians in Queensland and suggest areas for future research into professional development and career support for established mid-career musicians.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 49
Chapter 3: Research Design
3.1 Introduction
This chapter describes the research design adopted to achieve the aims outlined in Chapter 1, of exploring the long-term professional development needs of mid-career musicians. The first section will discuss the methodology that was implemented and the research design. The second section will detail the participants in the study; and the third section lists the research tools and why they have been chosen. The fourth section outlines the procedure and timeline for the project; and the fifth section discusses how the data was analysed. The final section of this chapter will discuss the ethical considerations of the research and its potential problems or limitations.
3.2 Methodology and research design
The research process for this project utilised a standard social research method
(Barbour, 2014; Creswell, Hanson, Clark Plano, et al., 2007; Phelps, 2005; Saldana,
2011; Silverman, 2009; Sweetman et al., 2010) that included an online survey and interviews with independent Queensland musicians within the field of popular music.
The objective for using mixed-method approach was to collect, analyse, and collate data from quantitative and qualitative sources in one study, and to use the quantitative data to develop a qualitative analysis (Silverman, 2007; Saldana, 2011; Creswell,
2007). I also used a grounded theory (Bryant, 2007) approach to my analysis, and open-coded the data to reveal themes present in the literature, surveys and interviews.
I employed NVivo to sort the information into manageable data sets and used a thematic analysis of the quantitative data, as these themes emerged, which influenced the subsequent questions and discussion points used in the interviews (Creswell,
Hanson, Plano Clark, & Morales, 2007) .
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 51
Key studies that have previously been conducted on Australian artist incomes and careers in the arts industry have employed a combination of quantitative and qualitative analysis (D. Throsby, 2007; David Throsby, 2007;
Throsby, 2017). The purpose of this project was to contribute to this existing research by using a combination of quantitative and qualitative research, with a greater emphasis on the qualitative content provided through interviews and personal accounts of mid-career musicians and their experiences. Firstly, an online survey was distributed to musicians in Queensland who fit the mid-career criteria and the results from this survey led to the questions developed for the interviews. Later I conducted semi-structured interviews with a sample group of independent mid-career musicians to capture the experiences of Queensland musicians, and to investigate their professional development needs. I documented the stories of mid-career musicians in
Queensland to gain an insight into their experiences and career development, and to build an overall picture of the mid-career music scene.
My online survey utilised mostly closed-ended, multiple-choice questions, in order to optimise the number of quick responses. The aim of this descriptive survey was to gather data on trends or the common experiences of mid-career musicians
(Kelley-Quon, 2018, p. 534). The questions were designed to be as unbiased as possible, and easy to understand, to encourage honest answers from respondents
(Kelley-Quon, 2018, p. 534).
The survey was administered through QUT Key Survey and was distributed via email to key industry organisations, via Facebook music industry groups and pages, and to my network of music industry professionals in Queensland, who shared it with their networks and associates. The main focus of distributing the survey via these means was to gain direct access to independent, mid-career musicians in Queensland
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 52 through their industry and professional networks. A nominal number of participants were expected for the online survey (200) and about 131 responses were received (that fit the research criteria). Some limitations with online surveys should be acknowledged: unreliable internet connections or limited access may exclude some regional musicians in Queensland from the data set, or, the target audience may not be present on platforms such as Facebook (Bickman, 2009, p. 533). However, as most musicians use the internet to interact with their fans and for their work in general
(Young, 2010, p. 399), an online survey was a useful tool to access this specific group of people easily in the early part of the research project (Bickman, 2009, p. 533).
The survey responses were used for basic statistical analysis and summaries of key data which lead to the development of additional open-ended questions for the face-to-face interviews (Saldana, 2011, p. 299). The survey also included some open- ended questions, towards the end, in order to reveal data related to the respondents’ motivations, desires, or behaviours (Creswell, 2007, p. 324). These open-ended questions also allowed room for unexpected, or more in-depth information to be shared around key topics and to identify common trends or activities. An explanatory sequential mixed method (Fetters, 2013, p. 320) was used to explain and explore the initial survey data through qualitative data and analysis in the second phase.
The survey was created using QUT Key Survey. It included 20 questions related to how mid-career musicians create their work, and how they access learning, or collaborative opportunities (see Appendix A: Survey Questions).
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 53
Table 3.1 Methods of research and reason for use
Method Type Reason for Use
Survey Quantitative x Collect statistical data
x Easy to represent in graphs or charts
x Enables quick responses from participants, and possible large number of responses (Saldana, 2011, p. 299).
Survey Qualitative x Open-ended questions
x Allow respondents to share personal desires or thoughts, and their own story (Creswell, 2007 p. 324). Interviews Qualitative x Open-ended questions
x Allowed interviews to be discussion- based and focused on storytelling to build a phenomenological view of the key issues (Creswell, 2007, p. 324).
The second stage of the research project involved interviews with a sub-set of mid-career musicians in Queensland. Nine mid-career musicians from a range of professional backgrounds were interviewed via phone. The vast distances and unpredictable internet service in regional Queensland meant that interviews were initially conducted via phone (and not via video-call) with some participants. This was later extended to all participants to ensure consistent results from the interview process. Phone interviews were also conducted because they were the most cost- effective and time-efficient method of talking directly with the participants in the sample group (Bickman, 2009, p. 533). The interviews were recorded and saved onto a secure hard drive to protect the interviewees’ privacy and were transcribed verbatim and analysed to find common themes in NVivo. Consent forms were created by using the QUT Office of Research and Ethics templates, and were approved through the
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 54 ethics application process, which were signed by all interviewees. Data from this project will be stored in the QUT Research Database for use by further researchers.
The questions for the interviews were inspired by the results of the surveys. A combination of narrative research, which focused on the stories and life-experiences of the participants, and phenomenology, which focused on the essence or common issues that all interviewees experienced (Creswell, Hanson, Clark Plano, et al., 2007), were utilised in the development of the questions and process. As the data were analysed, common themes emerged, which influenced further analysis, the subsequent interview questions, and an updated literature review (Bickman, 2009, p. 533).
I hypothesised that some agenda or suggestions for change may arise during the discussions on addressing specific issues or needs that may assist relevant individuals and organisations to advocate on behalf of mid-career musicians in Queensland. This transformative research approach will provide an opportunity for participants to be heard, raise an agenda for change, or improve their working lives (Sweetman et al.,
2010). This has implications for the final outcomes of the project and suggestions for future research, as the study seeks to provide recommendations for professional development opportunities for independent mid-career musicians in
Queensland, based on their shared experiences and career development.
3.3 Participants
The participants in this study are independent (no record label), professional, practising musicians from across Queensland. A ‘mid-career’ musician is defined as (1) one who has had 15 years or more in their profession; and (2) was aged between
30-55 years old at the time of participating in the study. The project included interviews with nine musicians and the survey included responses from 166 musicians across Queensland.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 55
In order to determine the suitability for the interviews and survey, subjects self- selected themselves as a professional musician and I asked them questions to determine their experience or level of involvement in the field. I defined a professional artist or musician as one “who creates or gives expression to or recreates a work of art; who considers his [sic] artistic creation to be an essential part of his life”
(Throsby & Hollister, 2003, p.13). In this thesis, ‘artistic work’ assumes a level of professionalism, a term which “relates to the manner and standards of an artist’s work: is he or she working at a level and with a degree of commitment appropriate to the norms for professional recognition in their particular artform” (Throsby &
Hollister, 2003, p.13). Similar to other key studies in this field, if participants defined themselves as a professional musician, they were eligible to participate in the survey and/or an interview.
The survey was limited to those who fit the research criteria of 15 or more years of music experience, were aged 30-55, and based in Queensland at the time of participating in the study. Those who did not answer questions confirming these criteria were thanked, but excluded from the survey. The survey ran during May-
November 2018 and was promoted through the researcher’s professional music networks, as well as through a paid, targeted Facebook post. The response to the survey was about 166 musicians from Queensland, although, a number (30 or so) of responses were incomplete and therefore excluded from the data set. The response rate was 80% and I was left with results from 131 participants who were mid-career musicians in
Queensland.
The initial survey questions were to determine eligibility for the research project and for continuing in the survey. The results from Question 4.4. onwards (see
Appendix A, Survey Questions), show the responses from mid-career musicians in
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 56
Queensland regarding their music, income from creative work, and professional development experiences and desires. 73% (95) of these mid-career musicians identified themselves as professional musicians.
The survey participants were asked a range of identifying questions early in the survey to determine their suitability for the study, and to provide some basic descriptive statistics about mid-career musicians in Queensland. We asked participants to identify where they lived in Queensland, their gender, and age (within the mid- career range identified for the study). The majority of survey respondents are from
Brisbane city or south-east Queensland. Most of the respondents are based in Brisbane
(66%), and the next biggest groups came from the South-East of the State (14%), and
North Queensland (11%).
Musicians in Queensland: Survey Where do you live?
Brisbane area Central Qld North Qld SE Qld (outside of Brisbane) Western Qld
Figure 3-1 Where do you live?
The majority of survey respondents were male (64%/84), with 35%/46) female and 1% identifying as non-binary.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 57
Musicians in Queensland: Survey Gender
Female Male Non-binary
Figure 3-2 Gender of survey participants
The age range identified as mid-career for this research project was between 30 to 55 years. This aligns with other studies that have identified that the average age of an Australian artist is 46 years old (D. K. Throsby, Petetskaya, 2017). Fifty-eight percent of the survey respondents were aged between 46-55, and 42% were aged between 30-45 years old at the time of completing the survey.
Musicians in Queensland: Survey Age 140 120 131 100 80 60 76 40 55 20 0 30-45 46-55 Total
Figure 3-3 How old are you?
The second part of this research project involved interviewing nine professional mid-career musicians from Queensland via phone. Each interview was approximately
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 58 20-30 minutes duration, and the questions related to the musicians’ creative work, income, and their professional development experiences and desires (see Appendix B,
Interview Questions). The final questions of the interview focused on their opinion of the music industry in Queensland and their positive reflections or suggestions for change. The results of these discussions are included in Chapter 4: Results and
Analysis.
A convenience sample of nine interviewees from across Queensland fit into the mid-career musician criteria set out by the study. While these interviewees were associates of the researcher, also a mid-career musician in Queensland, I attempted to speak to musicians who I do not work with directly, in order to remove some of the influence I may have had as their peer. The interview questions solicited information related to the participants’ experiences as a musician, their current work, and on how their career could be supported further. Recordings of the interviews were saved in
NVivo and transcripts were created to allow repeated listening and analysis of recurring features or themes, or to define differences between the interviewees and their experiences (Silverman, 2009).
The interviewees were four male and five female mid-career musicians from across Queensland who came from a range of cultural backgrounds, popular music industry genres, music professions, and roles. Six interviewees were from regional cities and towns in Queensland, including; Cairns, Babinda, Townsville, Toowoomba, and the Sunshine Coast. The purpose of recruiting a higher number of regional musicians than city-based musicians, was to reflect the Queensland government statistics that indicated that about two-thirds of Queenslanders live outside a capital city (Statistics, 2016). Three interviewees were from the Brisbane city area. One interviewee identified as an Indigenous Australian, and two were from multi-cultural
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 59 backgrounds, which was a reflection of the Australian population. This cultural data and related issues, however, will not be discussed in further detail in the present study.
The interviewees were all ‘independent’ professional musicians who did not have a major record label or formal representation. The majority of interviewees run a small music-related business and work in another part-time or full-time job alongside their music. Two of the interviewees were full-time performing musicians with no other job or source of income. Ten interviews were planned, but due to commitment clashes with participants, and time, only nine were completed. In this thesis, the participants’ names have been changed to pseudonyms to ensure anonymity and protect their privacy.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 60
Table 3.2 Interviewees (names have been changed)
Interviewee Role in Music Industry Region
Roger Songwriter, performer of original music, and music maker for Townsville theatre. Also works full-time with young people at risk.
Mike Covers musician and contractor to professional Australian Cairns touring bands.
Fred Covers musician, songwriter, and performer (full-time). Mostly Townsville plays local gigs and festivals.
Tammy Songwriter and performer of original music (full-time). Some Toowoomba covers work. Has experience in national and international touring.
Emma Original musician and performer. Experience in national and Babinda international touring. Currently working full-time as an artist manager and arts worker.
Sharon Songwriter and performer. Experience as a professional touring Sunshine Coast performer. Currently in full-time tertiary study.
John Full-time performing musician. Covers and original work as a Brisbane songwriter. Experience in national touring.
Jane Songwriter and performer of original music and covers. Brisbane Experience in national touring and festivals. Currently working full time in festival management. Still plays music part-time.
Wanda Performer and songwriter. Experience in performing locally Brisbane and some festivals. Currently working full-time in a non-music creative role.
3.4 Procedure and timeline
The timeline for the research study was across a two-year, part-time commitment that commenced in February 2017 and concluded in April 2019. The majority of the data collection, via surveys and interviews, occurred from May 2018 until November
2018.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 61
Table 3.3 Timeline for Research Project
Date Activity
May 2018 Online survey active
June 2018 Survey data collected and analysis conducted
July/August/September 2018 Interviews conducted with sub-set of musicians
October/November 2018 Analysis of interviews and identification of themes and differences January/February/March 2019 Collating information and findings and writing thesis document
3.5 Analysis
This project analysis assumes that “both quantitative and qualitative approaches, components, data, and/or strategies for analysis are necessary to adequately understand human behavior, whether individual, group, or societal” (R. B. Johnson & Bazeley,
2012, p. 815). The quantitative (survey) and qualitative (survey and interview) data collected in this study were analysed through a qualitative approach using a constructivist, interpretive position (Creswell & Miller, 2000). I used a process of triangulation between the survey data and interviews to reveal common themes or shared experiences of the participants. Some basic coding was used in NVivo for the purpose of grouping ideas or data for triangulation and discussion, however, it was not used as a complex quantitative coding tool (Silverman, 2009). Some statistical graphs and charts were produced from the survey data to highlight key points or common experiences, which were compared to the interview data to look for common stories or experiences among mid-career musicians. Chapter 4 (Results and Analysis) will present the survey and interview data synchronously, and identify common themes, issues or experiences for mid-career musicians and their work in Queensland.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 62
3.6 Ethics
The research proposal was submitted to QUT and approved for the completion of a Master of Philosophy by the QUT Office of Research in 2018. This research has been identified as ‘low risk’ as per the National Statement on Ethical Conduct in
Human Research (2015). It does not identify participants in the published documents nor involve questions about personal or intimate topics. The only foreseeable risks included the inconvenience of completing an online survey or a face-to-face interview, or some discomfort for participants when discussing their music career. All digital files are stored in the QUT secure data storage system and the unidentifiable data and results will be published in this thesis document and made publicly available.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 63
Chapter 4: Results and Analysis
4.1 Introduction
Chapter 4 will present the results of the online survey, and the interviews conducted in this research project. It will also provide an analysis of the common themes that emerged throughout the project. The survey results are presented in graph or table form and are grouped together with quotes from the verbatim interview results, according to key themes or common answers. The purpose of this chapter is to highlight the career support needs identified through the survey and interview responses; and to provide a contextual review of the current state of mid-career musicians in Queensland.
In analysing both the survey data and the interview responses of 131 mid-career musicians, several key topics and themes emerged which will be discussed in this section. The themes were: mid-career issues such as finance, family, health and work- life balance; peer networks and their importance for mid-career musicians; access to career support and associated professional development or training; as well as adult learning, self-motivated learning, and the importance of community and connectedness for mid-career musicians. These themes are summarised in Table 4.1.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 65
Table 4.1 Themes from the research project
Mid-career Issues Networking & Community Career Support and Learning Finance and employment Creative collaboration Self-motivated learning (andragogy) Family commitments Support from peers and sharing of Learning from peers and and health knowledge/stories experience
4.2 Mid-career issues for musicians
Mid-career musicians, like other workers, experience life and work changes which influence how they conduct themselves in their work and careers (Maddox-
Daines, 2016; Smuts, 2014b). These changes include aspects such as family commitments, health issues, financial pressures and a change in work and life values
(D. Bennett & Chong, 2018). The 131 Queensland mid-career musicians surveyed and interviewed in this study all experienced changes in their work and career based on these common mid-career issues and pressures.
When asked about the factors that impacted upon their ability to create and work in music, the participants identified mainly internal issues associated with their own health, family, or commitments. The biggest factor was having to earn money in a non- music job and 38% (50/131) respondents identified this as an issue for them. Twenty- three percent (30/131) stated that raising children had an impact on their music work, and 22% (28/131) defined mental or physical health as problematic. Only 8% (11/131) respondents said that changes to the music industry or technology have had an impact on their music.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 66
Musicians in Queensland: Survey Impacts on music career
Raising Children Earning money in a non-music job Mental/Physical health Isolation or lack of connection with other musicians Changes in the music industry None of these
Figure 4-1 Do you think any of the following have had an impact on your music career?
Only 5% (6) of respondents nominated a lack of connection with other musicians as an issue. This could be due to most artists feeling as though they have established networks and collaborators to work with. However, respondents expressed a desire to connect more with their peer network and wanted to jam, collaborate on new work, or share ideas related to their business and creative work. John, for example, wanted to see more creative collaboration opportunities: “community music...community- minded activities...I think that would help”. Mike wanted more opportunities to jam with other players who were at the same playing standard as him: “It would be good to get, say musicians who, work... mainly like say weekends or...and to get together on a Tuesday night and you know, jam together”. (Mike, Interview, 2018)
It is these established networks which should be exploited and explored to build mid-career artists careers further (Lorentzen & Jeannerat, 2013; Reiff & Labovich,
2014;). Career support for mid-career musicians may come in the form of collaborative
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 67 groups, or opportunities to work together on projects. This will be discussed later in this chapter.
Several other issues were highlighted by the participants in the survey who suggested that external factors such as low income, insufficient venues to play in, funding, or competition, impacted upon their careers. The final questions in the survey were open-ended and referred to the positive and negative aspects of being a musician in Queensland. These questions were included to give participants more freedom to provide their own thoughts on being a musician in Queensland, as well as an overview of the state of the music industry and musicians’ work in Queensland. A summary of these responses has been included in Appendix 3: Summary of Open-ended Questions on Survey.
The survey respondents were asked about what they thought the greatest issue for musicians in Queensland was right now. They did not identify lack of training or professional development in any of their responses, but issues such as appropriate pay, competition for gigs, lack of venues and/or audiences to play to, and funding for
Queensland musicians. Some mentioned the change in music sales via streaming and the associated lack of income as a major issue. Figure 4-2 summarises some of the key issues highlighted by survey participants.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 68
Figure 4-2 Issues identified by survey respondents for mid-career musicians in Queensland
The value that music and musicians have in the current market was a common challenge for many of the survey respondents. They were concerned about:
x the amount of pay that musicians received;
x the lack of venues that support live music, or that pay appropriately;
x free events, like ‘open mic’ nights becoming more frequent, and
impacting on ticketed or paid gigs;
x musicians gigging and charging under market rates;
x musicians’ incomes not being increased alongside the cost of living and
other work incomes;
x the perceived lack of funding for music and musicians from funding
bodies and government.
In the earlier questions of the survey (see Appendix A: Survey Questions), the participants identified internal issues such as family, mental health, and life changes
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 69 as impacting on their ability to create music. However, when asked an open-ended question about the greatest issue for musicians in Queensland, most of the participants identified external influences such as pay rates, venues, industry and peer support, and funding as the main issues. They identified internal factors as the main influence on their ability to create music but saw external factors as the main issue for their ability to generate income and work.
Overall, however, musicians felt that the main factors that affect their career were personal, or internal. Eighty-three per cent (109/131) of the survey respondents said that the issues relate to them, their mental or physical health, raising their children, or their need to earn a living. Their support needs are holistic in nature – related to the musician as a whole person, embedded in life, body, mind, and spirit (or creativity)
(Miller, 2014; Pierce, 2012; Silverman, 2009). The support provided for them, therefore, must create links between life and work, and help them establish a plan for their career and life combined (Savickas, 2016; Savickas et al., 2009; Teague & Smith,
2015).
Another major factor that influenced career development was a lack of steady or appropriate living income. This affected participants in the study, particularly once they started to get older and reach the mid-career stage of their musical life. Emma, once a full-time musician, who now plays part-time and works in music management, saw the rate of pay for live performance as being an issue for long-term work as a musician.
We haven't really dropped our prices, but I don't think we've raised them in
like six years…and before that we were raising them just a little bit each year...
and we just haven't moved them because um...yeah, there hasn't been the
support to do so. (Emma, Interview, 2018)
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 70
Artists in Australia only generate a small amount of income from their work - usually less than $20,000 per year (D. K. Throsby, Petetskaya, 2017). Consistent with this finding, the present study found that mid-career musicians in Queensland do not earn much from their music, and this has a negative impact on their ability to continue in their music career. This study examined live performance as a main source of income for musicians, as well as other sources of income such as royalties, synchronisation, or licensing. While some participants also generated income from music teaching and music industry management or administrative roles, these embedded roles and sources of income were not included in this research project (D.
Ashton, 2015). The survey questions focused on the direct income independent musicians receive from live music, or the production, selling, and licensing of music.
Firstly, I asked the survey participants how much they earnt from live performance. The results indicate that the majority (79/131 or 60%) of the survey respondents made less than $10,000/year from performing their music live. The next biggest group (32/131 or 24%) of mid-career musicians made between $10,000-
$40,000 from their performances. About 16 (12%) of Queensland mid-career musicians in the survey earned more than $40,000 annually from performing activities, and nine (less than 7%) who made more than $60,000 a year from performing live.
The majority of participants in this study made less than $10,000 per year from their live music performances.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 71
Income from performing music
60000+
40001-60000
20001-40000
10001-20000
1001-10000
0-1000
0 1020304050
Figure 4-3 Income from performing music live
As John, a full-time professional musician points out, his main income is derived from performing live:
‘I play real mix of gigs... and that’s where most of the money comes from...
it's like 180 shows or something... 100 maybe 200 shows a year...’ (John,
Interview, 2018).
Overall, most of the musicians surveyed in Queensland earn under $20,000 annually from performing. Low income from their creative work was the predominant issue perceived by mid-career musicians as inhibiting their ability to work in their creative career. External factors such as income are difficult to control, but developing internal skills related to career development and life planning, self-efficacy, and agency around work, could assist mid-career musicians in Queensland (D. Ashton,
2015; R. Daniel, 2014b; R. Daniel, and Johnstone, Robert, 2017; Maddox-Daines,
2016; McLauchlan, 2016; Power & Books24x, 2006; Teague & Smith, 2015). If mid- career musicians have developed a career plan, based on the factors they can control, such as a professional attitude, or their professional network, they could mitigate the risks and industry influences on their music careers (Zwaan, 2010, p. 526).
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 72
Most interviewees in this project stated that they earnt money through multiple musical or work sources, and many worked in embedded roles, or in jobs outside of the music industry to support themselves alongside their music work. The main source of music income for most interviewees, however, was, fees from performing or playing gigs:
So, I've mainly done gigs.. I've just started to teach in the last say... three
months... (Mike, Interview, 2018)
The competition for gigs was seen by Mike, a full-time, professional musician, as a cause for concern for his live performance income. He saw gig or performance income as low, and the competition for gigs as high, a common issue for mid-career professional musicians in Queensland.
You know, it's pretty small, so most of your gigs are you know, it’s this little
job I guess...but what I'm finding now is...I think...there’s a lot of under-
cutting going, and I’m thinking, feeling, that it's more...people who also have
day jobs, who are going out and doing gigs, are going out and under-cutting
to get the gig cause they want to play… (Mike, Interview, 2018).
In order to combat the issue of low income and competition for gigs, Mike suggested that there was an advantage in doing covers gigs alongside original gigs to generate enough income from live performance.
I do mainly covers stuff. I do a few original acts, but as you probably know,
it's a lot harder in the original bands/acts to keep maintaining lots of gigs and
stuff like that...you know...I do work on a few different original projects…
(Mike, Interview, 2018).
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 73
The ability to adapt to the working conditions and industry environment are valuable career tools for mid-career workers. It is a common belief among career development theorists that adaptability is central to career planning and success (Autin,
Douglass, Duffy, England, & Allan, 2017; A. Brown et al., 2012; Inkson, 1999; Jiang,
2017; Lent, 2013; Ramos & Lopez, 2018; Rudolph, Lavigne, & Zacher, 2017;
Savickas et al., 2009; Savickas et al., 2018). Mid-career musicians who are able to adapt their work and career will be more successful through middle age and beyond.
Jane, a musician who performs part-time but also works in arts management, has adapted her own career to respond to life, family and work conditions. She felt that issues such as current live performance rates and pay are detrimental to a long-term career in music.
We're falling down in that support of musicians and having like, good
venues…that, and being able to access engineers that don't take half your gig
money and…there’s still those kind of deals with bands…where you know,
you can get the money over the bar while you're playing, which, you know,
from a marketing and from a financial perspective is exactly the time when
people aren't buying drinks... (Jane, Interview, 2018).
As Daniel and Johnstone point out, these issues are indicative of an arts industry which is mostly unregulated and has had a large influx of new music graduates and practitioners, which has caused an oversupply of labour (R. Daniel, and Johnstone,
Robert, 2017). As more graduates and independent musicians release music and start gigging, professional musicians find it difficult to compete for the same gigs, airplay or industry attention.
The results of the survey and interviews indicate that although live performance is the main source of income for musicians in Queensland, some musicians generate
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 74 income from other sources such as synchronisation (sync), licencing, or royalties associated with their music. These sources of income are defined in Table 4.2.
Table 4.2 Sources of Income (Other than Performance) for Musicians
Synchronisation (Sync) A sync is created when music is put with visuals such as a video, film, television, advertising, or gaming. The money from this sync is paid to the music creator or copyright holder (APRAAMCOS, 2017). Licensing A licence is required by businesses when music is played or performed live, copied or covered, played on radio or online. The money from these licences goes to the music creators or copyright owners as licencing income (APRAAMCOS, 2019b). Royalties Music creators or copyright holders are paid royalties (fees) when their music is played in a public arena (e.g. a café), or if it is performed live (e.g. by an orchestra or band). (APRAAMCOS, 2019a).
The majority of mid-career Queensland musicians who responded to the survey earn less than $10,000 a year from music licensing, syncronisation, or royalties. The largest group (103/131 or 78%) earn less than $1000 a year from this income source.
Only three musicians said that they earn $10,000-$60,000 a year from syncronisation, licencing, or royalties. This aligns with the previous finding that most artists in
Australia earn less than $20,000 per year from their creative work, with a few
‘superstar’ artists earning a much higher income by comparion to the rest (D. K.
Throsby, Petetskaya, 2017). These other sources of income, aside from live performance, are generating minimal income for mid-career Queensland musicians.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 75
Money made through Licencing, Royalties or Syncronisation 140 120 100 80 60 40 20 0
Figure 4-4 Income made from Licencing, Royalties or Synchronisation
Musicians in Queensland struggle to generate a living income and to support themselves and their families, which is consistent with the national statistic of 65% of musicians in Australia who make less than $10,000 annually from their creative work overall (D. K. Throsby, Petetskaya, 2017, p.76). Similarly, my survey revealed that approximately 60% of the mid-career musicians in Queensland studied, earnt less than
$10,000 per year from performing live, and about 94% make less than $10,000 per year from sources of income such as music licencing, synchronisation or royalties.
These income levels for mid-career musicians in Queensland are low, especially with regards to licensing, sync and royalties. Their overall earnings, however, are comparative to the overall income for artists identified in the recent national study on artists’ incomes by Throsby and Petetskaya (2017).
There are common pressures related to mid-life and mid-career for all workers, including factors such as family, health, finance, and work-related changes (Johansson,
Huang, & Lindfors, 2007; Rae, 2005). Jane found that the lack of income from creating and selling music, and family commitments, were influencing factors in her choice to
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 76 change from being a full-time musician, to taking on an embedded role as an arts producer, and becoming a casual musician.
…streaming and the like, iTunes downloads and that kind of thing...is very
small...it's you know, sometimes it's $12. And I think, occasionally if your
song gets picked up by a friend to use on their YouTube you might end up
with a few hundred dollars...but it's usually just a small amount. (Jane,
Interview, 2018)
Mid-career musicians in Queensland are choosing to move into roles outside of full-time live performance or music creation and sales because they cannot generate enough income to support themselves or their families from these income sources.
Some mid-career musicians interviewed in this study found it too difficult to generate live performance income, therefore they chose to change their career, or earn income by taking on an administrative or arts-related role, or a non-arts job, alongside their music work:
I literally got to the point where I got sick of doing the corporate gigs... really,
really sick of them. Ah...and, you know there's not a lot of love from the
audience to band in a lot of those contexts. So, I really wanted to give that
up...but because it was my money making I needed to get a job, so that's when
I started kind of working in the Arts as an arts worker rather than a performer...
(Jane, Interview, 2018).
The ability to make changes, take control of their careers while finding self- efficacy and agency is a key characteristic of mid-career workers (McLauchlan, 2016).
The results from this study indicate that although most have agency over their music career and creative work, some musicians are forced, by external factors, into undertaking other work because their income is low, and mid-life pressures cause them
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 77 to take up another occupation. They often take up embedded careers in industries outside of music to support themselves and their family (D. Ashton, 2015). The ability to try new roles or tasks, think critically about their career, and develop a process of life-long learning is also important for mid-career workers (Kessels, 2014; Knowles et al., 2012). This study found that the mid-career musicians surveyed and interviewed were active in pursuing paid work opportunities, and in finding professional networking or collaborative opportunities for their work.
Non-linear work patterns and the precarity of work in the music industry also contribute to financial physical and mental pressures on practitioners (Bridgstock,
2005). The combination of these factors results in precarious, unpredictable work in which pay rates are unregulated (R. Daniel, and Johnstone, Robert, 2017), and in which competition or undercutting may influence the amount of money being paid for live performances.
Digital music reproduction and distribution technologies have challenged the
vertically integrated, centralized music industry. This situation allows us to
imagine that anyone, regardless of social position or geographic location, can
make and distribute music to a global audience. (Sargent, 2009, p. 469).
This democratisation and deconstruction of the music industry has impacted upon mid-career musicians’ ability to develop their music income in an industry where anyone can release and sell their music (Hracs & Leslie, 2014; Tolmie, 2017; Young
& Collins, 2010). Once the pressures of family or health impact their lives in their 30s and 40s, they seek other work and sources of income to support themselves and their dependents. The low-level of income, and lack of consistent or permanent work in
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 78 performing and selling music, becomes problematic for mid-career musicians who need to support their family, or who desire stability and security in their lives.
In my mind I had a sense of where I wanted to be when I was 30, and 40 and
50...and I think I’d gotten to my late 30s and um...I still didn't really have a
solid sense of what my 40s-50 were gonna be like and I wanted to build
something that maybe had a bit more structure and...and yeah definitely
living... surviving on the music...living week to week...and it was hard to look
forward to a future that had those kind of securities, like maybe buying a
house, or really being able to afford...or support my family as they get older...
my parents and that kind of thing... (Jane, Interview, 2018).
Emma also found that the lack of predictable income, and starting a family, influenced her change to an embedded role in music and arts management.
I guess there's always that natural drop off topic you haven't made any
financial um...you know, if you haven't made a real…um impact with the
larger audience, then, I guess you do focus your attention on other things.
(Emma, Interview, 2018)
Another major concern for these mid-career workers was the ability to respond to the pressures of dependent family and children on their time and finances. Emma, for example, made the decision to return to her home town in regional Queensland, once she and her partner started having children, to mitigate some of the living costs of working in an interstate capital city.
The touring helped pay for the projects, but it wasn't enough…and then
eventually when I had my first baby I came back to home because we just
knew it was gonna be too expensive to raise our kids in Sydney…It became...
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 79
way too...taxing emotionally on our children and our families and it wasn't
working. (Emma, Interview, 2018)
As a result of these pressures, most of the interviewees and survey respondents work in jobs other than creating music or gigging, or outside music, while working part-time or casually as professional musicians. The word clouds below show the range of jobs these independent mid-career musicians work in within or outside of music, with the most common jobs or roles in the largest text.
Figure 4-5 Mid-career musicians in Queensland: music related jobs
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 80
Figure 4-6 Mid-career musicians in Queensland: jobs outside of music
The desire to find a balance between work and other aspects of their life, such as family, creativity, or recreation time is common among mid-career workers (Maddox-
Daines, 2016). This research study found that work-life balance is important for mid- career musicians in Queensland who rely on precarious work, receive low income from their music, and deal with the significant demands that touring or musical work makes on their family, and time, and energy.
It was very difficult...to keep it up and we did try to tour, and you know…and
record. Last time we toured and released an album, but we had four kids under
five in the tour van...I was also the manager, and had released the albums, and
I was taking on the brunt of all the fundraising, and getting the money for all
the projects it was...it became too difficult. Especially when we started to go
overseas with our music. (Emma, Interview, 2018)
For some mid-career musicians, the energy required to continue gigging and performing live significantly affected both their work choices and ability to play music and perform. Jane found it too difficult to balance her mid-life energy levels with the extensive amount of gigging required to generate income.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 81
I think after decades of working really, really hard and putting a lot of um...
there's a lot of energy that goes into it, emotionally and physically, um...I think
I was actually a bit tired...um...at this point too...so there was a point where I
was ah giving so much to the originals and I was kind of jack of the covers...
and so, moved into the arts work... never actually stopped gigging but reduced
it quite heavily, and then I think, once I started to find a bit of the balance now
I do um... some covers work some corporate work still...but again, maybe once
or twice a month, and then I do one or two covers, so originals gigs a month
as well, and they make me really happy and that's what I practice music for
and I write for. (Jane, Interview, 2018)
Emma also found it difficult to balance her paid work in the management side of the music industry with her gigging and creative work. She has chosen to put her professional music aside for the moment and focus on working with young, emerging artists in a more formal management role:
Because I'm so busy in other areas of the industry and also my life, I very
rarely gig much...you know sometimes I'll pick up the guitar and learn a song
that I really like, that I’ve heard on the radio or whatever, but very little
original music being created at the moment by me, I'm sorta focusing on
getting other people's beautiful music out into the world. (Emma, Interview,
2018)
A holistic approach to developing support for mid-career musicians could address these issues of mid-life and mid-career. Pierce (2012, p159) suggests taking a person-centred approach to learning and support, and providing professional development topics related to physical and mental wellness, a broader understanding of music within a life context, and to present opportunities to change musicians’ value systems, and present a holistic approach to career and work. If support is provided that
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 82 considers the life and work commitments of mid-career musicians, it can assist them in finding a balance between work and life, and provide opportunities to create a career plan that is complementary to their mid-life commitments of health, family and finance
(D. Ashton, 2015; G. R. Ashton & Klopper, 2017; Maddox-Daines, 2016; Savickas,
2016; Savickas et al., 2009; Savickas et al., 2018; Teague & Smith, 2015).
The desire to play and perform, however, was still important to the mid-career musicians I interviewed, but they did not see music as a lucrative or achievable source of income for themselves in mid-life:
Yes, I sorta do wish I was doing more music. I wish I had more time to do it.
Um.. you know, I miss it a little bit, every now and then. Ah...So yeah, I wish
I had the resources and the time and the money to actually have my own studio
where I could just get away...but that will probably happen…It’s very limited
(laughs), very limited...unless I have something to rehearse for...like a gig, I
don't very often. But I sometimes sit down at the piano and Google and play
children's songs that they are all learning. They all play three instruments
each…(Emma, Interview, 2018)
For the mid-career musicians who worked in non-music jobs, music became more important to them as a creative outlet, and less important as a source of income.
The only exception to this were two full-time covers musicians, who were male, with no children and generated all of their income from performing live, playing covers or original music. Both made a full-time wage from performing music, but they did not have the pressures of children or dependents on them.
Jane said that she chose to find another source of income to support herself, and therefore now her creative work provides her with a balance between work and music.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 83
I don't need to one, make a living, I do that in the full-time job, and two, I've
given up the dream of touring the world with my original music so...which I
think happened when I was getting close to 40…I think that number played a
part in my decision making. I never actually stopped gigging, but reduced it
quite heavily, and then I think, once I started to find a bit of the balance now
I do some covers work some corporate work still...but again, maybe once or
twice a month, and then I do one or two covers, or originals gigs a month as
well, and they make me really happy and that's what I practice music for and
I write for. (Jane, Interview, 2018)
The interviewees in this study generally found inspiration and motivation in their creative work and seemed to be focused more on that than earning money. For mid- career musicians, this connection to their creative work remains throughout their life and career (G. R. Ashton & Klopper, 2017; D. Baker, 2005; Beeching, 2010; Shin &
Seog, 2018). While the majority of Australian musicians earn less than $20,000 annually from music, they still continue with their creative work, which aligns with the findings of Bridgstock (2005), Throsby (2003) and Daniel (2016) on creative careers and artists’ motivations. Consistent with earlier research, this study also found that the amount of income that Queensland musicians earn from their artistic work does not dissuade them from continuing with it; they just wish they had more time or space to actually work on it – away from family commitments, health issues, or their other money-earning job.
4.3 Professional network and social support
The theme of networking was prominent in discussions with the participants in this study. Mid-career musicians use networking and their peers to build social capital and therefore develop skills, music business knowledge, and contacts. As Hearn,
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 84
Bridgstock and Goldsmith found, “the processes of knowledge translation and synthesis for innovation require a range of high-level capabilities underpinned by transdisciplinarity, social networking capability and creative entrepreneurship” (Hearn et al., 2014). Networking and collaboration can lead to greater skill levels, new ideas and new work being developed, and can build a capacity for stronger social networking and business development (Zwaan, 2010, p. 526).
The mid-career musicians in this study found that networking increased their ability and opportunities for creative collaboration (to produce new work and business ideas), to gain support from their peers, and to build their connections to the formal side of the music industry and develop their business further. Those who did work with others suggested that it increased their ability to work within the music industry, the formal structures of music business, and to build their creative and business knowledge. Collaboration and networking also contributed to their ability to create music and build their capacity for live performance. Figure 4-7 shows that almost half of the musicians surveyed created music with other people.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 85
Musicians in Queensland: Survey How do you usually create music?
alone, at home
alone, in a studio or designated space, seperate from my home with one or more people, at home
with one or more people, in a studio or designated space, seperate from my home other
Figure 4-7 How do you usually create music?
This study found that, in order to create music, Queensland mid-career musicians tend to use a combination of collaboration and solo writing time. Overall, they tend to make music on their own, at home, although many of the survey respondents also write with one or more others. (The "Other" responses are either a combination of "all of the above" or "improvising in live spaces"). Collaborations offer opportunities for experimentation and innovation where the strengths and weaknesses of each collaborator are complemented and exploited, and this can result in more interesting and better work being produced by musicians (Homan, 2011). Collaboration is an important part of creating music for the survey participants in Queensland, with 88 of
131 survey respondents (67%) working with one or more other musicians to create their music.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 86
Table 4.3 Top Four Ways Queensland Mid-career Musicians Find Inspiration for their Music
What inspires you to create music?
1. Having time and space to work on my music
2. Listening to other people’s music
3. Collaborating with other musicians
4. Attending shows or festivals
More than half of the survey respondents stated that they created their music best with other people. They also find inspiration for creating music by attending shows, and festivals, having time to work on their music, and through collaborating with other musicians. Collaboration is important for mid-career musicians in creating music, but it also provides opportunities for them to connect with their peers, share ideas and experiences (J. Bennett, 2012; Biasutti, 2017; Carey, Coutts, Grant, Harrison, &
Dwyer, 2018; Homan, 2011; Lowndes & Squires, 2012; Poocharoen & Ting, 2015;
Ruth et al., 2011; Savickas et al., 2009; Shin & Seog, 2018). Collaboration can also lead to stronger professional networks and business development (Zwaan, Ter Bogt,
& Raaijmakers, 2010). It assists in the development of the individual’s identity, social connections, and acceptance into their peer and/or industry network (DeRosier et al.,
2013; Hagen & Park, 2016; Knowles et al., 2012; Pellegrino et al., 2018). Together, these aspects contribute to their ability to form a long-term career in music (D. Bennett
& Chong, 2018; Clark & Lisboa, 2013; Pellegrino et al., 2018; von Bonsdorff et al.,
2016) and develop strategies to continue their creative work alongside other mid-life commitments.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 87
The importance of having a strong peer network emerged as a prominent theme among the mid-career musicians interviewed in this study. Jane found value in having friends or peers in the industry who she could get advice and guidance from.
I also rely on...my contacts...and my friends, and people who I know have
expertise in that field and…it has taken a long time though for me to be
comfortable with...um...at the risk of sounding stupid...asking stupid
questions... (Jane, Interview, 2018).
Collaborating with and finding inspiration from their peers was desirable for this group of mid-career musicians, and this inspired them to write music, play and create new work. They look for opportunities to work with their peers, play music together, and learn from those who they view as their equals.
I think it gets your imagination working...you don't get stuck you can get out
of your rut, that’s definitely what I've gotten out of...those...and I think it's in
a straight forward way of going to see a musician and loving something about
a song, that they sing, and then either thinking of a melody or writing some
lyrics that were inspired...by what you heard...I think that really direct
musical...idea, is really nice result of going out mingling.
(Jane, Interview, 2018)
Roger also found that networking led to better work opportunities.
It's more about networking isn't it?…You know, to hook up with other people
and venues um...have an easier time of making music happen. (Roger,
Interview, 2018)
As Bridgstock found, “most theorists now agree that while individual skills and knowledge, and traits like personality and intelligence, are important foundations for innovation, in actuality innovation thrives on social interaction and collaborative
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 88 efforts” (Ruth et al., 2011). Networks have been acknowledged as essential for developing a career in music, but also for long-term career development and success
(Beeching, 2010; Övgü Çakmak-Otluoğlu, 2018; Reiff & Labovich, 2014; Sargent,
2009; Wang, 2016). Networking and collaboration are essential for the development of new work and ideas (Carey et al., 2018; DeRosier et al., 2013; Hall, 2016; Homan,
2011; Lowndes & Squires, 2012; Poocharoen & Ting, 2015), and these were seen by participants in the current study as important and integral to their work and career development. However, some of the interviewees found that opportunities for collaboration and creative work were difficult to access, partly due to needing to find time and space to work on their music:
Having a full-time job has a major impact on my...like having the lead up time
to feel in the right head space to actually write anything...unfortunately...
(Jane, Interview, 2018).
Similarly, Roger mentioned that these networking opportunities, although attempted, were not often available in his regional city, therefore he did not have many chances to meet up with musicians outside of his immediate circle. He saw the decline in support for live music in his regional city as contributing to the lack of support for local musicians.
…but once again I think it back comes to...there are reasons [networking
events] probably never worked…there’s just not...no one’s crying out for live
music. (Roger, Interview, 2018)
Networking and collaboration are important for mid-career workers because they create an atmosphere of community, connectedness, integration, and sharing of knowledge. Wenger-Trayner (2015) argues that professional knowledge is contained not just in the records or writing about it, but in the practice of it. Learning occurs
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 89 through sharing in communities of practice, and through interactions between the community of people involved (Farnsworth et al., 2016; Hargreaves & Gijbels, 2012;
Wenger, 1998; Wenger-Trayner, 2015). A community of practice, and opportunities to share their work, are desired by mid-career musicians in Queensland who want to work with their peers to develop creative and business networks, come up with new ideas, and to build a stronger music scene in the State.
At the end of the survey, the participants were asked what they liked about being a musician in Queensland. They identified several positives, including: the sense of community and peer support between musicians in the State; the artistic environment and weather; and the opportunities available in Queensland such as festivals and artistic collaborations. Appendix 3 includes a summary of some of these positive reflections on their work. The survey participants also suggested that the artistic environment and the weather were what was best about being a musician in
Queensland. Several survey participants saw Queensland as having good opportunities for musicians to perform and collaborate with each other. As Cohen found in her research into rock bands in Liverpool, often music provides a sense of hope, escape, and an important social role in the lives of musicians, which can become the main motivator for doing music, beyond financial or industry success (Cohen, 1991, p. 535).
Overall, most survey respondents nominated two or three positives about being a musician in Queensland, and most agreed that there was a strong sense of community, good musical opportunities, and a positive artistic environment in Queensland.
4.4 Career development and learning
A common theme that emerged in this study was the need for mid-career musicians to be able to access career support through professional development,
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 90 networking and collaborating opportunities, and engagement with the formal music industry. There was a clear difference between those who were still working as musicians full-time, versus those who were working part-time or casually as musicians, but who also worked in a management or administrative role in the music industry. The musicians interviewed gave varied responses to being asked about how they fit within the music industry in Queensland. Those who were working at a management or industry administration level were more engaged with the formal music industry and music organisations. Jane, a festival producer, found inspiration and solidarity in attending organised events such as the Big Sound music conference, or industry workshops on music topics.
I generally leave and make notes, so I feel like um...I find it really inspiring
and I think that the solidarity of talking with a whole bunch of people who are
in a similar boat to you...is just the thing that changes a hard week or month,
or even a hard year...into feeling like there's other people out there doing what
you’re doing, struggling with the same things that you're struggling with...
and, it can just give you a boost, so you can go away feeling like you've got
more ideas and more avenues to... follow through with ideas...(Jane,
Interview, 2018).
The full-time musicians and performers were less engaged with formal structures and training, however, saw themselves as being outside of the formal music industry and networks. John, a full-time performing musician, found it difficult to relate to formal music industry workshops and events.
I...hate…the…I know it's kinda always like that...but I hate all the bullshit
surrounding music...I can't stand talking to people who aren't musicians about
music...and they talk to me about music like they know it...(John, Interview,
2018).
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 91
This is typical of mid-career workers who respond to professional development based on their own experience and who do not respond to a didactic or expert-down approach to learning (Hagen & Park, 2016). Instead, they look for opportunities to share their own experience (Maddox-Daines, 2016; Mezirow, 1997, 2010) and build their own career and identity through their social capital and professional networks
(Erickson, 2001; I. Rogers, 2008; Sargent, 2009). Mid-career workers learn by connecting with a community of their peers and through feeling integrated into a community of practice (Beattie, 2009; Miller, 2014; Savickas et al., 2009; Wenger,
1998; Wenger-Trayner, 2015).
Access to professional development opportunities, especially face-to-face experiences, however, can be limited for regional musicians (R. Daniel, 2013, 2014a,
2014b, 2015, 2016; R. Daniel, & Johnstone, R., 2017; R. Daniel & Daniel, 2015; R.
Daniel et al., 2017). R. Daniel et al. (2017, p 114) highlighted important research findings about northern Queensland and its creative artists which suggest that regional artists in North Queensland have difficulty accessing professional development provided by industry organisations because these are usually located in the cities. He also suggests that there is a pre-conception in the creative industries that a musician must move to an urban centre in order to be able to succeed and make it as an artist (R.
Daniel, 2016 p 91). However, his studies also show that artists who move to regional areas do so for the advantages of a cheaper lifestyle, variety of amenities, available workspaces, as well as the benefits to their family (R. Daniel, 2016, p. 93).
By contrast, in the current study, there were many similarities between the responses from regional and capital city participants regarding professional development; and their desire for more networking opportunities with other musicians; to learn and improve at their craft (music); to approach their peers for information; and
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 92 to help younger or emerging musicians learn or grow. Both regional and capital city respondents were also consistent with their criticism of the music industry, including: the lack of pay rises for live performances; the tendency for bands to undercut each other in the quest for work; or the perceived lack of venues which support live music in Queensland.
The regional mid-career musicians interviewed all acknowledged the positive work that organisations like Q Music do, in bringing professional development opportunities to regional areas, however, some mid-career musicians found it difficult to engage with the content presented at these events. In general, however, mid-career musicians in Queensland access professional development opportunities where and when they can. Of the 63% (83) of survey participants who had undertaken training recently, the majority (60%) had participated in professional development by attending a workshop, or by learning online. Thirty-one percent attended university in some capacity and 9% attended a TAFE course. Overall, the Queensland mid-career musicians surveyed sought out professional development opportunities such as workshops and online training and completed these when they needed to further their knowledge or skills.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 93
Training Breakdown
University TAFE Professional Development Workshop Online professional development
Figure 4-8 Training completed by mid-career musicians in Queensland in the past 10 years.
Those involved in music at a business or management level, however, in the regional areas made an effort to travel to the capital city of Brisbane for major events like Big Sound, and said they found them inspiring and helpful for their learning and work long-term. As Daniel, Fleischmann and Welters (2017) found, many regional practitioners have to go to a capital city to access major events like conferences or workshops which can be expensive, The participants who did choose to travel, found events like conferences, or workshops, useful as networking opportunities – a chance to connect with their peers. Jane, for example, saw that attending these capital city- based events, and regional workshops, were a worthwhile investment, and attendance would help her build her reputation and develop her business.
I've been to maybe...missed one Big Sound in the last eight years... so I go to
Big Sound. Um... every year pretty much. Um…I go to all the industry connect
stuff in Cairns... I attend these... and I actually… I'm getting great value out
of them still... and the relationships and the resources and the connections that
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 94
they offer... it's... I can't actually... I can't say a bad word about them really...
(Jane, Interview, 2018).
Professional development and training were accessed in a range of different ways by the mid-career musicians interviewed. As seen in Figure 4-8, some chose to learn independently, by watching YouTube videos or tutorials in their own time, some attended industry workshops or networking sessions, and some had completed formal training in the past few years.
Self-motivated online learning was popular among the interviewees in this study who wanted to learn skills related to playing or recording music, or basic management of their music business. Wanda, Roger, and Jane, all said that they mostly learnt from informal online videos created by individual musicians, such as instrumental teachers, or via informal YouTube advice videos. One musician was learning how to play a new instrument; another was learning how to record, mix and master and album, by watching informal YouTube tutorials. It didn’t seem to matter whether they were in a city or a regional area – they were all using ‘just in time’ learning (Bridgstock,
2014, p. 310) to find information as they needed it. They did not mention any industry or organisational instructional videos when asked about their online learning.
Wanda, for example, uses YouTube and private online lessons to improve her musical ability, playing techniques and knowledge.
I do a lot of courses through like; I have particular artists that I...really admire
their guitar playing and...so I do a lot of online classes... I have had…Skype
lessons with a tenor banjo player from the States... (Wanda, Interview, 2018)
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 95
Jane finds that online research, which was not available when she first started in her music career, is now the best way to access information and learn new things about the music business.
To Google! (Laughs) I Google all the time. Just put in your question, you
know…Literally, you just put in your question. And see what comes back.
(Jane, Interview, 2018).
Roger also said that he mainly uses industry magazines and online learning tools, like YouTube, to learn new things.
You know, YouTube is chockers if you want to learn! (Roger, Interview,
2018)
Adults are intrinsically motivated to learn and come to learning with an existing wealth of knowledge, and they benefit from self-directed learning tools such as
YouTube or Google (Knowles et al., 2012). They also tend to choose learning tools based on their immediate work or social needs and level of experience (Hagen & Park,
2016), or used ‘just in time’ learning to update their skills (Bridgstock, 2009, 2011,
2014). The mid-career musicians surveyed were mostly self-directed in their learning and accessed information or training which was directly relevant to their career skill needs. John stated that he learnt music theory when he was unwell for a time and needed something to do, but then once he started gigging and making money again, he stopped learning and focused on generating income.
Yeah, it was one grade year every year...I think there was two in one year...
and then one grade a year...and then it was like...I was healthy again…playing
gigs...and just...I lost the drive to try and do the practice and the grades...
(John, Interview, 2018).
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 96
Learning for adults is often sought out in response to career or immediate skill needs, and is life-long (Hagen & Park, 2016; Kessels, 2014; Knowles, 2005; Knowles et al., 2012). These conditions applied to about half of the mid-career musicians interviewed in this study who used appropriate career or skill training online, or access to industry workshops, based on their individual needs or skill requirements at the time.
In the survey, by comparison, only 15% (19) respondents stated that they used online learning, and about 80% (105) of musicians said they had participated in more formal professional development (such as industry workshops) in the past 12 months.
Thirty-one had completed a university degree, and 41 had attended a face-to-face professional development workshop in the past 10 years. The smallest group of respondents (9) said they had completed a TAFE course relevant to their music work and only 19 did some type of online training related to their music career. This survey data may not be representative of the whole state, as the majority of participants are from south-east Queensland and Brisbane. These participants would have access to music industry workshops and tertiary music courses. Even the 26% (34) of survey participants who had not done any training recently said that they would like to do some soon. Based on these findings, we can surmise that, mid-career musicians in
Queensland are generally keen to learn and take opportunities to do so. However, at the moment, they are not utilising online learning opportunities as much as face-to- face workshops and tertiary courses.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 97
Training and Professional Development
No, not interested in training
No, but would like to
Online professional development
Professional Development Workshop
TAFE
University
0 5 10 15 20 25 30 35 40 45
Figure 4-9 Professional development completed by mid-career musicians in Queensland in the past 10 years.
The survey participants in this study were asked, “What could improve your ability to create music?” and to identify any gaps or desires they had related to training or support for their career development. They responded with three main factors that could assist with their ability to create music. Firstly, having more time to work on their music; secondly, having opportunities to collaborate with other musicians; and thirdly, if they could make money from their music, they could then spend more time on it, which would improve their ability to create music. (See Table 4.4)
Table 4.4 Top Three Factors that Queensland Mid-career Musicians Believe Would Improve Their Ability to Create Music
What could improve your ability to create music?
1. Spending time on my music
2. Collaborating with other musicians
3. Making money from music
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 98
Emma, a regional musician and music manager and I had a lengthy discussion around whether specific training or workshops should be provided for mid-career musicians in Queensland. As someone who regularly attends music industry workshops, her opinion was that it could be good to focus on topics directly relevant to mid-career musicians.
…possibly a bit of both…I mean if you are a big career musician and you want
to still be working in the music industry you do…I guess. You know...you
find a way... um... and you do what you can...you keep touring or keep making
music and...you're happy with that I guess…but...maybe there could be some
kind of...support...you know...from government bodies I guess outlining
possibilities of how to... um…capitalise on your skills, you know...and what
are the areas or the possibilities that could be derived from the skills you
know? (Emma, Interview, 2018)
Career development support could build on existing skills of mid-career musicians and encourage them to share their experience with their peers (Hagen &
Park, 2016; Shin & Seog, 2018; Shook, 2014). There are opportunities to build networks, encourage sharing, and create communities of practice further in
Queensland (Wenger-Trayner, 2015; Yu, Roy, Quazi, Nguyen, & Han, 2017), to encourage mid-career musicians to engage with their peers more to create new work, and share their industry experience.
The participants in this research did not identify large gaps in the professional development provided to them, except in the case of a couple of interviewees, who did not relate to workshop content provided by ‘outsiders’ or who thought there could be an option for better directed mid-career content in face-to-face workshops. Overall,
Queensland mid-career musicians seem happy to access career support and training
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 99 via the existing industry workshops provided by organisations such as Q Music, via informal online content, or by completing a tertiary course. However, they did express a desire for more connection with their peers and for career support and learning activities that connected with their mid-life commitments and prior experience.
4.5 Summary This research project has highlighted the mid-life and mid-career concerns and issues of musicians in Queensland and discussed the literature around career support and learning opportunities for this group. This research also identified the importance of networking and collaboration for musicians and their work. Additionally, it has provided an overview of the landscape for musicians in Queensland regarding their perceived needs and issues, and the support that could apply to this group of mid- career workers. The following chapter will summarise the key findings from the research, make recommendations for addressing the career support needs of mid- career musicians in Queensland, and provide suggestions for further research.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 100
Chapter 5: Conclusions
5.1 Introduction
This study began by asking the question: what are the career support needs of mid-career musicians in Queensland? It was anticipated that the study would add to the literature on mid-career artists in Australia by analysing the experiences of mid- career musicians in Queensland regarding their work and career. For the purposes of scope, I chose to focus on mid-career musicians in Queensland who were aged between
30-55 years who had more than 15 years of experience as a professional, independent, popular musician. The study would identify the career support needs of this group and make suggestions as to how mid-career musicians could further be supported in their creative work and career development.
Chapter 1 provided an introduction to the research project, my background as a researcher and contemporary musician, and outlined the purpose and scope of the project. It provided a list of definitions and abbreviations relevant to the project, as well as an overview of the music industry in Queensland, in Australia. Chapter 2 included an analysis of the current literature related to career development, adult learning, collaboration and networking, as well as creative work and musicians. This chapter also discussed the implications of this literature for the research project.
Chapter 3 explored the research design for the project, including methodology and methods; the participants, procedure and timeline; the ethics and limitations of the project; and the proposed process for analysis. Chapter 4 presented the results of the interviews and surveys conducted during the project, and provided an analysis of these results, in conjunction with the literature. Chapter 5 will provide conclusions to this
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 101 analysis and suggest options for further research into mid-career musicians in
Queensland and their career development needs.
5.2 Career support for mid-career musicians in Queensland
This study has confirmed several key findings about mid-career artists, their career development, and their associated support needs. Mid-career musicians in
Queensland, like Australian artists in general are working well into middle age and beyond, and are creating music, performing, and looking for opportunities which will assist them in their careers. This study has also confirmed that they are looking for ways to improve their creative work through collaboration with their peers and build their music network and business opportunities.
The current landscape for mid-career musicians in Queensland is perceived by mid-career musicians as being positive in terms of the music community in the state, the support they receive from their peers, the artistic opportunities that exist here, and the positive atmosphere for creative work. They are concerned with: the lack of venues in some areas; the decrease in funding for the arts, the decrease in, or lack of interest from audiences, the industry, or the government, in music; and the lack of reasonable pay for their work. They are concerned about competition from part-time artists who are seen to undercut pay rates, because it is a part-time occupation for them. They are also resigned to the dramatic change in income from selling music products through streaming, and to changes in the way audiences engage with music.
The musicians studied in this research project did not clearly identify professional development as an opportunity for career support and development, but it is possible to come to some conclusions, based on their survey and interview feedback. Firstly, less than 20% of survey respondents said that they utilised online learning for professional development. A couple of the interviewees said that they used
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 102
YouTube to learn practical music skills such as how to play an instrument; or how to record, mix and master their music; and some interviewees said that they Googled music industry topics or questions, but most did not nominate online learning as a common tool for career-related learning. Researcher who have studied mid-career workers in particular, suggest that this group require self-directed learning, which builds on their existing skills, engages them in the learning process and allows them to try out new roles and build a reflective, circular approach to their career development (R. Johnson, 1996; Knowles, 2005; Maddox-Daines, 2016; Rudolph et al., 2017; Shook, 2014). The participants in this study are seeing out information via
Google or YouTube as a self-directed learning activity.
We know from researchers such as Bennett and Bridgstock (D. Bennett, 2009,
2011, 2016; D. Bennett & Bridgstock, 2015; D. Bennett & Chong, 2018; Bridgstock,
2009, 2011, 2012, 2014) that the way to support mid-career music teachers or emerging creative industry practitioners – is through building their employability skills and identity. Career support and learning environments should support the development of higher-level skills alongside creative needs (Shin & Seog, 2018) and build skills associated with adaptability and long-term life planning. Based on the literature into career development and learning, and, on my research, it seems that, mid-career musicians in Queensland want: more opportunities for collaboration and networking with their peers; time or space to actually work on their music; and, training events that are directly relevant to their current work as creative practitioners and music makers. Professional development for mid-career musicians should engage them as professionals with existing experience, help them to connect with their peers, and provide them with opportunities to work on their art. Following are my recommendations based on the support needs of these mid-career musicians.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 103
5.2.1 Recommendation 1: Integration and interconnectedness The literature around adult career development suggests that mid-career workers require support that provides social connection with their peers and industry experts
(Hagen & Park, 2016; Knowles et al., 2012). Social connection is important for
Australian artists (D. K. Throsby, Petetskaya, 2017) and adults develop their identity and learn through social interactions (Pellegrino et al., 2018; Savickas et al., 2009).
Mid-career artists use social connections to build their professional network and hence their future work opportunities (R. Daniel et al., 2017; Sargent, 2009). They also build their career and life plan based on reflection and through sharing their stories
(Maddox-Daines, 2016; Mezirow, 2010). Communities of practice can benefit creative artists in the development of their creative work as well at their business practices
(Virkkula, 2016). These communities of practice, and opportunities to connect are effective in either online or face-to-face forms for mid-career adults (DeRosier et al.,
2013). The following recommendations recognise these findings, and based on these ideas, I recommend that career support for mid-career musicians in Queensland consider the following:
x Opportunities are developed for mid-career musicians to gather in
groups, (online or face-to-face), to share ideas, stories, and experiences
with each other (communities of practice).
x Frameworks of support are designed to encourage conversation, sharing
of creative work, and feedback from peers and industry experts for mid-
career musicians.
x Creative development tasks or groups are developed to build creative
relationships, and share through new, collaborative work or projects.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 104
5.2.2 Recommendation 2: Creative identity and the whole musician Traditional career planning theories provide some basis for supporting mid- career musicians in Queensland (D. Bennett, 2009, 2016; D. Bennett & Bridgstock,
2015; Lent, 2013; Ramos & Lopez, 2018), however, a broader framework of reflection, life planning and career construction, could be a more practical approach to assisting mid-career musicians with their career (Savickas, 2016; Savickas et al.,
2018). The results of this project show that mid-career musicians have greater support needs beyond just their work as a musician. They need support around their non-music job, family commitments, as well as health issues, and desire more time to work on their music. Their creative identity must be supported and developed alongside their mid-life commitments and responsibilities as a whole (Miller, 2014; Pierce, 2012;
Savickas et al., 2009; Teague & Smith, 2015). Often, mid-career challenges and decisions are linked to the mid-career workers’ sense of self, and their perceived agency over their career and life commitments. Mid-career workers seek a balance between life and work, and they desire agency and self-efficacy over their career in order to develop a plan that encompasses their other job, family commitments and mid- life health requirements (G. R. Ashton & Klopper, 2017; Maddox-Daines, 2016;
Teague & Smith, 2015). In response to these findings, I recommend that support for mid-career musicians in Queensland include:
x support opportunities which are flexible in terms of time, location, and
length of commitment;
x a holistic approach to develop career support, and a framework of career
planning, which encompasses, and addresses, life issues such as family,
health and other work, alongside music;
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 105
x tasks or learning opportunities which encourage career adaptability
through reflection on, and representation of, the mid-career musician as
a whole human, with a career embedded in life, family, health, and other
work.
5.2.3 Recommendation 3: the learning environment and recognition of prior experience Career adaptability and the ability to learn higher-level skills, experiment creatively, and reflect on one’s own career, in order to make change, are all assets for mid-career workers (D. Bennett, 2009; D. Bennett & Bridgstock, 2015; D. Bennett &
Chong, 2018; Ramos & Lopez, 2018; Savickas, 2016; Savickas et al., 2009; Savickas et al., 2018; Shin & Seog, 2018). In order to develop a career and life plan, the prior experience of mid-career musicians must be acknowledged and integrated into support structures and planning. An environment which builds on this existing experience, and encourages life-long learning and life-wide learning is essential for supporting mid- career workers (Chinnasamy; Hagen & Park, 2016; Kessels, 2014; Nguyen, Miranda,
Lapum, & Donald, 2016). If mid-career workers feel accepted by their peers, and are able to build a strong sense of identity within their work, they are more able to make decisions about their life and work (Hagen & Park, 2016; Knowles et al., 2012;
Pellegrino et al., 2018; Savickas et al., 2009). Additionally, if they feel that they belong to a community of similar practitioners, they are more likely to succeed in their work, and make practical decisions for their career (Beattie, 2009; Miller, 2014). These conclusions suggest that, in order to support the career development of mid-career musicians, the following recommendations should be considered:
x Acknowledge the extensive prior experience of mid-career learners and
create opportunities for them to build on their existing creative and music
business knowledge.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 106
x Develop an environment for learning for mid-career musicians which
caters to their need for self-efficacy and agency over their careers, and
their mid-career work and life commitments.
x Create a learning environment for mid-career musicians that builds a
community of peers, helps them develop an identity as a creative mid-
career worker, and assists them in making practical career and life
decisions.
x Build learning opportunities that are flexible and acknowledge
challenges of mid-life such as time, and commitments to family, health
and work.
5.3 Recommendations for Facilitators
The following recommendations have been made for facilitators, and organisations, who develop career support and learning opportunities for mid-career musicians in Queensland. These recommendations are based on the findings presented above in 5.2. and reflect the current theory on career development, adult learning, and support for mid-career workers.
1. Learning opportunities should focus on building higher-level (not
beginner) skills and assist with creative experimentation and the
development of new work.
2. The prior experience of mid-career musicians should be recognised; and
learning opportunities should encourage the sharing of knowledge and
experiences between peers.
3. The establishment of communities of practice, which encourage new
members, and involved regular tasks or input from members, can create
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 107
positive environments for learning and career planning for mid-career
musicians. These should be considered when developing online and face-
to-face opportunities.
4. Support for mid-career musicians should be flexible, in terms of time,
availability, and commitment, and should be available online and/or
face-to-face. This allows these mid-career workers to interact if and when
they can, based on their skill needs, or family, work and health
commitments.
5. Conversation between peers, and the construction of shared work and
ideas, is more effective with mid-career workers, than a didactic, teacher-
down approach. Often, bringing in ‘experts’ who only give advice, and
who do not participate in conversations with the group, will alienate a
mid-career audience.
These recommendations may assist facilitators and organisations in planning appropriate opportunities for mid-career musicians in Queensland and support them in their career and life-long learning.
5.4 Limitations of the Project
The limitations of this research project are that I only interviewed ‘independent’ musicians without record label representation, who play popular music, and the results will be skewed by the experiences and career development of this group of musicians.
Major label artists are not represented in this study. Another limitation is that survey participants were able to identify themselves as professional musicians without any proof needed for their participation. Although the survey and interviews were age-
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 108 limited, that is, if the participant was not aged 35-55, they were excluded from the survey, it was difficult to quantify or measure ‘professionalism’ as a musician.
This project, however, followed a similar self-selection process for participants used by key arts industry studies where participants could identify themselves as an
‘artist’ (D. K. Throsby, Petetskaya, 2017). This has proved a standard approach within the field for gathering this kind of general survey data on artists. I have taken these limitations into account and has treated the survey data, in particular, as a pilot study, general overview, or snapshot, of independent mid-career musicians in Queensland.
5.4.1 Survey limitations
One limitation of the study was that the survey questions focused on popular musicians, and did not address issues that may be relevant to musicians who play jazz, classical, or other genres. Additionally, some of the survey questions did not provide a commentary box, or an ‘other’ category, which limited the types of answers that respondents could give. However, opportunity to respond with comments was provided on some other questions towards the end of the survey, and follow-up interview questions were created to give the opportunity for open-ended responses.
5.4.2 Interview limitations
The interviews with the sample group were conducted only with ‘independent’ musicians, i.e. those without major label or significant financial support. While it was not the original intention to limit the study to this group of musicians, it was difficult to secure interviews with major label artists, and due to time constraints, the independent artists were interviewed as they were available. As a result, the interview results shed light on the experiences of independent musicians in Queensland, who
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 109 play contemporary music only. This means that the results will show a particular viewpoint on the music industry and is not representative of the whole-industry.
5.4.3 Other limitations
A further limitation is that this project focused on generating an overview of the career support needs of mid-career musicians in Queensland, including a summary of the key literature on career development and career planning, adult learning, and mid- career musicians and their work. It gathers baseline data around mid-career musicians in Queensland, their work, and perceived needs of career support. There was no research undertaken on developing practical solutions, learning activities or career/life planning tools to support this group. This may be the work of future projects or other research.
5.5 Suggestions for further research
Further research could be developed around the type of training that will appeal to, and be relevant to, mid-career musicians. However, based on the findings of this research, future studies could investigate:
x opportunities for mid-career musicians to network with their mid-career
peers for creative and business purposes (separate from emerging artists
or graduates);
x creative workshops or opportunities for mid-career musicians to write,
record, and perform with their peers and build their creative network.
x professional development which will encourage mid-career musicians to
keep creating music alongside their other job, family, health issues, and
mid-life commitments;
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 110
x how to encourage mid-career musicians to generate income from their
music so they are free to work on their music more (especially in terms
of non-performance income).
The mid-career musicians in Queensland who participated in this study do attend organised workshops and have completed tertiary training related to their music career.
They are accessing existing professional development opportunities, and did not identify any major gaps in their personal learning requirements. When asked about how and where they learn, or what they may need to further support their career learning, none expressed a need for more training or professional development. This could be because mid-career workers are less focused on learning new skills, rather on building on their extensive existing skills (Hagen & Park, 2016; Knowles, 2005;
McWilliam & Haukka, 2008)? Or, it is possible that they do not know what they are missing regarding current training and developments in the music industry? Or, perhaps the mid-career musicians in Queensland are well-served by existing professional development and career training. These questions could be investigated through further research into practical training planning for mid-career musicians.
At this stage, most of the participants in this study are accessing existing professional development opportunities such as workshops or tertiary training. From an educational viewpoint, if further research were to be conducted into what training would be provided for this group of artists, it is imperative that these mid-career musicians be consulted about and included in, the development of training for them.
There may be opportunities to add to their existing learning opportunities by providing workshops related to income generation and contemporary music business tools, or by providing opportunities for mid-career musicians to collaborate with their peers and build their network further. There may also be opportunities to add to the online
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 111 learning tools available to, and of interest to, mid-career musicians in Queensland, and increase their engagement in online learning.
Finally, based on the findings of this study, there could be further research into, and support developed, for musicians with families and health issues related to mid- life. To provide them with: family services, such as babysitting while performing or on tour, or extra funding to enable them to take their family on the road; or financial support for childcare, and medical costs; and the extra costs related to raising a family on a low income. Although these suggestions are beyond the scope of this study it is important to note that family, health and paid work outside of music were the major reasons that mid-career musicians said they did not spend as much time on their music as they would like to. These are, therefore, a consideration for future studies on mid- career musicians and their career needs.
Overall, mid-career musicians in Queensland continue to write and perform music, regardless of the low income they receive. They continue to nominate themselves as professional musicians even though they often must support themselves with other jobs and income sources. They are self-directed in their learning, and access whatever learning opportunities they can, as required, for their career development and musical needs. There are several opportunities to conduct further research into the support for mid-career musicians in Queensland, through training, for their creative work and career development, and these could be considered by government and music industry organisations in their future planning.
Too Old to Rock? Investigating the Queensland Mid-career Music Scene: A Phenomenological Approach 112
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Appendices
Appendix A: Survey Questions
SURVEY QUESTIONS Too Old to Rock? MID-CAREER MUSICIANS IN QUEENSLAND
1. What kind of music do you play (tick all that apply)? a. Original songs b. Covers c. A combination of original music and covers d. I don’t play music
2. Where do you live? a. Brisbane area b. North Queensland c. Central Queensland d. Western Queensland e. South-East Queensland (outside of Brisbane) f. Outside of Queensland
3. How old are you? a. 18-29 b. 30-39 c. 40-49 d. 50-55 e. 56-90
4. Are you male/female/X (unspecified)?
5. Do you consider yourself a professional musician? (you earn income from your music/songs) Yes/No.
6. In the last 10 years have you completed formal training related to your music career. (tick all that apply) a. University b. TAFE c. Professional development workshops d. Online professional development e.g. Berklee Songwriting Course e. No, but I would like to do some training f. No, and I am not interested in further training.
7. How much money do you earn from performing music each year? a. 0-1000 b. 1001-10,000 c. 10,001-20,000 d. 20,001-40,000 e. 40,000-60,000 f. 60,000+
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8. How much money do you earn from your music through synchronisation, licencing or APRA royalties? a. 0-1000 b. 1001-10,000 c. 10,001-20,000 d. 20,001-40,000 e. 40,000-60,000 f. 60,000+
9. Which of these describes how you usually create music (tick all that apply)? I work: a. alone at home b. alone in a studio or designated workspace from my home separate. c. with one or more people at my home d. with one or more people in a studio or designated workspace separate from my home.
10. Which of these describes where you work best on your music? a. At home b. In a designated studio or workspace separate from my home c. In another city or town d. Away from home in nature or the country.
11. What inspires you to create music? (Select your top three according to importance) a. Listening to other people’s music b. Attending shows or festivals c. Attending workshops or conferences about music d. Having time and space to work on my music e. Collaborating with other musicians f. Making money from my music g. My identity as a musician h. My creativity
12. What could improve your ability to create music? (Number according to importance. Select your top three) More opportunities to: a. Collaborate with other musicians b. Listen to other people’s music c. Attend shows or festivals d. Attend workshops or conferences about music e. Spend time on my music f. Collaborate with other musicians g. Make money from music
13. Do you think any of the following have had an impact on your music career? (Tick all that apply) a. raising children b. earning money in non-music related job
Appendices 132
c. mental/physical health d. none of the above e. other ______(please specify).
14. Do you also earn money in a music-related occupation? (e.g. music teacher/support worker) Y/N
a. If yes, what is your job title? ______(please specify).
15. Are you a musician working in a non-music organisation/project? Y/N
a. If yes, what is your job title?
16. What do you think is the greatest issue for musicians in Queensland right now?
17. What do you like about being a musician in Queensland?
18. Tick this box if you would like to receive the results of this survey.
19. Email address to send results to: ______
20. Please tick the box: I agree The return of the completed survey is accepted as an indication of your consent to participate in this project. Submitting the completed online survey is accepted as an indication of your consent to participate in this project.
Appendices 133
Appendix B: Interview Questions
Chanel Lucas – QUT Masters Research
INTERVIEW QUESTIONS
1. How would you describe your current professional music practice? Do you play music full-time? Part-time? Is it your main source of income or a hobby?
2. Is your current professional music practice your main source of income right now? How do you make money from your music, if at all?
3. If you write music, do you write it alone? Or with other musicians?
4. When do you find is the best time for you to work on your music? (Time of day, days of the week, times of year)
5. List any industry events or workshops that you have participated in recently (last two years), either online or in person.
6. What do you think would help you to better produce your original work? (only ask if original musician)
7. What sort of business experiences/training/ or creative strategies have you used or participated in?
8. Would you like to receive a copy of this research?
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Appendix C: Summary of open-ended answers on the survey
Income and venue support are issues for Queensland mid-career musicians
Getting decent money for gigs from some venues, particularly venues that call themselves music
venues but aren’t willing to pay anything but door deals to musicians.
‘Open mic’ nights are taking over - more and more venues are holding these and not paying musicians
to perform.
Venues not paying professionals a professional wage. There is a current trend for amateurs,
desperate for exposure, to undercut professional performers. Generally, this type of behaviour is
welcomed by young entertainment managers, who don’t have the industry experience to see the
damage they create. Venues suffer over time when bar takings go down due to poor attendance to
the venues. This is because people generally won’t spend money to listen to 2nd rate music. Venue
owners who have been victim to this, quite often, will make a decision to move away from live music
in their venue. In turn, another venue has been lost to the ‘professional’ music industry. In
conclusion, the term “you get what you pay for”, runs deeper than many people think. Agents and
venues not only undermine themselves and their businesses, but they also play a big part in
undermining the prosperity of others.
I don’t think it’s ever been harder to get paid for writing, recording, and playing original work; so,
it’s hard to justify it as anything more than an expensive and indulgent hobby. Obviously this isn’t
unique to Queensland.
A musician’s wage has changed very little over 30 years, which makes it very difficult to focus on
music and creative development as most need to work in other occupations to cover living costs, as
well as the cost of buying and maintaining equipment, insurance and a vehicle - all necessary to be
an active musician.
Inability to be making money from music
According to the recent Music Victoria report the lack of adjustment for the income for musicians
over the past 25 years. As the average entry to shows are still $10 and have been for 25 years it is
impossible for musicians to be able to hold music events and cover costs let alone earn an income
Appendices 135
Income and venue support are issues for Queensland mid-career musicians
based on this current pricing system. CPI at the very least must be factored into the equation of the
price of entry to live performances otherwise musicians will simply find other ways to perform
without losing money
A lack of venues that book bands & pay them a minimum fee. They expect the bands to bring all the
patrons and if they fail to bring a big crowd they don’t make any money.
Being paid correct/award wages for work.
Getting paid gigs - or well-enough paid gigs.
Funding is an issue for mid-career musicians in Queensland.
Lack of funding support
Cuts to funding of the arts
Lack of funding, programmes and support for arts projects
The other problem is funding. I have taken a band to the Adelaide fringe twice and the last time cost
me $10 000 which was not nearly covered by ticket sales. I pay my musicians as much as I can and
cover their costs while they travel with me. Unless you have a grant, it’s just not viable. Same for
local festivals, just not as much money lost. But still often a loss.
A career in the arts is very undervalued in Queensland and the emphasis for funding is generally
youth focused which does not encourage longevity in the arts.
Music being undervalued by our culture.
Limited funding for venues hosting small bands.
We don't really get funding opportunities for anything... it's mainly focused on emerging or youth.
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Community is the best thing about being a musician in Queensland
The sense of community is absolutely brilliant. Most musicians understand that in order to succeed,
we need to collaborate and share ideas. Creating opportunities for others. If I am unavailable for a
gig, it's wonderful that I can recommend LOADS of trusted musicians who can do just as good a job
as I could. Also getting on the receiving end of this is a massive boost to your confidence.
The amazing people I get to work with and the opportunity to sing and learn from the best.
The community of supportive musicians.
Sense of community and strong support within the industry of peers.
Great community within the artists. Good support from other artists if you need advice.
We have an excellent community of musicians here and are renowned for our friendly collegiality.
Arguably, the Qld music scene is second to none for talent and creativity in many genres.
Professional musicians in Qld generally are very supportive of each other and will not compete
against each other at the cost of our industry standards. Amateurs on the other hand are a plague
that are unwittingly attempting to undermine me the industry.
The support and generosity of peers and colleagues has always been fantastic. I have never
experienced anything except respect, trust, friendship from all who I've worked with, from sound
techs to musicians, and for the most part, agents/bookers/producers. I feel like my musical
community has my back. I feel a sense of family among my peers, and I also feel like this is something
special to Brisbane, based on conversations with colleagues and friends in other states, who are often
surprised at how supportive we are of one another.
The community and collaboration.
Qld is laid back and the audiences are friendly and warm and supportive. There is a big "family" of
folkie musos who all support each other either with collaboration or coming to gigs.
Having been established for over ten years & having cut my teeth playing shows & studying music
in Brisbane, I appreciate the community of musicians I’ve grown up with. The friendships I’ve
formed have been beneficial in helping me continue to pursue music through times of self-doubt. I
love my community of music friends!
Appendices 137
Artistic environment and the weather are the best thing about being a musician in Queensland.
Lifestyle, very creative people, mostly friendly audiences.
The diversity of the state. i.e. I live in the tropics which is close to the Torres Strait and PNG as well
as mainland Australia so lots to draw inspiration from.
There are still paying gigs and good weather
The identity of Queensland and to some extent the isolation.
That I get to enjoy the weather, while being a musician
The warm winters/opposite to Melbourne depression winter
I love being able to create music in my own studio (paid for by my non music job) while still working
to preserve some of Queensland's beautiful natural areas. Balance between music art / work / family
doesn't ever seem to be quite right though!
We can write outdoors. There is healthy conversation amongst arts workers surrounding community.
Beautiful place to live. Great musicians and easy-going attitudes
The weather, better cost of living
Great weather, venues, cost of living and community.
Appendices 138
Performance and collaboration opportunities are the best thing about being a musician in
Queensland.
The number of festivals and opportunities across the state. The number of local (regional) scenes
between Cairns and the Gold Coast.
I think it’s a good scene. Especially in Brisbane. There’s lots happening and plenty of opportunities.
Definitely plenty of musos around and many spaces to perform/‘open mic’ type deals where you can
play with others and also test out your material.
There are many places to play if you look. I really like the quality of bands around when I go out.
The opportunity in the early development of the industry here, vs established markets
ability to live close to the city, access to venues as punter/player Brisbane has a unique voice, or at
least flavour, and puts up with under-achievement for longer than other places, I suspect.
There is heaps of work for playing covers at the moment which is my main income.
Lots of opportunities to make a modest living from music in South-East Qld if you are prepared to
work your butt off (certainly in the covers arena). There are lots of talented musicians in Qld to
collaborate with, lots of venues (especially from Noosa down to Tweed), and great weather (which
really helps vocally).
great venues that promote original artists
a small scene of people of "like minds"
There are more experimental music events now than there used to be; nights like Oscillate and Upper
Partialism are fairly recent and go along with more established nights like Small Black Box
There are still plenty of venues willing to have and pay for live music.
Appendices 139
Appendices 140