ED 137 615

AUTHORTITLEINSTITUTION

MRS AGENCY

PUB DATECONTRACT;NOTEAVAILABLE FROM

FORS PRICEDESCRIPTORS

UMENT RESUME

.08 CF 010 '744

Cornell, Richard; And OthersExploring Music Careers. A Student Guidebook.Technical Education Research Center, Cambridge,MassBureau of Occupational and Adult Education (DHEW/OE),Washington, D.C. Div. of Research andDemonstration.76OEC-0-74-925374p.; For related documents see CE 010 734-744Superintendent of Documents, U.S. Government Printingoffice, Washington, D.C. 20402 (Stock Number017-080-01639-7, $1.30)

MB-$0.83 HC-$3.50 Plus Postage.Business; *Career Exploration; InstructionalMaterials; *Music; Musical Instruments; MusicEducation; Musicians; *Occupational Information;Occupations; Resource Guides; Secondary Education

ABSTRACTOne of six student guidebooks in a series'of 11-arts

and humanities career exploration guides for grade:7-12 teachers,counselors, and students, this student book oneexploration of writing=careers presents -informatiort on specific occupatiOns in five:different-career areas: Performing musicians, technology:in music,arts management, the music business, and music education. Anintroductory section-lists nearly 100 job titles under the-fivecareer areas. A chapter devoted to each career area includes generaldiscussion of- the field and whit people in that field do, varioussPecializations-within job categories, descriptionof personalitycharacteristics and interests that are appropriate, education oraxperience required, where and how jobs are found and the joboutlook, and suggestions a. person in the field would make tostudents. The chapters-and: their:subheadings areas follows: (1)Performing Musicians: (How AO youHBecome a Performer? What is it liketo be a performer?), (2) Technology in.Husic (Building MusicalInitruments And the Impactfof Nev Technologies on Music), (4 Arts'Management (Who Are Arts Managers and What Do TheyDo? What Kind-of'Person Is an Arts Manager? Honey:, and The Future), 00 The MUsicBusiness (The music Industric grom CoMposer to the,Public,. Boy kSongGets to You and-Who Gets It There, iold Music:.Business Terminology),and (5) ,Music EduCation (Music Teacherse:Husic Librariansi Musicologyand Ethnomusicologyt and:Musid Therapy). A list of professibnalassociations is appended. (3T)

Documents acqufred by ERIC include many informal unpublished materials not available from other sources. ERIC' makes everyeffort to obtatn the best copy available. Nevertheless, items of mmiginM reproducibility- are often encountered and this affects thequality of the microfiche and hardcopy reproductions ERIC makes available via the ERIC Document Reproduction Service (EDRS).EDRS is not responsible for the quity of the original document. Reproductions supplied by EDRS are the best that can be made fromthe oflginal.

EiOloringMusic Catee-s

a stugent guidebOok

U.S. DEPARTMENT OF HEALTH.EDUCATION A WELFARENATIONAL INSTITUTE OF

EDUCATIONTHIS DOCUMENT HAS BEEN REPDUCED EXACTLY AS RECEIVEDTHE PERSON OR ORGANIZATION DRIGINATING IT POINTS OF VIEW OR OPINIONSSTATED 00 NOT NECESSARILY PEPRESENT OFFICIAL NATIONAL. INSTITUTE OFEOUCAT ION POSITION OR POLICY

01(

RICHARD CORNELLMARY LEWIS HANSEN, PROJECT DIRECTOR :

SHEILA DUBMAN, ILLUSTRATIONS

TECHNICAL EDUCATION RESEARCH CENTERS, INC.44 5RATTLE STREETCAMBRIDGE, MASSACHUSETTS 021 8

2U.S. Government Printing Of f ice

Washington! 1976

For gale by the Superintendent of Doeumente,y.B. Government Printing Gahm, Washington, D.C. Mei '

Stock No. 0174380-01639-7

Developed and disseminated pursuant to Contract No. OEC-0-74-9255

for

Curriculum Development BranchDivision of Research and Demonstration

pccecti of Occupational and Adult EducatronU.S. Office of Education

Department of Health, Education and Welfare

under

Part I. Curriculum Development in Vosticiia1 and TeChnic 1 EducationVocational EduCation Amendments of 1968

Public Law 90476

Discrimination Prohibited - Title VI of the C vilRights Act of19o4 itatra NO person in the UnitedStates. shell, on the ground Of race, color, or na-tional origin, be excluded from participation in,be denied the benefit of or be subjected to discrlm-ination under any program or Activity receiving fed-eral financial assiatance." Therefore, the VocationalEducation program, like all other programa or actiVi-ties receiving finAheiel 2531Steeee from the Depart-ment of Health, Education and Welfare, muSt be oper-ated in compliance with this law.

The project prelented or reported herein wts ptr-formed pursuant to a contract from the U.S. Officeof Education. Department of Health, Education andWelfare. However, the opinions expressed hereindo not necessarily reflect the position or policyof the U.S. Office of Education, and no officialendorsement by the U Office of Education should

be inferred.

U.S. Government Printing OfficeWashington: 1976

Photo Credits: cover and p. 12, Richard Braaten,Kennedy Center; pp..3 and 56, Linda Ford, courtesyof the Washington, D.C. Youth Orchestra; p. 17,courtesy of the U.S. Navy Band; p. 19, courtesyof the Boston Globe; p. 25, David G. Evans, cour-tesy of Boston SZEToOl of Electronic Music; p. 30,Fletcher Drake, courtesy of Arena Stage, Washing-ton, D.C.; pp. 44 and 60, James buttmann.

4

TABLE OF CONTENTS

1. INTRODUCTIONOccupations in Music

PERFORMING MUSICIANS

How do You BecoMe a Performer?What is, it Like to he a Performer?

-1

4

7

8

12

TECHNOLOGY IN MUSIC = 19

Building Musical Instruments 19

The Impact of New Technologies on Music 23

4. ARTS MANAGEMENT 29

Who are Arts Managers and What do They do? 20

What Kind of Person is an ArtManager? 32

Money 33

The Future 35

THE MUSIC BUSINESS 37

The Music Industry 37

From the Composer to the Public 42

HoW a Song Gets to You and Who Gets it There 52

Music Business Terminology 54

6 MUSIC EDUCATION 57

Music Teachers 57

Music Librarians 61

Musicology and Ethnomusic ogy 63

Music Therapy 64

ASSOCIATIONS PROVIDING CAREER INFORMATION _67

5

iii

I NTRODUCT ION

Whom is This Guidebook For?

It is for -any_h4h school _student(9x-perhaps younger ) who is in-terested in music.as a possiblecareer. It is also for anyone

_who wants to know as a consuMerwhat happens to some of the_ moneyspent at record stores, concerts,or for that matter at the drugstore or super market.

Some of the book mill especiallyinterest students going into bus- ,iness br law. Other parts,of thebook may.interest students who

What-Do Teachers SaVho Want Music Ca

work with their hands in wood,metal, or electronics. There iseven a section with inf'ormation

to interest students who will beentering health careers.

Many of the ideas- in, this bookabeut music careers can also beapplied-to other kinds of careers.StUdents who have no intention ofever being involved with Musiccareers can still find uSefulideas about'getting along in. theworking world.

Some comments:

o Studentseers.

When students come to me and ask me if I think they

have what it takes to succeed as a performer, I

usually tell them no. If they doubt their ownabilities ,so much that they need reassurance fromanyone, then I know they laLk an essential beliefin themselves, an essential component needed to be

'a good performer, self-confidence. But when some-

one comes to me.and says, 'I hear the music this

'way,' then I know I'm in the presence of a musician.

I try to encourage all-Of mY students, particularlythe ones with talent.-. Talent needs to be encouraged;cultivated, supported, especialiy in our societywhere:the economic rewards are 50 few. It is sodifficult for even the most talented musicians toget along these days. It's up to all of,us tosupport them.

Irs wrong to encourage anyone towards a mUsic careerwho sn't going to succeed. Itls not right-to giVestudents false hopes, to let them set goals they cannever achieve -- then theY will only know failure.'Why tell them about.something they can never be?

In a world of hype and show, it is important to Knowwhat tO lbok like. A certain amount of talent is

7 tn e ces s a ry ut t 5 o her th ngs that get you ahead-7your image, your agent your publicrelations, your,friends.

so Five year5ago, When a young person came to me with-out a great deal of background and expressed aninterest in a music career, I would caution him :against it. Now, ( don't. I encourage him, becauseat least he has a direction,-a goal, and 'he will bemiles ahead of all of his contemporaries who don'thave any ideas about'what they want to do with theirlives.

o When we teach music, we don't simply teach skillstechniques -- these are tricks easy enoughlto master.

'What we teach is a yay of:living, an approach to - -

life. It doesn't matter about careers; people=growin other ways when they5tudy music. They becomemore complete persons.

o Music careers? 1 knoW so many would-be musiciansdriving cabs and typing._ I suppose that makescab driving and typing 'Music careers'?

These were the comments of musicteachers when describing theirown attitudeg toward the careersof their students. Each commentreflects a different point ofview, a different outlook on thecareer possibilities of music.Each teacher stems to have adif--ferent idea about what successmeanabout the word "career,"aboUt what talent is. Each Aeach-er has a different attitudeabout

his or her own work, and aboutmusic.

'On..one side, they say that'real/alent will succeed without help

and:those who can_ be discouraged,ought to be discouraged:. On theother side, arethoSe who say thateVen-thehest tilont needs all. the

-help and encouragement the stu-dent can get.

Students in music heir adviCefrom parents, teachers, friends,people around them. Sometimes,-contradictions in all .that advicemake it difficult to know wisdomfrom foolishness. Eventually,-everyone has to make up his orher own mind. In order to make-a good decision, :there has to be-good information. The aim of thisbook is to.give some Cif :that in-formation and to suggest wiys inwhich interested students can getmore information.

So that, we know what it is weire talking about, we .are goingto start with i rist that triesto organite, the total picture ofall the a.reas of musical-work.The scheme of this list divides-music, work into four groups:'

Performance and_Creation:those whose central responsi-bility is making music

Production: __ose whose.workSupports a performance, but- isnot actual performing or com-posing.

Business: the music industry

a Education: including teaching,but also many other kinds ofwork.

Many musicians' work takes themfrom one group to another; forinstance,'many performers alsoteach, -

Occupations Music

Performance and Creation

Instrumentalists

Solo PerformersAccompanistsOrchestral and BandMusicians

Organists and otherChurch Musicians

Vocalists

SoloistsEnsemble

Conductors

Composers

ComposersArrangersLibrettistsLyricists

II. Production

Production - PerformanceManagement

Symphony Orchestra ManagersChorus ManagersStage Managers

Sound, Technical Equipment'Operators

AcousticiansSound EquipMent Operators

On-Site Recording andBroadcasting

Broadcast DirectorBroadcast EngineerAnnouncer.Recording Engineer

Studio Recording

Record ProducerArtist and Repertoire PersonRecording Engineer _

Sound Person

Music Technical Services

AcousticiansInstrument Building andMaintenance

Customarily hand-craftedacoustic instruments:

Fretted StringHarpHarpsichordString (violin)Brass and Wind

Music Instrument Repair

Instruments customarilyproduced in factories:

AccordianPipe OrganString InstrumentsBrass and Wind InstrumentsPianoPercussion InstrumentsFretted Instruments

Electronic MusicalInstruments

SynthesizerElectronic OrganElectronic GuitarElectronic PianoElectric Versions ofOther instruments

Piano TunersOrgan TunersRoad Crew for TravelingGroup - "Roadies"

Publishing

Publisher.Artist and Repertoire PersonMusic EditorProofreaderMusic GrapherMusic EngraverMusic Copyist

IlL Music Business

Arts Business ManagemenConcert Management

Concert ManagerBooking AgentBusiness AgentHiring Contractor

Sales, Promotion

Salesperson, MusicalInstruments and Accessories

Salesperson, Sheet MusicSalesperson, Recordingsand Tapes

16 Professional Associationsand Organizations

'3 Publishing

* Instrument Manufacture

e Recording Industry

Legal and Financial Services

Music Copyright LawyersCopyright ExpertPerforming and BltoadcastRights Organization

Note:

categories

IV. Education

* Teaching

Public School

SuptrvisorDirectorTeacher

College, ConservatoryCommunity Music SchoolPrivate StudioMusic Store

Museum Services

Curator, HistoricalInstrument Collection

* Library Services

Institutional (public,universities, college,conservatory)

Performing_DxganizationMusic TheaterOpera

Music Therapy

HospitalsClinicsCorrectional Insti

* Writers about Music

MusicologistsMusic CriticsProgram AnnotatorsAlbum Note Writ6rs

Government Services

utions

Items appearing in both Business and Productiondo bOth kinds of work.'

10

Professional_ Music Activity

Professional music activity is apart of most communities no matterhow small Or reMote, Large cities,however, seem to have more thantheir share. You can make an in-formal'inventory of music activity

4,----3.ri-Your community by consulting

some pr all of these possiblesources of inforMation:

News a er Advertisements: of

concerts"; local performancesby amateur groups; by prof0S-sionals inconcert halls, audi-toriums; local-engagement4 ofentertainers in night clubs;advertisements of local teach-ers (classified under "instruction"); music stores; andprivate instirent sales

Local _ChurcheSand Synqgogues:-Music professionals'hold posi-tions as organists, music direc-tors, choir directors,,soloists,minister of music. ,Somearepaid, and some are volunteers.

Schools.: Music professionalsteach in public, and private,schools, community music schools,colleges, universities. Manyteachers work in their own stu-dios, or injiluSic stores orchurches, giving private orgroup lessons.

LocaliAmateur Music Groups:Bands, community orchestras,

\ choruses, glee clubs, usually'pay a professional conductor tolead_them in rehearsal and per-.fVnnance.

Local Musicians' Union: The_ _

American Federation of Musicians(AFL-CIO) has career informationand can put you in touch withlocal musicians able to answeryour career questions.

The Yellow Page;. Look underthese headings:

Music Arrangers and ComposersMusic BackgroundMusic BoxesMusic CopyistsMusic for CommercialsMusic instruction inst en-

tal, Vocalsic Publishers

Music ServicesMusic - SheerMusical Instruments

RepairingSupplies and AccessoriesWholesale and-RetailManufacturing

Musicians.

By Consulting these sources ofinforMation, you may understandyour own community's relativemusical strengths and weaknesSes.You will also learn who the musicprofessionals are, and where togo to get informat on.

PERFOMING MUSICIANS

Both instrumentalists and vocal-ists face very crowded job markets.For each job available to quali-,fied performers, there is keen

Competition. The range,pf Perform-ing opportunities, howeVer, is-Wideand varids, as the following listshows:

Range of Performance Careers

InstruMentalists

Solo Concert CareersOrchestraTositionsChamber Music OrganizationsConducting and AccompanyingProfesSional or Amateur Groups

Church and Synagogue Musicians

Free-Lance Work with:

Feitivals

_:eraBalletTouring Shows

CircusesIce Shows

Casual GigsPartiesWeddings

Recording .Sessions\Night ClubsCoffee Houses,BarsStreet Music

Vocalists

Solo Concert CareersOperaProfessional Choruses,Section Leader in Church ChoirFree-Lance Solo Work withProfessional and Amateur Groups

Club Work, EntertainmentBroadway ShowsDinner TheatersRecording SessionsSinging Waiters

12

HOW DO YOU BECOME A-PERFORMER?

Preparing yourSelf to 14 a per-'forming musiciands an ill-con-SUming task. Most successfulperformers begin their prepara-tion very early in life -- at age

-seven or eight.-- with.lessons onan instrument. Vocal lessons alsomay begin early, but generally notas early as instrumental lessons.While there have been successfulperfermers wha began theirtrain-

-later in life, early'exPeri-efkb is.cconsidered valuable.

In addition to practising andtaking lessons, it is importantfor alyoung musician to have asmuch performing experience aspossible. -This includes bothsolo and ensemble performan es.

:,Teachers,arrange recitals ortheir students,to give them per-forming experience. Ensembleexperience can be obtained inschool choruses,- orchestras, andbands, church choirs, and civicand amateur groups.

For young musicians, studyingmusic while going to school canpresent conflicts 'between extra-curricular activities, athletics,and practising. Musicians, how-'ever, enjoy working at makingmusic, and would rather be makingmusic than doing anything else.

After years of-music lessonsand high,school, many performersare faced with difficult decisions.Liberal arts college or conserva-tory? Major in music or inEnglish? _Which is the bettermusic school? Where is the bestschool for jazz?' Major in musiceducatIon or in aPplied music?Should I keep going- to.,school atall? Where do all these-roadslead?

Coniervatory

For a student considering.a per-formance career.in serious musicor jazz, either instrumental orvocal, A conservatory may be the,right kind of postsecondary schooMost of the well-known conserva-tories and music schools offertwo programs, a diploma programAna a degree program. The diplomaprogram usually requires only musiccourses and lessons'to be taken aswell as performing two or morerecitals. Students poncentratingin voice or instruments other thanpdano ate usually required to-takepiano lessons. Most conservator-ies also require students to,par-ticipate in performing organiza-tions-such as orchestra and chorus.The diploma program of a major ,

conservatory usually requires four:years of study and includes sub!,jects of music history, literature',and music theOry-as well as per-formance praCiises. Diplomas injazz are available from conserva7tories with special jaz-z Flepart-ments.

A dlord of caution. the word'conservatory".is often used.bycommunity music schools who donot offer_accredited diplomas., Alist'of accredited schools can beobtained by writing to:'

National Association ofSchools of Music (NASM)

One Dupont Circle, N.W.Suite 650Washington, D.C. 20036.

Degree programs inHconservatorlesusually lead to a Bathelor ofMusicdegree. ;n:addition toMusic, history, theory; literature,and performance requirement$, a

3

deg ee program requires coUrsesother-than musiei. Required cour-ses genii-a-11y include Englishcomposition, and literature, aforeign language (German, French,and/Italian are a4 useful Jan-guages to musicians), history,plus/ electives in science or art.Bachelor of Music candidates usu-ally major in an-instrument orvoice, or theory, composition,or education.

The conservatory environment iifull ,of talented musicians, andstudents _should keep in mind: thatmusical performance is the totalfocus of a conservatory. FOr somestudents , this total- preoccupationwith musical concerns may seem toorarefied . A different environ-ment is found in the. college:oruniversity music deparment.-

1 4

College- and- University

The music department.of a univer-sity must serve the'double func-tion of'preparing-music majorsand providingcourses,for non-music Majors. In this environ-ment thé musicians are one ele-ment in community with'manyinterest

The degree o feted in many.of.these departmerits is a Bachelor.of Arts degree with 'a,jnajor inmusic, Non,music req irementsfor, this degree are sometimesmore-extensiVe than for the Bache=lor of Music givenjw the conser-vatory. In atts colleges,performance Or "applied"-musicmajors are outnumbered by studentswhose major subject is musiceducation-.

The advantages of a large music----department in.a large university

are the resources of the activeConcert'life, extensive libraries,

_,and the opportunity to play,with'many performing_groups. -Large:universities have enough moneytoattract famous teachers, conduc-,tors, anecompesers.- The as-

.:

advantages of.these departmentsare-large undergraduate-classeswhich make it difficult to getthe individual attention a dever-oping musician sometimes needs inear training, theory, and harmony'

. Another disadvantage is that thefamous teachers who make the de-partment seem attractive to under-

- graduateS often teach only theMost-advanced graduate students,leaving basic,,teaching responsi-bilities to teaching assistants.

.

Small departments in smaller.liberal arts colleges offer the-advantages'of close individualattention=and_supervision. The

disadvantage is that performanceopportunities and resources maybe-limited.

The life of a performing musicmajor is especially:demanding.Keeping up with the requiredthree or four hours or-more ofdaily classwork plus the ,attendinghomework, reading and/Paper writ-ing, ,the music student must findtime to practise not only jiis orher major instrument or-voice, butoften a second instrument as well.Many performing groups rehearse atnight and 12-hour working days(or even longer) are not at alluncommon.

Students in other fields may takevacations, and when they l'eturn,pick up their education from-wherethey left off. Because music stu-dents realize that consistent dailypractising keeps them growing mu-sically, they use vacations_to---practise. For many perfordancemajors;Irequired-noh-muifc courses

--are a source of aggravation be-.cause they, interfere with prac-tising. Making music all day,everyday, is what they want, and'if'left'to their own devices thatis What,they would have.

Students planning-conservatoryor college work in music shouldknow what the entrance require-ments are. Usually an auditionis required at which the studentwill be asked to demonstrate skilland musical sensitivity.i, Sight-reading and a basic knowledge ofmusic theory are usually required.Many schools have quotas of cer-tain instruments. There are, forInstance, many good pianists andflutists, so the competition amengthese instruments is very high.Less frequently] played instrumentslike oboe, basioon, viola, harp,

ordouble-bass are often in demandat conservatories and colleges who_need these instrumentsto completetheir Orchestras.

Other Wars to Prepare

In music, it is possible to achievea high level of skill without eversetting foot in a college musicdepartment or a conservatory.private, independeat study with agood-teacher is ope'way. Manymusicians who develop the habitof private study in'addition toregular school work when they areyoung, continue private studywhile in college. While majoringin economics, for example, a pian-ist may continue to practise.andtake lessons, thus actually pre-paring for careers in two areas.

Preparing.for performance careersin the field.of popular muiic oftencalls for imagination and resource-fulness. Many'successful perform-ers in the areas of Country music,rock and_roll, folk musid, andjazz, especially vocalists, havebeen largely self-taught. Quitea few of these performers do notread.music,'and dontin4e to workby ear, but many add to their mu-sical skills by formal study undera coach or:tutor.

In the popular music forms,experience is considered 'to be the ,

best teacher. Beginning .perform-ers often find themselves facedwith this dilemma, "How can I geta job,without experience, and howcap ilget experience without ajob?" Getting eXperience may bea matter of working in a coffeehouse or club for very littlemoney, or providing free enter-tainment, at a local event.. -Pro-fessional musicians often callthis period "paying the dues."

Although most education ibr per-forming popular music 'takes placeat rehearsals and pedrformances on /

an infoimal basis, there are for-mal programs in independent schoolswhich teach the musical and busi-/ness skills needed to sucneed in !the worlds of rock and roll and /

country music. Those conservator7ies with departments in jazz cow-,sider jazz as an art form whichthe equal of classical music, andnot to be confused with the popularforms. There is a. tendency forstyles of music to merge. Thearbitrary labels in common uAe --classical, jazz, popular,.coMmer-cial, rock and roll, country andwestern, gospel, rhythm and blues,etc. -- are becoming less clearlydefined. Many coniervatory trained"classical" musicians are applyingtheir skills in the service ofcommerciAkand-poPUlar forms.

,

Popular recording- stars.are alsobroadening their musical vocabu-lary by experimenting with so7called "serious" forms. Someof,the barrieri which have tradition-ally divided the "popular". and"classical" musical worlds arebeing bridged, .,Musical leventS,dialogues, and encounters pretaking place in conservaiories,colleges, and recording/studioswhich never occurred even tenyears ago.

16

WHAT IS IT LIKE TO RE A PERFO#MER?

Going out on sta e and performinga piece of music in front of anaudience iS the only way to under-stand, what a performer goes through.Some musicians find'that they nev-er play or sing better' than they.do when performing. Others mayfeel diffeieutly, but all agreethat the acturl Performance isa totally different experience

from the rehearsal and the hoursof practising. Even seasoned per-formers get.keyed up and nervous .before a performance or solo, butexperience has taught them howto direct that extra energy intomaking music and away from self-

. conciousness.. A performer whoiS t4linking about the music andonly the music will give the best

perTormance possible. If the per-former is thinking, "How am'I do-ing? .Why is that man coughing? .Why is it so.hot on stage? _What'sthe next song?" these'distractionsinterfere with the performance.

Physically, the nervous perform-er is an animal in feai, or in agreatly excited condition. Natureis preparing the body to run orfight -- the blood pressure andpulse increase, adrenaline flows,blood moves to the large muscles,and digestion stops temporarily.This is why the hands feel cold,and the stomach feels strange. Thevoice is in good condition forshouting, not so much for singing.Most musicians need absolute con-trol over the small muscles, notthe large ones which should berelaxed. Once this tremendousextra energy can be released in.'the form of a piece of music per-

s.formed at a high level, the feeirs'invof satisfaction can be almdstcomplete -- ,almost and not IETTFJ-ly because professional musiciansusually set standards, for them-selves beyondwhat the:- can'achieve.

an y is a guitarist. He won'tlet you'call him a "jaiz" guitar-ist or a "rock" guitarist becausehe does not like the limitationsof those -labels.: Randy ha's beenworking-as a musician for-tenyears and-studied guitar-for 11

-years before-that. He has a-Bachelor Of Arts degree,in music-:from Tufts University and'studiedsummers at a college, known forits jazz orientation, the BerkleeSchool of Music-in Boston,- Massa-chusetts. He is now working witha group called Orchestra Luna,,andhe also-teaches guitar privately-.Working in clubs-and playing

concerts in the Northeast, Randyalso makes recordings With thegroup. Randy belongs to the musi-cians' union, American Federationof Musicians, and subscribes toDownbeat magazine.

When Randy, as a boy, told hisparents that he wanted to be amusician, his. parents were notvery enthusiastic because theyknew that musicians have a diffi:-cult time earning a living. Now,however. Randy says that his par-ents agree that music is no moreor /ess secure than the many otheroccupations Randy miglit have chosen.

Guitar lessons and other formalmusic study have been permanentfeatures of Randy's life. "Can

you ever.learn it all?" he says.Randy describes himself as beingmusically taught half by teachersand half by himself... "My teacherstaught me how to learn. Now I'mlearning even more by teachingothers."

Randy is a very busy person; hesays he only has two or three days.a month to himself. 'Rehearsing,'

gigging, teaching, and gettingready' for performances and record-,ing sessions take nearly all'ofhis time.

You can 't just take_Off,when,youfeel III& it because there is somuch at stake. If I don't prec-tise for one day,-It takes.methree days to make up what.Ilose. I havd to stay in fOrmlike an athlete. Everything I

do', every experience I. have be-

comes part of the-music -- evengoing to the beach._

Randy does nof own up to havingany hobbies. "When music is yourwhole life, hobbies aren't neces-sary," he says. But he does enjoyrepairing his own sound equipment,

picking up some knowledge of elec- the humhn dimension of the business.tronics as he needs it. Rock musicians and jazz musicians

and all other artists, to a cer-To handle the business end of

-OrChestra Luna's development, Randy

ener individuals The interper-tain txtent, are sensitive, high

gysonal pressures that can build,upin the heat:Of a recording_iession

at,a perforMance can.and doerupt: Criticism meant, to.help anartist can', if taken the.wronuway,sound like a personal insult.:Often, there just is not!eriough-me for diplomacy._ Knowing how

to:deal with difficult.peopleandhow to giVe and tdke Criticism are,as important to Randr's_work.asknowing how to tune his guitar.

-In spite of_a]\.1 these'predsureg,however-, handy ia ks that t he mu lc,when-it remains *thejocus of every-.thing,mdkes it all WOrthWhile.

The.muSic itself sus-ainS-..'..

The music is its own eward.

and his group have a manager.Their manager, who also helps oth-er performers and groups, was in-strumental lin getting their bestopportunity so far - a recordingcontra Randy says:

We've been very luaky, forevery recording contract there.are th Usands'ot-VOups. We'vebeen h nded thia_on a -silver.piatter.- Of course, nOne ofus in Orchestra Luna has enoligh

qtO liv on from just. the workof .thegroup. We all need, oth-er wc5ek as well 'to_get by.

Randy gets about SO percent ofhiincome from performances andabout 50 percent from teaching.

, Although he enjoys teaching, hewould like to spend all his timeworking for/performances and mak-ing recordings. He coUld easilybe workineill time in bars

ra-.and..clubgq exce t that-the workwould notibe.musically satisfyingto him. /

,

The ow/ers tell you what to,play, and the people in 4 bar

/

only want to hedrn music theyalready know. All you canplay in a bar is the top 40.'four own original style canget squeezed,out. I couldwork less hard and make moremoney doing top 40 stuff, butI'd rather do my own music annRt make so much money.

The conflict between art andcommercialism is not the onlykind of conflictthat Randy me s

as a performing musitian. Whathe calls "ego. conflicts" or"difficult people" brings out

Abbut Auditions

The challenge;of making a.fliqng ase.performer'Of serious or'.'classi-cal" music is just as great as.thechallenge in popular music. Theaudition becomes 'ai,way of life forthe recent graduate of a conserve=tory or college, because it isvirtually, imPossitle to get aTler-,forming job without'an audition.

Abolition procedures vary fromorchestra to Orchestra, but typi-cally most-orChestras follow some-thing like"thd procedure Of theMetropolitan Opera Orchestra. In

1974 the positiOn of assistantprincipal string'bass opened up._Several weeks before preliiinaryauditions,_notice of the vacancywas Sent to the players' committee;made up-of members of the orches-tra. AdvertiseMents were placedin two AmericanJFederation of .

Musicians Periodicals: New York

7

Local 802's Allegro and the Inter-national Musician. Copies of bothadvertisements were sent to rep- ,

resentatives of minority groups.

The orchestra manager,' principalviolist John DiJanni,'took thenames of all.candidates who a0-plied and scheduled preliminary..auditions. Of.the 23 candidatesseven were selected to.compete inthe finals the following morning.Each Candidate played the samematerial, consisting of difficultpaisages from such operas as"Tristan," "Rigoletto,"' "DerRosenkavalier," and'"La Traviata."There,-were no demands for sightreading and no other surprisesall the test music bad been sentto the candidates several weeksbeore the audition.

n the boll, the 11 judges weresca tered about to discourage dis-cus ion amongthemselves during.the audition about the candidates.: Each player .performed behind ablack cloth screen, to.make surethat the judges,could judge.onlyby sclund, not by sight.

Auditions at the Met are gener-ally heard by about a dozen judges,

.

each Of whom has one vote.. 'Thepanel must include-conducters whoare engaged at the time and thefirst cfiair player of the sectioninvolved. In addition, all Membersof heseCtion --in this case thedouble basses -- may serve asjudges. Voting on the finaliststhis time were.11 men, among them-the Met's principal conductorJames Levine.

Auditions havd been called"Kangaroo courts," "charades,""inquisitions," and. they do havesome features in common with atrial by jury. But-the-fact re-mains that auditions are the only

way to select the best musiciansfairly. Any musician will tell youthat the pressure'of a competitive,audition is greater than any per-formance.

Free-Lance Work

Among musicians who do free-lancework, minyiof the distinctions be-tween "serious" and "popular"begin to break down.' It is notunusual for,a conservatory-trainedoboist to work together with arock guitarist who is unable to .

read music. Free-lance woricanrange from playing at wedding re-ceptions to Playing in the orches-tra for-a touring hallet,company ,

or celebrity. The producer of atraveling show usually contactsthe local chapter of the musician'sunion and negotiates with a con-tractor. The contract6r then holdauditions or simply gathers an=orcheatra of musicians heor-shehas worked;with in th0 past.

Success- at free-lanCe musicalperformance depends on familiaritywitb a wide variety of styles,sight-reading ability, and often'skill at improvisation. The manystyles represented in.free-lancework make it'possible for a versa-tile bassist or trombonist 'to playfor the ballet one nightland fora swing orchestra at a hotel thenext.

-In recording studiosr time ismoney, -a lot of money, Good Sightreaderi can .make the process of-getting new music on tape veryefficient. -Fili scores,.commer-cials, background music,and back-ing up recordinCartiste-are.ek-amples Of work available,to freerlance.studio 7side-men.". The, ,

livelihoodS of these musiciansoften depend on their ability t6

: -

play unfamiliar music perfectly''the first time they see it. Sometimes-studio musicians build areputation on their. powers 9f.improvisation.

Free-lance musicians have little°control over their own hours. Al-

though most Perfprmances/ are inthe evening, recerding studiosoften function 24 hoUrs/ a *day .Recor4ing artists show/a lot of

/

variety in their preferred Work-ing hours. Ai saxopfionist Toni

Scott has noticed, "/Both Joni[Mitchell] and Car9le [King] liketo start work late/in the after-nobn and work on into the night.[Qeorge] Harrison is outrageous-- he likes to Start recording'at midnight and/ just keep going.

Free-lance musicians have verylittle control oyez; the, kinds ofmusic- they piay. ' Although 'theycan refuse ,/jobs, they may -not beable financially to pass up workc'Studio muSitianswith the dmposing institictmay,find it/frustrating to bp fulfil-ling the will .of others who havedifferent musical tastes. Suc-cessfUl musicians learh h014 tOdeal/ with- the musical malerial,style, and tastes' of others. So

T9m Scott says,

I 'm successful because of the,attitude I take with me into 4the studio. I subi imate my

desires, my own taste, ahdmy own feel ings. But I need

time to thing about what isgoing on-. inside a bead-. I

want td spend time composj ng...For once I want the stimula-tion to come from within,not without.2

Acconipanists

.Talented pianists with good sight-reading skill can get work, in largecities accompanying vocal dor in- -

strumental performers at lessons orrecitals. AccompanistS ere alsoneeded by 'chorusesl or choral societies in communities or 'collegesand Universities.

Traditionally, pianists haveaccompanied dance classes but asdancers experiment with nevi forMs,other musicians as well have foundwork with dancers. The increaseduse of tape recordings, however,_threatens some oE these jot's.

Church Musicians

Since early in its history, thechurch his sPonsored musicalgrowth and provided musical employ-ment. Today, most churches employmusicians to Play the organ adirect the choir. In large citychurches, .the post of music. dirdettor can be a full-time salariedposition with many responsibilitiesincluding conducting, hiring. voCal-ists and instrumentalists,- and-evencomposing:and- arranging'specialmusic. Most music made in ehurehesis the responSibility of vdlunteers-or part-time professionals whoorganize groups of volunteers. Animportant figure in, some churchesis the minister of ,music, who hasreceived special- musical and theo-logical training. Although organ-ists have dominated the field ofchurch music, more churches areusing the services of other _musi-cians, including jazz and rockmusicians, for special occasions eand festivals. Paid full-time- andpart-time musicians. are'.not neces-eesarily members .of the churchwhich hires them.

11

Military Musical Or anizations

The four branches of the militaryforces each maintain musiehl or-ganizations ranging frowsmallpost or ship bands to the largeunits usecr,in national ceremoniesand parades. Military Occupation-.al Specialties (MOS) exist forall instruments used in bands aswell as for pianists.

. Minimum enlistments-begin attwo-years. Although the emphasisis on'military music and precisionmarching', military:bands give con-certs involving.wwide variety ofband music including.jazz. TheArmy,.Navy, and Marine Corps sharea music school for ;raining bands-men in.Norfolk, Virginia. TheAdr Force alsamaintains a special

Ehlistees who-wish'toserYein,a-band, chorus,-r orchestrawhile -in themilitary'must audition when thy enlist? ,

Band_members are-not exempt/fram any ofthe basic training or ,

other reutine military duties/.After-two.Years'of-service, how--ever,, bandsmen pay auditioni/andapply for "pro-pay" whieh supple-ments the basic pay check.

.

Bands are commanded and/conductedby trained warrantoffices, who .usually make military-music their

,-career. Officers commanding bandaretrained in management, arrange-ment, conducting, -and mi/litary.-ceremonies_kat the same/trainingunits as the bandsmen themselves

THERE_ IS NO EASrANSWER

The wide range of performing work,the tough competition, the manyavenues of trainingr and the manydifferent requirements of musicalartists for moneynd securitymake it impossible_to-ffnd setpatterns in music'careers. Evenafter graduation with a musicdegree, the choices facing the,musician are not simple. Free-lance musicians may find work asteachers, dishwashers, court e-

porterS, or-just about anythiilguntil the>1.hhecome established inmusic. Stable positions with,regular salaries are found withestablished orchestras and schooH.

Many symphony players also performin other capacities and supplementtheir income through teaching.Free-lance muipians likewiseteach, and may perfori,on a regular,permanent basis at some point intheir career. kost of the workingmuslicians are able- to bring crea-tivity to the pxocess of findingor makilig. work just as much as tomusic itsele

There are no easy answers to thecpmplex'career=problems- of a musi-cian. These who are followingsucceisful careers usually had tofind their own path.

TECHNOLOGY IN\ IvithIC

wILDIWG MUSIdAl. INSTRUMENTS

The music of.today needs bilarge-assortment of musical insruments.The people who build musical in-struments can-work in large fac-torics on assembly lines"or insmall-workshopS. AlthoUgh someinstrument builders_neLL-musical-ability to-test'the kl4strumentsthey'makeother buil.ders 4fpen&on engineering and.technical

2 4

.skill.much'more than on Musical-ability.

Musical ability is needed byartisans who-build instruments-byhand in their own worRshops. Noone would consider buying_,a boatbuilt by,a total landlubber. Whowould want to buy a.dulcimer fromsomeone who had no idea-of,howto play one?

19'

Jeremy Seeger builds dulcimersand wooden furniture in a small ,

town in Vermont. Jeremy considershimself a craftsperson in woodlbecause his work in instrument.building has grown to ipcludewooden furniture in addition'tomusical instruments.

After dropping out of=high school;..Jeremy went to college at age 23 to'learn more about trafts.and teach--ing:. He earned.pAachelorof Arts.:degree, but in the skillS_Of hiscraft,,Jeremy is completely self-taught.

Ideal InstrmèntBuild

,

When Jeremy Was -asked -to descr0e,the ideal person tolearn his orAft,i''he 'said the,t, these thing's wouta beimportant: 1 2

*.Training and Experience,

Hand: craft,:werk liiint ark and,high= r

school, at least 'threpAiguri-veekly

Seeing traditional-icraftSperions at thewait

Talents and Abili

=Ability-to.work

Intirestj-n_thQinventiveness'Involvement in music, playing apd iis

,Personality Characteriitics- ,

A lot-of self-disciplinePatience

Being able o cometured day Nobodywhat to do next

with an unstru -ii there to tell Jeremy

Jeremy points out some differ-ences'between instrument buildingin the cquntry and instrumentbuilding in the city. In the city,there are more people who want toown instruments, and the builderis closer to his market. He/shecan specialize in instrumentbuilding. An-instrument builderin the country, however, may pothave as many orders fordnstru-ments. The'country craftspersonmay have to make a wider varietyof, articles to sell. In hisrural setting, Jeremy Seeger hasto supprement his income by doing_odd jobs. AdvertiSink in folkmagazines can get Jeremy moreorders for dulcimers. Travelingto'crafts shows where,he can dis-play-his Work is another wayJeremy can contact potentialbuyers.

For studentE considering d-

ing musicalsinstruments as anoccupation-, Jeremy's adv- is:

e Try out making instrumentspart time, not dependin onthat alone as a sourceincome.

Become familiar with tra-ditional crafts: WatchcraftspeoPle at work.

Get experience'first hand.

The Early MusicInstrument Building Boom

There are more harpsichord build-ers worklmg now than at any timesince the eighteenth cehtury.Why? In the past7few years many

_musiciansohave wanted to performbaroque and .Remaissance music witauthentic instruments. New in-terest in this early music hascreated a need for artisans tofashion:

ClavichordsHarpsichordsVirginalsLutesRecordersKrumhornsKortholtsViellesViols:-Baroque ViolinsFlutes and other instruments.

Learning to build these instru-ments-is a matter of experiencegained through apprenticeship andstudy. Until recently, most ba-roque instruments had net beenbuilt for two hundred years, andthe original ways of 'building themhave been lost. Some of the firstmodern_day builders of baroqueinstruments learned how to buildharpsichords by restoring instru-ments in museum collections. Acommon way 'for beginning instru-ment builders-to learn skills isby assembling harpsichord kitswhich are available from7harpsi-chord builders.

Harpsichords in particular arevery. expensive because of the highcost of'materials and the longtime required...in build and finishthem. Serious study and appren-.ticeship under the guidance of amaster harpsichord builder are srequired.to become an-accomplishedcraftsperson. Many accomplishedyoung harpsichord builders mustsupport themselves with otherwork until they have 'built enoughharpsichords toestablish,theirreputatiOns.

As,musicians,becoie interestedin the music andinstruments ofdifferent periods:of history,instrument builders must redis-cover the best ways of making the-instruments musicians need.

2 6

-AerodynamiCs Engineer fromthe Net erlands

-Navy Man m Vermont

-College Dropout from New York

-Psychology Major at Unive-sityof Virginia

- Anthropology MajoUniversity

-Mannes College of Music Student

-Artist from Greenwich Vilrage

%

at Boston

WhatAo these people 'have in,common? They are all buildinginstruments by hand in theirown studios .in rural New England.

Most of them are self-taught orlearned their craft-through. ap-prenticeshiP or working for otherbuilders. ,But there is more totheir work than the Sort of-tech-nical Skill learned from masters.As violin maker Marten Cornelissensays,

Yopu have the part which isreajly a refined way of makingfbrniture. But then you have-to,Make something that sounds

good. No ,one, I think, can',

teach you that.

41 of these hand crafters havea working knowledge of the instruA,ments they build, however,,onlyone has serious, formal musictraining. Now a harpsichordbuilder, Hendrick Brockman, whotrained to-be a performer, says,

j-deci-ded that-all-- the scratching and scrounging you had todo to be a performing Musiciahand survive wasn't worth it.1

Each ef these New England instru-ment builders has a list of cus,tomers waiting for.Anstruments tobe built. Business in banjos isbrisk enough for Kathy Spencer tosay, "We'reselling all we canmake. And if we could make more

we could sell more.2

Although they have differentattitudes about the instrumentsthey build, all of them seem toplace great value in workmanship.Davi4 Moore, a pipe organ builderinVermont 'says,

No two organs are the samb:It's not as if I'm making re-frigerators or something likethat.

"I'm'just fed up with sterile'furniture instruments' and withthe designs of current culture,"3says Mark Surgies. Showing apreference for the old ways ofdoing things-, these and other handcrafters are rejecting the massProduction, assembly-line worldfor the independence of smallworkshops and studios .... andsurviving.

3Bos on Sunday Globe, January 18, 1976.

2 7

THE IMPACT OF NEW-TECHNOLOGIES ON MUSIC

Throughout history, technical'advances have changed the waysin which music is made, printed,and recorded.- The eighteenthcentury craftsman and-inventorincreased the variety of musicalsounds by experimenting in hisown workshop. Today, the twen-tieth century engineer or inven-tor does the same.

Engineering changes arid new de-signs have led to new materialsand new methods of constructingmusical instruments. For eXample,compare the flute of the eighteen-th century (a wooden tube with aconical bore and holes simplycovered by the fingers) with themodern-day flute. The violin oftoday uses steel instead of gutstrings ancruses an improved bowand chin-rest. None of theseitems was part of the originaldesign. Plastic has almost com-pletely replaced calfskin fordrum heads. Even brass is givingway to fiberglass in Sousaphonesfor marching bands. These andmany other changes are the workof industrial designers, engin-eers, instrument builders, andindependent thinkers.

Today, electronic engineersare developing and perfectingelectronic musical instrumentssuch as the synthesizer Con-servatories are adding coursesin electronic music. Independentelectronic music workshops arebeing set up in many cities.Public school systems are find-ing synthesizers useful not onlyin'music classes, but also inscience and media classes. Soonpublic school music.teachers will

need a working knowledge of thesynthesizer in addition to the manyskills they now have.

Electronic musiC is what mightbe called an emergingfield. Electronic music is newenough so that no one yet knowsall the ways it can be made orused. The world of the synthesiz-er is changing almost daily. Un-til very recently, synthesizerscould sound only one note at atime.s Now some synthesizers cansound many notes at once. Theconstant improvement of these newmusical instruments is the works_of audio engineers, electricalengineers, and acoustic enineers.Musicians who experiment w#helectronics have also suggdstedand made improvements.

In the near future, electronicmusic willneed:

Engineers, inventors andindustrial designers todevelop new models of syn-thesizers and new electronicinstruments

Technicians to assemble andtest the instruments

Business people and salesrepresentatives to bringsynthesizers to more people

Teachers to train musiciansin the usb of new electronicsounds and equipment

Composers to create with thenew electronic sounds newmusic for television, radio,popular, and commercial music,-and for their own art.

2 8

MUsic History Renaissance

Periods 1500 1600

Technical Develo ments in MusIc

Baroque Classical

1700 1800

&tan*1900

Developments Organ MeChanical

in ViO1 Violin Harpsichord Piano advances for ,

Instrum nts -Recorder wind and

Lute brass

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

Developments Moveable type Lithography

in and engraving

Printing

Dvelopments

in

Recording

Musical Clockwork Player Phonograph

(Music Boxes) Piano Tape Recording Qu,

Baroque

1700

Classicil Romantic Modern

1800 1900 2000

Mechanical Electric

Violin Harpsichord Piano advances for instruments

wind and

. brass

le type

graVing

m

Lithography

Synthesizer.

-m .

Photo

processes

Musical Clockwork Player Phonograph Stereophonic

(Music Boxes) Piano Tape Recording Quadraphonic

.

A Post on the Frontier

On the second floor of an oldbuilding in Boston's Back Bay,section,there are several roomsfull of synthesizers, mixers,sequencers, tape recorders, .

'speakers, reelsof.tape,.posters,pianos:, wastebaskets., electronic,gadgets and pathcords, amplifiers,chairs and tables piled high withmusic and magazines, and ash trays.Ther.establishment is known as the:Boston School of Electronic Music..The BSEM is an independent col-.leotion of electronic,musicianswho haye equipped an electronic.music studio.to teach others,andfor their oWn use as well.

The musicians at BSEM see theirschool as 4 trading post on -01e;frontier. "Where we are noW, 20years ago there waS'only wilder-'less," writes their chief andfounder Jim Michmerhuizen.

Jim discovered synthesizers atage 28 or 30, and has lecturedabout them-to anyone who will

inCluding several collegesand music,departments. Ile was

also responsible for writing'themanual for the ARP 2600 synthe-sizer. Whehoot ledtutingwrit-ing, aod teaching, helikes torealize Bach's compositions onsynthesizers-.

The school came into being inthe early 1970's.: Only a shorttime ago the craft of electronic'music had no teachers, schools,or textbooks. People were fum-.bling around in a wilderneSs Withno maps ot roads., "We-don't=giveguided tours from,a,mice, safebus 7- we givesurvival training,ttclaims their brochure. The_cour-ses are disciplined, thorough,and intensive. Lab work is em-phasized.

:A prize-winning graduate incomposition from Boston Univer-sity, John Duesenberry does:much of the teaching at the Bos-ton School of Electronic Music."As more,colleges and schools in-stall electronic Music:equipmentthere- should be a demand forteacherswho know how to Use it,"he says. John finds his work atBSEM satisfying,-aithough theteaching frequently takes timeaway from his own composing."Our students get so much studiotime-that I can only use the placeon weekends and holidays."

EconomiCally, the BSEM livesfro, hand to mouth. John D. .

says "From time to time we allhave 'to take isurvival wages'-- whatever the school canafford to pay."

For the benefit of teachersand students, BSEM also acts asa' depot for electronic musicsupplies and equipment. :Pioneershave established thia outpost inaoston Where the:survival skills,'equipment, and guide services can-be obtained by those seeking to -

explore the terra, inao nita 'Of,electionic music.

It'wourd---,be nice if there Were

a hundred other schoola like us;if the electroniC mesic depart-Ments in colleaes 'and graduateschools'could admit anybody whowanted to use.thei.r equipment,for anyrreaseri;.if- electronicmusic courses were available-in every public_school_in thecountry'. But thatfs not theway,'it is.

.,So states the'BSEM's catalogue.aUt with continued interest.inelectronic music, perhaps the,daywill come when there will'beahundred schools like BSEM.

Piano Technology

One of the most popular instrumentsplayed today is alsb one of themost complicated. Each of theten million or so pianos in thiscountry has 6000 to 8000 parts.Regulating the action, voicing thehammers, and tuning the piano aresome of the tasks done by pianotechnicians. For years theseworkers have been called "pianotuners," but since they do muchmore than tune pianos, the term"technician",or "tuner-technician"is more accurate.

After two or three yeats'in anapproved,course:in piano technology,'the beginning piano technicianneeds,oneOr tWo yeats experienceas an apprentice in a piano re-building, shop or factory to masterthe art of tuning and repairing_pianos. In:the. past, few:years,

many schools teaching courses in .piano technology have closed be7cause of a lack of interestedstudents,

There are schools that claim tobe able to teach piano tuning inthree months, or even less. ThePiano Technicians' Guild, a pro-fessional association, does notrecommend these "90-day wonder"schools. A list of Guild endorsedschools can be obtained by writing:

.Piane Technicians GuildP.O. Box 1813Seattle, Washington 98111

- A:piano technician should have:

e Patience

Normal hearing

Theoretical knowledge ofpiano structure and acoustics

Practice and experience

a Patience

Mental ability

Patience0 Fihger dexterity

More patience (6,000parts in a piano).

A piano tuner-technician who isself-employed can earn a moderateand stable income. Using elec-tronic tuning aids (shunned bysome tuners) a tuner-techniciancan tune three or four pianos ina day. A stable income is insuredby reliability and thoroughness.A customer satisfied with a tuningin the fall will be likely to callthe'same piano tuner in the spring:-Such a satisfied customer can pro-vide years of work, as he/sherecommends a tuner to friends andfellow musicians. '

SoMe of the best steady custom-ers of a piano tuner can be ;

schools, conservatories, or pianosales studios. In return for asteady monthly salary, a pianotuner-technician could have theresponsibility for the upkeep ofall the pianos in a public schoolsystem. (In a large city thatcould mean hundreds of pianos.)

Piano rebuilding is a common8,000 ,sideline for tuner-technicians.

They may rebuild customersF pianos,or,they may buy, rebuild, and sellpianos on speculation, as a busi-ness venture. Rebuilding a pianotakes several weeks to do properly.

4 . ARTS MANAGEMENT

The trouble with 'artists is thatthey will never admit they arewhat they are. A dance accom-panist, when asked what his jobshould be called, said "psychicenergizer." Making general state-ments about dance accompanists isa lot easier than making generalstatements about "psychic ener-gizers." The problem comes fromthe way the individual artistssee themselves. ,They resistclassification as if it were bbonic plague. Each one says,

"I am me. I express myself thisway, by making these sounds (ormovements, or using this time,space, etc.)"

This resistance to convenientlabeling of occupations is no-where more intense than in the

WHO ARE ARTS

field of arts management. It maybe convenient for us to lump"to-gether all= the promoters, concertmanagers, synphony managers, pub-lic relations people, producers,agents, policy makers, programand project developers into onecategory and call it arts manage-ment, but the individuals in thefield would have nothing to dowith it. Many of them have Cre-ated their own jobs, titles, po-sitions, and sources of income.Some of them are doing jobs thatnever existed before, and some ofthem are holding positions gener-ations old.

AGERS AND WHAT :DO HEY

Arts managers could be publicrelations directors of musicschools, or museum directors,managers of symphony orchestras,or rock groups, managers of con-cert series or concert halls, ortalent agents, or brokers. Artsmanagers could be governmentemployees working on,a specialcouncil or in a special office,like a state council on the arts,or an office of cultural affairs.

Arts managers have the task ofarranging for an artist and thepublic to come together, communi-cate, and exchange. One arts man-ager describes herself as a "dis-seminator and coordinator ofpeople and events, often in adiplomatic way." =The followingstory of one concert manager willgive you-an idea of what some artsmanagers do.'

3 4

29

Marilyn taught flute and playedOccasional .free-lancejobt around-the metropolitan area, but herheart was never in it. ,Whenshe-was in college-she had been mana-ger and librarian,of-thetollege-Orchestra. During the summersshe helped to run a muSic festi-val near:a country resort. Thatwas the work she liked, not teach-ing,-not performing, and.from hersummer experiences she had seenhow it-could-be done.

She .bigan her career in manage-ment by'working for a well-knowntoncert series; 'At-first shewas a secretary, but eventuallyshe Was making more- decisiont_andpolicips Finally, because shethoughtthe-had.better ways ofdoing things, and.because there.was no opportunityfor advance-ment, Marilyn left the concertseries to start,her own agency.

At first,- it was such .asmallOrganization that she did every-thing -by herself. Shehad- onlya few pianits, singers', and achamber music group to handle.-Marilyn was able to find engage-ments'for them, and arranged:sometours for one of the pianists.After each successful concert,the referrals came: othergroups

.

had seen the retults Of her geodmanagement, and wanted her to.,handle their engagements. Mari-

lyn's agency was growing largeenough that -she-would Soon haveto hire someone to help.

Now, what is it like forMaiqTyn? Bdsy, very,busy. She.

hardly ever stops working. EVen'at-parties, she is making the.-contacts so useful in her work,and she-it always talkin tasomeone on the- phone. If-you-

were in her office while she

was on the phone, this is what youmight hear:

Yes, is this Mr. Alien? This isMarilyn Malone, Mr. Allen. I'm

delighted that the Onyx ChamberPlayers pan use your concerthall on their tour. Now, theconcert is _on the 16th and they-are planning to arrive on theafternoon before the concert...No, that won't be necessary,they usually rent a car at theairport. No, thanks, they are-staying at_the Regal Hotel.Can they rehearse that afternoon?From 4 to 7, good! Are theremusic stands or should theybring their own? -How about thelocal papers? You gave them the.press releases I sent you? Well,

please do that right away! Theywon't do us any good if we siton them, I like plenty of ad-vance publicity on these things.

Mr. Allen, I'm about to sendthe programs:to the printers. Isthere any way we can list thelocal sponsors? Atter all,they do-cohtribute a lot ofmoney...Well...yes, I can waitone more day, but please, callme in the morning, so I can takecare of it.

How are the ticket sales go-ing? Well, push the subscrip-tions so we know we can meet ourcosts on this. Oh, one otherthing! Myron was very.., yes,he's the pianist for the group,he was quite disappotnted thatthe piano wasn't tuned, last time... Can you see to that? Good.And can we turn off that noisyair conditioner during the Con-cert? Well, if we turn it onagain at intermission? OK, then1 guess we'll have to live withit. Let's hope for a cool night.

A radio station wants to recordthe concert? No, they can't;tell them no, not under anycircumstances! The group has'an exclusive recording contract.Tell them to buy the record.No, why don't you give them thatpromotional copy of the record?Local radio exposure would helpthe ticket sales. Well, if

there's anything else, we'lltalk about it tomorrow when youcall me with that list of spon-sors... Sure, well, thank you'Mr. Allen, goodbye.

(Marilyn hangs up and pushes-buttons for another Call.)

Yes George, good... George, if

I bring you the:Onyx Chamberprogram tomorrow,'can you printit by Friday? Great! I'll haveit'in tomorrow. Oh,,George, a-rethe posters ready? Pick .

them up toMorrow. Thanks. =.

(Hangs up, makes another Call.

Yes, this is. Marilyn Malone,I'd like tocheck on airlinerpervations I made-for fourpeopi_e traveling on a concerttour....

As you can see Marilyn's workis a constant stream of details,-and keeping them all.Straight:isnOveAsy. A Wrong date or timeor place could bring two eventstogether'in the .same.placerin,thesame time.. -Suppose you-had paid.

'to see, a.basketball game,and itturned put to bera balleeper-formance? YoU might- have Marilynor someonelike her to

Now you,can answer the quistiorG"Whafis an Arts Manageislob?"

'There, are about as manyanswersasthere are arts managers, but-

here are Some' ftggestions.:

* To disseminate,and coordinatepeople and events

To bring together artist-and

To'promote the awareness,of 'Jtheerts as a positive partof life.

Arts Managers are Made, Not, BornArts Mana-ers are Born, Not Made.

Which is true? Neither, of course.What/js true is that arts .managers

7-make themselVes.

:While there.are a few advancedcolljege degrees -in arts administra7tOn And'managemente and a few,.s4mmer institutes and-seminars, anarts manager must be substantiallyself-taught. 'When' asked for ad--ViCelor aspiring Arts' administrators, a concert manager said;-."Get/practical'experience.as Soon aspossible TheTskiliS required.

.

are not learned in a.ciassropm orfrom books:- There are-twe ways to,learn arts:management: closelyobServing';an-arts manager -at work,Eind doing the Work yourself.

3 6

WHAT KIND OF PERSON IS AM ARTS MANAGER?

It takes a person with a first-hand knowledge of the arts. Manyperforming arts managers were onceperforme s themselves, and theyhave a s ecial sympathy in the waythey supiort the performers on

-stage. A knowledge of the artyou are dealing with, be it dance,music, visual art, theater, orwhatever, will help you to makethe right kind of arrangements,to prevent problems, and to dis-

.cuss arrangements with the art-ists intelligently.

Analm --IgLJLLErl is essen-

tial, and not just for writtencorrespondence. Many times im-portant decisions will requirethe ability.to find the rightwords on the spot. Command oflanguage, diplomacy, courtesy; anelement of persuasion, all add upto what might be called "unEEEE,"a personal quality essential topeople who work with people.

Arts managers must make deci-sions, exercising judgement tosolve problems. Sounds good,doesn't it? Sitting in an officeall day, making decisions. But,

it is not like that at all. An

arts manager must go find problemsto solve, must develop solutions,convince people that the problemis worth solving, and then con-vinCe somebne to pay for thesolution. Now, that is initiative.

Would you think that loading and'driving a truck would be soffiethingan arts manager might have to do?How about buying and arrangingflowers? How about library re-search about sixteenth centurypainters -- is that, part ofan art mdnager!s job? Would youthink that dealing with gate ,

crashers and counterfeit ticketholders would be part of the jobof an arts manager? Or helpingto determine the price of a con-cert ticket? Or deciding who isincluded in a festival or exhibi-tion? All 9f these things couldbe part of"-the responsibilitiesof an arts manager. He or sheshould be willing, say, to cleanup a concert hall after a concertat which rowdy fans expressedthemselves through littering. Anarts manager may have to be asgood with a vacuum cleaner orwith a typewriter as he or sheon the telephone.

An arts manager needs to be anextrovert. An arts manager hasto be mobile; has to get aroundeasily; has to be abP to thinkon,the run. An arts manager hasto be adaptable to radical changes,must be patient and aggressive.

He or she must have a broadenough outlook on life to admitthat there may be many solutionsto the same problem, and not justhis or her own. But, perhaps thesingle most valuable trait neededin arts management is a sense ofhumor, and a sense of humor that-allows laughing at yourself andyour own failures. A sense ofhumor,can provide necessary resil-lance after,disaster. AD arts

manage must get over losses

,quick 1 , begin again, and learnfrom mistakes.

37

iIL

MONEY

In all the arts there is a..certainamount ,of risk involved where. Mon-

ey .is concerned. This wip-betrue as Img as people in generalcemsider i.he arts of secondary .

,importance'. Creating situationswhere the artist and,publid cancome-together for an exchange is

part of the arts manager's job.In very general terms, the artsmanager provides the opportunityfor the exchange of the work ofthe artist for the Toney, of the

public. Since both the publicand the artist benefit from thisarrangementthe arts manager-is

paid by each for arranging theexchange. What is exchangedcould be a painting, a sculpture,a performance of a dance, or amusical work, or a play, or abook. The exchange could take

.the form of an educational ex-perience, like a gallery talk,a youth concert, or even musiclessons or a dance class

There are four general ways inwhich an arts manager can obtainmoney for the service he or sheprovides: salary, retainer fee,commission, and grant.

Salary: Arts managers whowOrk with established insti-tutions like colleges, symphonyorchestras, museums, galleries,publishing houses, conserva-tories, art schools, governmentart councils, and so on areusually paid by annual salaries.

Retainer Fees: The retainerfee is usually charged by atalent agent, booking agent,or concert manager. The mana-ger is approached by an artistor group of artists (or per-formers) with a certain projectin mind. The inanager estimateshow much it will cost to do theprojeCt, and an amount is agreed,upon. If the agreed retainer,fee is $500, then the manageris paid $500 tocomplete theproject regardless of whetherit takes him six days or sixmonths.

Commission: An arts manager'scommtssion is often in the formof a percentage of the action.Talent brokers, concert managers,producers, and people like themwho arrange performance engage-ments can sometimes claim a

-;

percentage ( 5 or 20 percent)-ofthe income. A gallery directorwho sells a work of fine artsuch as a painting or sculpturemay take as much as SO percentof the selling price. The sizeef an income from commissionsis directly related to the suc-cess the arts manager has in get-ting engagements or in sellingwork.

Grants: Almost every level ofgovernment has an agency orcouncil responsible for givingmoney in support of the arts.Also important sources of moneyfor arts projects are largeprivate foundations and corpor-ations.

These councils and foundationswill announce that grants areavailable for artists to docertain kinds of projects. Manyartists and arts managers watchfor these announcements and de-sign projects that the founda-tions and councils are likely tosupport'. The project designsare usually written up in theform of proposals. The agencieslook ac many proposals and givemoney to ones they'feel repre-sent worthy projects. Paintingmurals on the sides of largebuildings, giving folk darfceperformances in neighborhoodparks, directing neighborhood)theater groups, and many otherprojects like these are oftensupported by arts councils,foundations, and corporations.Arts managers make it theirbusiness to design projects forartists, to write proflosals, andto seek financial support fortheir projects, the performersor artists, and themselves.

THE FUTURE

What does the future hold forarts management'l

Arts management has always been.a rather_risky business, and itwill continue to be. Even mana-.

gers within established institu-tions are concerned about higher

\costs driving opportunities away.,Disbanding orchestras; folding-_theater groups, dissolving operacolppanies, and-failing art gal-

\ leries become more numerous ineconOmically depressed-times.The greatet challenge to-arts

-managers is to find-new ways ofobtaining support for artistsand their work in the'face,of_ising costs and inflated Markets.

On the other hand, there-shouldcontinUe to be more and more lei-sure time in our society. Pro-

grams need to be developed toinclude avoCational and amateurinvolvement in the arts withoutthreatening:thelivelihoods ofprofessional artists. Arts mana-gers' will be needed to developthese programs.

-Financial Support by the govern-ment of arts'programs has in-creased recehtly;although continued.support dePends on legis--lation. Arts _managers axe needed-to work-on government commissions,councils, and agencies for thearts, as well as to-lobby in thelegislatures'Ior laws helpful toall kinds of artists.

School systems generally-are'placing Mord emphasis on_artsprograms now than in the past.,

alified managers are needed tohelp school and community pro-grams' grew,

40

Arts managers must constantlybe aware of what is new in orderto provide artists:with new oppor-tunities to work. Consider foryourself how an arts manager mighthelp artists working in theseareas:

Performing ancient music onauthentic replicas of ancientinstruments,

Street theater

'Computer art

Crafts

Video synthesiied images

Television theiater

Electronic music

' Modern dance 1

6 Creaticp three-dimens onalimages 1 ';_..1r beams.

These areas still largelyunexplored. Audiences need to bedeveloped for new forms of art,and arts managers must-rise tothe task- Our attitudes are chang-ing so that advanced technologieswhich formerly might be used bymilitary, industrial, or commer-cial interests now might just aseasily find artistic'expression.The laser is.a good example. It

can send messages' to the moon andback, and burn through metal' Butthe laser beam could be used bya sculptor as well as an engineer.As technology is applied by art-ists to new art forms, arts mana-gers must help develop a newaudience dnd a new market for theartist and artwork.

uwrapwvtreivt _

iiçkera Car

By GERRY WOOD.,.

'ILLELeaping ontoHot Country LPs chart

star and onto. the Topchart at 82 with a star in

r 0am_ o

NEW YORKThe

DEL.se kir a istrion both : u!A!IONI3 01: ,

sides as both -as Onotia ttim-=3THAFISYNt

back. she -311fAllS-a buye'

S1111033E1111011110 3N

'THE MUSIC USINESS

-.- THE MUSIC INHUSTRY

For some people music is bigbusiness -- the music industry'.These.are.the'people who bring'the work of the musician to themarket place to make a profit.

The relationships among peoplein the music business are verycomplicated -- indeed so com-plicated that many lawyers earntheir livelihood arranging agree-ments, writing contracts, andsettling disputes among musicalartists, publishers, recordingcompanies, film companies, agents,.

itf*P;

LThe whole:Ticture is blurred

even more by the fact that. record-'ing companies are often owned andoperated by movie companies whomight also own.and operate musicpublishing companies. Also, manyfamous composers own their ownpublishing companies. Broadcast-ers may have interests in record-ing companies and music publishinghouses. Famous recording,starsmay even own tlikir own recordcompanies and publishing houses.There are more than enough com-

,_ binitions to boggle the*mind..f

Business deals involving copy-rights, recording licenses, androyalties are so involved that

37

large clearing hous organize ionshave developed sole out of theneed to keep things traight.These'organizations co.11ect royal- -

ties and performance fees from,radio stations and in turn.makepayments to the copyright owners.

There are two main'things tokeep in mind about the-music in-dustry:--interdependence andspeculation.

Interdependence: No one_aspectof the music business can sur-vive without the others. 'Art-

ins an composers epen, 9npublishing and recording and .

vice versa'. EaCh provides theother what it-needs. The artistprovides a service to the record-ing company which in turn pro-vides the artist with advertis

.ing and public exposure. Arecord doesn't-sell Well unlessthe artist is famous, but theartist can't become famous un-less the record sells well.-- Arecord that is attractivelypackaged, well promoted, andplayed over the radio stationsowes its success as much to therecord'company as.to the artiston the record.

S eculation: This is the busi-ness risk factor. In music,'just as'in fashion, in popular'literature, in movies, and in.television, the consuming publichas the ultimate power. Espe-/cially in popular,music, thesuccessful'buSiness operatormust second-guess the publictaste. A record producer must'be able to tell the differencebetween a momentary fad and along-term trend in order tomake wise decisions. RecOrdand publishing companies musthave the financial resourcesto underwrite the risks ofrecording and publishing,which are far too costly formost musical artists.

Music Business Occupations

A partial list of the kinds ofoccupations in the musiC business(arranged by the areasthey areconcerned with) includes:

.Publishing

:PublAsharsEditors'

.Arrangers:- CopyiStsComposers and Lyricists'Autographers.Graphic ArtistsWholesale DistributorsRetailersCopyright Experts

, (Most music-printing Is-sent out by publishers-toindependent:printing com-panies-whe'do general off-set, printing.)

Recording

ProducersArtist and Repertok ePersons

..,Recording Artists

Arrangers"Side-Men" - Studio

MusiciansRecording EngineersMixersGraphic ArtistsPromoters

Broadcasting

Broadcast DirectorsProgrammersAnnouncers and Disc JockeysRecord Librarians

Concert Production

ManagersAgentsArts Managers

Other areas of the music busi-ness include: motivational music(like Muzak or 3M), and productionof musical commercials.

The music industry depends onseveral institutions which helpit.function efficiently andlegally:

Library of Congress CopyrightService

Performing Rights Soc eties(ASCAP and BMI)

Mechanical Licensing Agencies'(-hu'ry. Fox Office)

Musicians and Performers'Unions (AF of M, AGMA, AFTRA,AEA, etc.)

These institutions are of suchgreat importance to the musicindustry that hardly any part ofit can function without them.

Copyright -Servicef

The copyright law: as soon as a.song ic-composed-it_isiprotectedby "common law copyrig t." Itis illegalsfor anyone to printCopies or make recordings exceptwith permisiion of the author orcomposer. The copyright is likea piece of property w lich can beassigned to someone b> a writtendocument, or bequeath d in a will.

Copyright litera means the"right to copy." Fhe law givesthe copyri t hol/ er the exclusiverights to:

/1/

Print and piblish copies

Perform ie work in publicfor profit - /

Make sbund recordings/ofthe work

/Make other versions or

-4arrangements of fhe work.

When A music publishing companywishesto'publish a musical work,

. it muSt obtain:the copyright, _After,negotiatinvan agreementor contract/with the compoAer orwriter, he publisher registers':the work by filing a formwith:the Libiary'of Congress-Copyright'Serv*Ce. When- the Library xeceivesa copy ofthe best printed edition,a,certain form, (Form,E for musi-cal work), and a fee, it sends

:the,publisher a certificate prov-ing ownership of,the cOpyright.This service provided by theLibrary of Congress gives theentire music industry one central-ized source of copyright informa-tion.-

A work is protected tinderfor-an initial period of

-28 years. "After that first term,"the copyright, -On be renewed for

,a second 28 year term. A_ter-bothterms havp expirpd, the wrk is nolonger under copyright an1 is saidto be in the ' n "Such:a...work an-be_freel0 r-formed, re rded, arranged, andprinted.

Copyr ght experts and 1.awyers,work f r PUblishing firms, com-

1

poseT, recording companies', per-forMIng rights organizafions, filmand many other companies re-slearching copyrights, d6Wing'up-

1

//contracts, and eVen bringing court' action against people.

4 4

The copyright law iscomplicated and many cbeing considered. Theservice Of the Library*ill provide informati_-quest.

extremelyanges arecopyright--of Congressn on re-

.

Performing Rights Societies

There are two principal performingrights societies: ASCAP (American

I

Society of Authors, andPublishers), and BMI (Broadcast.Music, Incorporated . 'These agen-cies act as clearing ihoUses for'the collection and payment Of per-formance fees,-one of the largestsources of musical income..-

Performance fees are paymentsmade to-the copyright holder -fOrthe right to perform musid forprofit. INlight clubs; large hotels,television, radio, or live con-certs are the kinds,of commercialu§ers of music who must pay theseperformance.fees. Without per-forming rights societies likeASCAP and BMI to collect and dis7,,tribute these fees, eauh perforM-ance would have to bekindj.vidu-al_ly contracted. The;resultingdelaYs and`the chaos Would seemminor next to the preposterousamount of paper and' accountingwork that would have to be done..

. The ,next time you bear a songplayed;on the radio, remember that'the station has to pay a percen-tage-of its receipts te a perform-ing rights society for the rightto play that song oh the air, andthatIthe perforMing rights societypays the'copyright holder.

Most performance fees- are paidfor the use of music_for profit.In the case of musical shows, how-ever, a royalty( a performance.fee) must be paid to the copyrightholder regardless of whether the

,show is-put,on for profit or not.

A Mechanical Licensing Agency

If a recording company wishes tomake a recording of a oopyrightedcomPosition, it must get permissionfrom the owner of the copyright.Permission is given through anagency like the Harry Fox Agencyin the form of a "mechanical li-cense" which autherizes the com-pany to make recordings-of thecomposition and requires it to payso much peiA record to the copy-r t-holder-as yalty. 'JheHarr Fox'Agency upervises thecollection and pa4ent of thesefees in a simila m nner to ASCAPand BMI. The Har y x Agencyalso provides researching_of for-eign copyrights'for recording"andpublishing companies.

The next time you buy a record,remember-that the price includesa few pennies paid through theHarry Fox Agency to the copyrightholders of the songs on the record.

Like their counterparts in otherindustries, workers in music have .

sought-the strength_and protection_ _

of unions. The following list of'important unions indicates thekinds of musical workers who be-long to each:

Actor's Equity Association("Equity")'- actors and per-formers in musical comedy

-and light.opera

American Federation of Muscians (AF of M) - most in-..strumental Musicians

American Federation of T6le--vision and Radio Artists'(AFTRA) - singers who makephonograph recordings

American Guild of MusicalArtists (AGMA) - solo concertartiSts and singers in opera

e Associated Actors and Artistesof America,:AFL-CIO -:varietyartists and other performers,and -also serves as a coor---dinating-union for several

others.

Threugh collective bargaining,unions have won many'improvements.for the workers theY repretent.Most 'importantly theyjiave setstandards for contracts which areagreements between- employers'and-employees. They have also set the_minimum pay rate.for musicians,what the trade calls "union scale"(currently $100 for a three-hournon-symphonic-recording sessiohfor AF of M members).

ights of Copyright

Owners .___1_

THE COPYRIGHT LAW AND THE Mil.SIC BUSINESS

4

Music usiness Products for Consumers

a

Cow]

To print and publish____.... __.

Copies of the work

, .

____

PubliShiig -Sheet Music

.

:.1.1

!loyal!

to -0

To make arrangements.

of the,Work

,Pdlishing and

i'ecording

Arrangements and

records

:./7,1.

Mec6i

fees

To perform the work

in public for profit

.

,

Concert Manageffient

Broadcasting

Live performances

, a

Entertainment.

Television and. .

radio broadcasts

.,...

lerf0

COINEMI' c

forroM

sociel_.1

y

To make sound record-

ings of the work

Recording

, Motiop pictures

Background mus#

.

.

Records and tapes

Film,soundtracks

Background music in

restaurants, Stores

airports, etc.

.

Mecir,.,.

'.fees4. r4g.

POO,agent

Hari.,.

-.=

This chart shows how each right guaranteed a copyright owner under the law resuli

music busine#, a musical product, and money paid to the owners of the copyright

this chart you can see how important the copyright.iaw and service is; you cakal

how importantperforming rights ana mechanical rights agencies are in collectin

distributing fees for the copyright holders.

_

;.LAW 'AND TIE MUSIC BU5INES8

Ye-

1.kg;

usinessi

.

!loyalties on sales

to composer

4shing and

dinggoat

q

w.eTt Management

casting

Live Orforminces

-Entertainment

.Television and

'radio broadcasts,

Performance fees

collected by ASCAP,

BMI,'or other per-

formance right

society'

Ition factures

ickground music

5.;.1

t4..laranteed_a_topyright:,owner un4q

mductrAnd'money.paid to the owners'pf

tportant the .copyright law and serVice

Cghts'anOechanical rights agencies'are

mprIght holders.

the law Tesults in'a

the copyright. ,From

is; you can also'see

in collecting and

Unions are active in lobbyingfor legislative,change beneficialtO musicians..;-The AF of IC for'one, is seeking changes'in the

_copyright,law,_ so that performingartists would-share in,royaltiesreceived by publishers'and corn-

posers. Musicians'-unions arealSo concerned with tax reform:

-and competition by foreign musi-cians, especially in the record-ing:industry. .It is characteris-tic of all artists, not just

musicians, to,work at their craftor art regardless of whether ornotjt pays well, just becausetlity love doing it. There are,however, plenty of people aroundwho are willing to exploit_ fcirtheir own profit the musiian's,love of music. It is- to protect/musicians-from'this exploitation.that the unions were formed.

FROM THE COMPOSER TO THE PUBLIC

ere are four:ways that a news_ng or musical.work moves from

e composer to the public: .

Publishing

RecOrding

Aroadcasting

JAve performance.

At several steps,along the way,these' separate ways.are relatedor connected ilisome manner, usu-ally by a business agreement.

As a member of the music-listen-- ing public you must be aware ofthe ways you hear new songs. Themost likely source of 'new music .is the radio or possibly tile-

- vision; next comes recordings,which you buy; then live concertsthat you attend, and, finally,sheet music that you buy,and learn-to ,play or sing. The Same song,can (and-usually) does movethrough all of these,routes.

Recording

Recording companies vary in sizeand prestige from small outfitsmade up of a handful of people tolarge conglomerates With thousandsof employees. There have beenexamples of-amazing growth such asthe Motown Company. In Detroit,,in l9S7i ex=assembly,line workerBerry Górdy borrowed $80Wto startwhat-is now Eine of the.most power-ful companiesin thepopular music,industry. However, for every suc-cess story like:that of Motown,there are hundreds of failures:record companies cannot survivevery.long without a hit '

The jobs listed on page 38 areusually fbund in moderately suc-cessful record companies. Thesame work is done,in all recordcompanies, but in smaller com-panies the same person may haveseveial responsibilities. Thesame person could produce, pro-mote, and advertise,, or one personcould be both engineer and mixerin a smaller company.

Producer Artist and Rçpertoi Person

It:is the producer's ')ob to-PrOdUce the record. He mustl'range for studio time, ,makesure People'are there at the timerequired, make sure they get paid .

on time, and be a' general super-visor dUring and between record-ini sessions'. He .may negotiatecontracts, clear mechanical li-censes, check copyrights', and'find ways to raise money.

A.producer usually has had.ex-perience Managing time, equipmentdnd people. :In order to be ef-fective, a producer should-under-stand the needs of mUsicians aswell as ,the ways of the musicbusiness. A record producer needspersonal contacts,and sources .ofinformation among broadcasters,concert managers, publishers,musicians; and promoters He/sheAndst know about the'latest record---ing:techniques and the latesteqUipment.

Lately, the record industry has'seen the growth of the indepen-..dent record producer. "Independent" refers to the fact that theproducer is not on salary at arecording company. Anjndepen-dent producer may use his owntime, money,.and expertise toproduce a master record which is .

then.sold to-d major.record com-pany for commercial production.ThiS\type of free-lance proddceris free-to deal with several re-cording\companies. :By providingrecord cOmpanies'.with a readymade product, the independent pro-ducer saves:the companies the ,trouble and expense of all butthe final stakes of manufacturingand distribution.

Most large record companies employartist and repertoire persons oras.the,trade calls them, "A &.R 'men." Their job is to decidewhich recording artist,should re-cord what Music. The "A & R. man"-must listen,to ell of the demon-stration tapes; must audition newtalent, look at the:manuscriptsand professional copies of neWsongs and decide which ones 'are

..going to be worth the pompany'stime and money. The A & R man isresponsible for the company sound,(the'particular kind of music thecompany records), but his concernsare usually public taste and mar-ketability. An artist and reper--toire person must know what thepublic will buy not just todaybut six months or a year in thefuture.

It is the artist and repertoiperson's job to make the connection between promising materialand.promising artists and to in-terest producers in hew sounds andtalent.

In a record company's officebuildihg, the A & R person's of-fice is easy to find. It is theone surrounded:by the hopeful re-cording stars,:composers, andgroups of tomorrow, along'withtheir managers, agents, and pro-moters. The artist'and reper-toire person's job is to dicovernew talent, but much of his/hertithe is spent insulating the'com;pany from the not-so-talented.

Recording Artists,

Nowhere else in the'-'musitry'is the risk factor bithan,among recording artis"Hit or miss, "make or bre

' "here teday, gone ,tOMOTTOW,"easy come, easy go," and "maare called, fpw are chosen,expressions often;heard from re-cording artists,.

Hescribing all the differentways of becoming a recording arist would fill the pages of alarge book. Basically, becominga.recording artist.is a matterof arranging for'exposure torepord.producers or artist andrepertoire persons. Serious fomal training in music seems tohave little to do with success,since many successful recordingartists are musically illiterate,especially rock and roll and coun-try and western stars. Their in=ability-to-read or write musicis no handicap in a business thatdepends so heavily on.image crea-tion and advertising. 'Many songstoday are not actually writtendown until after they are record-,

'ed, -when a trained musician willbe hired for the task..

Ohe device that is indispensableto a recording artist in further-ing a career is the demonstration'recording,/br "demo record.,"'Many sounds on today's records 1

can'only be.produced in a record-ing studio on advanced electronicequipment. It is sometime& im-possible to demonstrate live toan artist and repertoire personor prod6cer that a sound or songis marketable --.that it will iell.Furthermore, many producers andA & R persons cannot read mu'sicthemselves. 'An artist who canshow, a professionally finished

. -.---7----prOduct hag-a big advantage overone who cannot. demonstratiOnrecord-is very, expensive tO pro--duce and.can be a-risky-investment-of a greatsdeal ef'money; but it& a necessary-tool for the advance-.

: ment of a-recording artiStis-career.--

Arranger&

The arraager's job is to make amusical arrangement of a tune tobe recorded and to cond'uct theusicians at the recording session.e arranger's job is sometimes

di e by one of the musici* play-in the .session. An arranger mustbe thoroughly trained musician,.espe ially in orchestration and-condu ting. The creativity ofthe arranger contributes greatlyto the success of a song. The ar-ranger may simply change keys, ormay make an elaborate orchestra-tion: Some arrangers may alsowork for publishers,'preparingtunes in-various forms for printing.

4, Few arrangers work on'a regularsalary basis, although some arepermanently-on call by recordingcompanies; most others work free-lance, combining arranging withother musical jobs in their. careers.

Studio Musicians -- Side-Men"

Studio "side-men" are the work-horses of the recording business.They are usually union members(AF of M) on.call who may_haveother performing jobs. They comeinto a recording session to "back"a recording artist.- Today's ar-rangers are making use of a great-er variety of:instruments than-formerly used in 'popular music.Conservatory-trained string pla-ers and double-reed players aretaking their places beside jazz

5 0

bassists And rock drummers atrecording sessions.

,

With today' st sophisticatedmulti-track record*ng equipment,it is ,possible for a musicianto add--his part to a recordingand never meet the other musicians.

Recording Engineers

What are engineers doing in a;hook on arts And humanities and .

in a section ,on music? It isthe7Akill-of the recording en-gineer that makes possible thephysical existence of sound ri-.cordings. The -duties of a record-ing engineer vary from microphoneplacement to mixing. In smallerstudiossan engineer may be theonly technician, with many non-technical duties aS well -- forinstance, answering.the telephoneor managing studiotime. In largestudios, the technical work maybe done by a-staff of trained en-gineers working as a team to keep_the recording equipment workingproperly.

The recording engineer mustknow howto us-i-microphones andother devices for picking up thewide variety of sounds used iAtoday's music. Recording a pianoand recording a synthesizer pre-sent two completely differentaudio,control problems. The.re-

.cording engineer must know howto operate the console of a multi--track studio to the best advan-tage of the recording artists.IA smaller studios the same engin-eer may also have t e-responsi-bility of "mixing d wn" the var-ious tracks into -twd tracks forstereo, or four for quadraphonicsound systems. In large soundsystemsthis job is done by amixer. Doing a good job of-mixing

requires not only akill,in oper-ating techpical equipment, butalso A.semisitive ear for good"qUality,sound. The miker- has fi-nalscontrol over the Aoudnesa.of'the different recerded tracks-, andmust,balance.each track to the-over-all sound as the master tape*s made.

-Thetechnidal jobs-in the record-,

ing industry are very similar toother anditiYcontrol jobs,in broad-

. casting:and motion picturea.- Allof them need technical training,alulowledge of physics, electrenics,

'Mathematics, and the ability. toread i sehematic drawing --

'electronic blueprint.. Engineersmuatnot,only Operate but alsorepair equipment. -They= must keepsup. with the latest technology,-advancing their_knowledge,with theindustry.' For examPle:,:Dolby noisereduetion systems.are new-in commonuse, although they Were.onlyLde-veloped a-few years ago., Stereo-_phonic sound is still oommon, butmany atudios are now equippe4 torecord'in quadrophonic sound:

Gra hic Artists

Record companies use graphic.art-ists to make their'record albumcovers attractive.tothe public,eye; ,in spite of the Old SaYing"never judge abook by its cOver,"mostpeople doY,If people judged--a record by its seund; then allthe hullaballoo Of advertisingand "groovy" artwork on albuth Cov-ersnwould not-be necessary.

Graphic artists-help present avisual image.of the qualities therecordhuying public connectsthe recorded sounda. The imagescan be used for.posters or Onalbum_oovers or in printed-adver-,tisementaat newspapera andMagazines.

Graphic artists'who di? re ordcovers have usually been trainedin art schools.. They May work-free-lance in combinatiOn with.other jobs, or they may-be on thepermanent art staff of a largecompany, as a full-time worker-, or. '

part of a 'staffof designers at a .

design studio working on otherthings besides record covers.

5 2

Promotion orkers,7 "Promo _ en"

The promotion worker's job -is to_see that a new-Tecord'is playedon radio stations. The_"promoman,"as the trade.calls him or her,visits radio stations and_networkstalking with disc-jockeys: and pro-gram directors urging/them .6 play,the latest company releases on,the

air. To insureihe success ofthe company's rebrds- a promotionworker.will often _buy.air timefor the company's pre-recorded-coMmercials.

Promotion workers are always onthe lookoutrfor "hot masters," thetrade's terwfor locally producedrecordings that do well on theradio. The large companies willthen try to buy these masters fornational distribution, acting onthe advice of their promotion'worker.

I

A great controverSi raged=inX960 involving the relationshipbetween promotion workers and discjockeys. Many disc Sockeys weiereceiving secret.gifts of money,cars, or other valuable items inreturn for favoring certain .colliTpanies' records during their shows.After,Congressionafhearings, thiswas considered an unfair practicecalled l'payola," and laws werepissed against it. Disc jockeys,programmers, record librarians,as well-as promoters working to7day must observe the legal limi-tations\of their jobs. The factthat these laws are needed showshow powerful disc jockeys andpromoters' can be in influencingrecord_salles.

"Trades"

News of the recording industry isreported in special magazines andnewspapers which provide record-.ing and other entertainment work-er's with the latest informationin the industry. Examples areCashbox, Billboard, Variety, and-Rolling Stone. They are to theentertainment field what the WallStreet Journal is to the financialworld: instead of stock quotations,Cashbox and Billboard list the

best-selling records. From infor-mation iii--"tradéS" business peoplecan find stronvand weak areas inthe music market and keep trackof competing companies; Anyoneseriously considering a career inentertainment or popules =sicshoUld read one of the trades to'find out in What directions themusic business is going.

There are recording studios inmany smaller cities and large com-munities throughout the country.Some are small enough to be runentirely by one to three people.Small studios outside large citiesusually provide a-ide,variety ofrecording serviCes which include:

Demonstration records forlocal performers

Commercials for local-merchants

Announcements and stationidentification spots forlocal broadcasters'.

Recording.for local amateurmusic groups

On-site recordings at remote_locations of concerts or music_festi vals

Audition tapes for schoolsand-colleges

Production of master, tapesto he sold to maSor.recordcoMpanies

8ome Of these smaller studioi- maytpecialize.in one,recOrding ser-vide, for instance,producingcotMercialS.: In smaller:cities.it is not uncommon' to find some--one who-packages'the whcfle-cOMMer,cial for a client. The.same per-son writel fhe Achi6rtising copy,

composes music, arranges for themusicians to come and record thecommercial,- "and even participatesin the recording session.

Even though recordings are be-ing made,throughout the country,-the majOir league recording com-panies are centralized in threecities New York, Los Angeles,and Nashville (for country-westernmusic). There are,over 200 record-ing studios listed in the ManhattanYellow Pages and even--more in LosAngeles.

Movie Music

record in their own studios, butothers are having music recordedin European studios where strudiotime and musicians' labor, arecheaper. Background music compan-ies are now using computerized sys-tems to program their ripisic-

u-..

Background msic is now usedcommonly'to provide a pleasant,en-vironment by masking unpleasantnoises or by filling-up uncomfor-table Silence., Some people, how-ever, do consider-such mulic-as'-'yet,another form of noise pollution.

Rock and Roll is Here to Stay--Maybe, Baby

,

-From background music to hit re--cords, the rec9rding industryoffers everything -- eXcept :perhaps,security. The industry "offerswealth and bankruptcy. Howeyer,just as in fashion, movies,'popu-lar literature, television andtheater, Public taste controls theindustry. Public taste is notunified, so no one Company.can _

possibly "corner the"market." Therecording,business is one of fads.Just as swing-music, be-bop; boog-

.

ie woogie, and others before'it,almighty rock and roll-will even-tually give Way to another kind_

; of music -- perhaps a kind ofmusic not even on the scene.yet.

The motion picture indtistry is animportant user and creator of re--corded music. kmusic publishing'house; recording firm,_and motionpicture company canizdfien -be ownedand operated by the same" largercorporation. -SoMetimes popular ,

tunes are used in movies,to in-crease public appeal. More oftenamovie sound track will be ar-rangeel, recorded, ancfreleased-asa record, to take-advantage of :the film's popularity.

Major motion picture companiesemploy the same kind of people athe recording industry itself toprovide the recording services'needed for film sound tracks.Producers, engineers, composers,musicians, copyright experts,record librarians -- all helpin making that part of a moviewhich,may slip by completely un-noticed, the sound track.

Background Music

Another important use of recordedmusie is background music in fac-toris, stores, waiting rooms,'restaurants, and even vme schools.Many background mpsic companies .

ia.m.L?xiA_il

The-music publishing industrycarries the composer'S Work tothe Marketplaci in printed fdim.,In order-to carry, out its business,a publishing company must have con-trol-of, two of the rights' guar-anteed the,copyright holder. --printing copies-and-makingarrangements.

5 4

Thepublic very seldom sees asong in the form originally madeby-the composer. As a piece ofmusic is handled hy differentmembers of the publishing indus-try, each worker contributes hisor her own talents to the finalform.

Publisher

By listeningto new songs on demon-stration tapes, .talking with com-posers,and-looking at their man-uscripts, publishers decide whosemusic will be_published. After ,

accepting a work.from a=compOserfor publication, a-publisher nego-tiatet.agreements with.the coMPoserabout ffiayments, of royaltie$ andthe format of arrangements. The

_____publisher_must, also iron tart-anyproblems that arise ftom)copyrightinfringements.- in large publiSh-ing firms, copyright pxpertsorlegal consultants may help withcontracts and copyrights.

Arranger

An arranger's_job is tomake mu-sical arrangements of songs in

A3reparation foY public use. Aclever arranger will be able tomake several kinds of arrangementsfor piano solo, vocal, cherai,instrumental groups,.orchestras,even matching bands. Sometimes,.an arranger will-make "easy"arrangements of difficult songs,.or "low" arrangements of songs-with high ranges. Many times anarrangement will require morecreative-effort and time thanthe:

eoriginal composition.

An arranger must be a highlytrained musician in theoreticalmusical'practicein harmony, andorchestration. He or she mustknow the strengths and weakness-.

of all the orchestral instruments._This training is best obtained ina conservatory of music or as anapplied music major in college.For some specialized kinds of ar-ranging, such as marching band,experience should supplement for-mal training.

An arranger must be careful totailor the arrangements for theuse intended. A school orchestraarrangement of a popular song thatis arranged in F-sharp major willbe avoided by teachers in favor ofone written in C or B-flat.-,Uow-ever frustrating it may be'to hearranger, only "safe" and "easy"keys sell well. Also, arrange-ments for school groups with longrests for any of the parts do notdo well. Arrangements where every--body -p raysall th-e-t tinearepre=ferred. These are special concernsof arrangers of music for schooluse, but arrangers of other kindsof music also have their ownspecial worries.

Arrangers in publishing may havesalaried positions on a staff, orthey may work on,a free-lancebasis.

Bditor

The editor's business is detail.Misspelled chordsmisalignedwords, incorrect key signatures,awkwardljr notated rhythms, stemsgoing the wrohg way, and hundredsof other careless mistakes whichcan slip through waste'rehearsaltime, therefore, money. Musiciansprefer to uso clearly printed,correct editions,which are thework of responsible editors.

Training for an editor's job canbest be obtained by frst working.as an assistant in an editorialdepartment of a large music

5 5

publisher. An editor should havean advanced degree in music theoryas well as'a thorough and practicalknowledge of the conventions ofmusic notation.r

Autographer(Pronounced au-to-grapher

Using a M119ie typewriter,_specialpena-, transfer type, and othertools often.associated with gra-phic artistS,, the autographer pre-pares the autograph -- the finalform of the music before the print-ing by phote-offset methods. Thisjob requires the ultimate in pa-tience and attention to detail.An autographer must know all ofthe conventions of standard musi-

-cal notation, which means musicaltraining plus apprenticeship.

-Photo-engraving and other gra-phic.probesses,- such as photo-lithography- and photo-offsetprinting have all but eliMinatedthe time-honored craft-of engrav-inglusicen copper. plates-by-hand. Many large musie publish-ing companies are finding it moreeconomical to send music autographwork to. Korea and other AsianCountries and to Europe wheresuch work can be done very cheaplyby experts,_

The,Photoco Connection

Music publishing companies-as well'as the composers to whom they payroyalties are suffering many in

-__fringements .againstLtheir_rights -

under-the copyright law from thewide use of copying:machines. Tocopy, by Xerox or other methods,a copyrighted-work is against thelaw, and the same As stealing fromthe copyright holder.

Broadcastin

The broadcasting industry providesnew records with their first

exposure. The first stop fora newly releasedrecord is usuallya radio'station. Record companiesand broadcasters alike ate awareof the relationship between recordsales and the number of times 4record is played on' the air. FormoreJnformation about jobs inbroadcasting, see the sectiononradio announcers,:including discjockeys in Exploring Theater andMedia Careers: A Student Guidebook.Radio:stations employ progratmers,disc jockeys, audio-controllers,and record librarians, as well asother.people who need no special

_

musical ability.

DiseJockeys

'Special schools of-broadcasting,exist for the training of alltypes of_radie announcers, andsome two-year colleges give asSoc-iate degrees-to broadcast'workersthey train. .A disc jockey must'keep abreast of current events inall Areas, but especially.in themusic field. He/shemust dealwith promoters from'record com-panies,(see promotion workers) andfulfill other dutieS-When off the--air, -such'aSfilling out programlogs.

Record Librarian

Duties of A record librarian reto keep, organize, and-lOcaterecordings-for.programs to bebroadeast. Responsible fer thou-sands of recordings, a recordlibrarian supports.the work ofdisc-jockeys and programmers inlarge stations.

56

,-."Programmers

Programmers are responsible forselecting music to be played onradio- shows. In smaller stations,disc Jockeys themselves must- dothisjob. Selections have to betimed.by the programmer to fit inwith- newscaststation Wentifica-tions and-cOmmerciais.

Agents and_Managers

In the popular music business,musicians, who are seldom trainedin business,,seek professionalmanagers and agents to help_themdevelop careers and make businessAecisions. These-important jobsare Often confused with oneanother,.

fadtotum or "do-all." Protectingthe artist from unattract4e offersis a,valuable service performed bysome managers. Others administer.publishing companiekowned by the''artist. 'Managers offtm have somuch authority from the artistthat they handle all, even-personalmoney matters; For these compre-hensive services, a manager, re-rceives anywhere fromten to 25percent of the artist's income.-

Agent.

'An agent has ihe responsibility,.of developing the long-range planofan artist's career. -The agent,whether working as an individualor-with an agency finds employmentor "bookings" -- engagements forthe performing artist. Negotiat-ing contracts and.dolleing feesfrom the employerand. paying theartist are-all facets of-theN,agent's job. An.agent is usuaIlyserving several artists from whom'he/she receives q,cammission often to fifteen pereent of thefees collected.

Manager

In contrast to the agent, themanager handles the day-to-daydevelopment of the artiSt's 'career;offering personal advice,and gui-dance. Many managers help withboth-creative.,and business deci-sions. Some travel everywherewith the artist and act as:

"There's No BUsiness,Like..."_

Show business, has always been big.business -- and expenSiye business.The income-from box office receiptsmust.go to pay:

Rental of score and parts

lioyalties_to_authaxs .

tors,. designers-

Salaries to,cast, musicians,company, business manager,production secretary, assiS-tants;theater'party representativeS,-stage hands, andother technical workers

Expenses of theater rentaland advertising

Returning'the investMentsof financial backers'.

-The cost of Producing an original-Broadway show is approaching such '

prbpOrtiOnS that writers and pro-ducers are often.forced to createshows which can be .inexpensively,-producecE Large choruses, Orchestras, and.companies of dancers,_and elaborate sets and costumesmean tremendou8 costs ,Shows nowbeing produced on Broadway and.intheaters across the Country are-often ecenomized -- done without-large orchestras and choruses, onsimplified sets.

5 7

HOW A,SONG GETS TO WU --

With a basic knowledge of themusicians and business people whobring musiê to the marketplace,you are now ready to trace a songfrom the composer to the listener.In the steps outlined below, a

D WHO GETS IT THERE

song is traced from person toperson, from procedure to procedure,from agency to agency, until it-reaches the public in each of thefoul ways controlled by the,copy-right law.

* Recording_Artist writes new song, makes demonstrationtape, and brings it to Artist and Re- ertoire PerSon("A R man"). As soon as it is written, the songis covered by "common law copyright," so no one else.may make copies or records of it. To prove he/shewrOte it first, the writer mails it to him/herselfby registered mail in a sealed envelope, or files aform with the COpyright Service Of:the Library ofCongress.

Artist and Re ertoire Person retommends song and---art-ist-to7Producer whobegins= liningup talentthrough Agents,including an Arranger and "Side-'Men."

Recbrding Artist-assigns,copyright to Publisher whoobtains-regiatrationtertificatefrom the Libraryof Congress.

Recordin-g_Artistublisher, and recording companynegotiate contractthrough:the HarrY Fox Officefor a mechanical reproduction license needed tomake recordings of copyrightedmusic.

Recordingisession held involving at least,theseworkira: ProdUbe'e-, Recording_Artitt, Studio,Sidemen,Arranger, Rebording Engineer, Mixer, TeChnicians.-Recording artist-is Paid an adVanceagainstluture,:royalties from record sales. Musitiana and othersare paid only for the session.. Others may be onsalary or commission:

Tape maater ia transferred to disc master and actualretords are pressed.

ProMotion Workers strategically_time the-release ofa new record so that it doesn't compete unfavorablywith other records of the same company, and ao thatan.advertising campaign can create'anticipation.

* - Pointa:at which developed musical skills are necessary.

Promotion workers visit Disc-Jockqys and radio ProgramDirectors puShing the new release and buying air timefor advertising.

The record is distributed and sold in record stores orthrough record clubs:

Radio broadcasts of copyrighted music result in paymentof performance fees to ASCAP or ,BMI or other performingright organizations, who, in turn, pay thecopyright

- holder.

"Trades" indicate that sales are good.

Publisher negotiates agreement with Recording Artistand recording company to produce sheet music.

Arranger develops arrangements from lead sheet andrecording for piano, vocal, and instrumental ensembles.

Editing department prepares arrangements for printingusing talents of capt, Graphic Artist, Autographer,Proofreader, Editor, Printer.

Sheet music distributed and sold i music stores,Roya3ty paid on each copy to the sbng writer by thepublisher.

* Publisher sends professional copies of new arrangementsto professional Performers who add it to-their acts inlarge hotels, televiSion, and concerts. Each perform-ance for profit means a fee must be paid ta the copy-right holder through ASCAP or BMI.

Movie Director needs the new song as part of a soundtrack for a new film. He must negotiate for a syn-chronization license with the copyright holder inorder to make the song part of the moyie.

When, after 56 years (two 28-year terms) the song'scopyright expires, the song may be,freely recorded,arranged and performed. The song ,is then said tobe "in the public domain."

5 9

MUSIC BUSINESS TERMINOLOGY

'Actor's Equity AssociatiOn -union for actors and other per-formers_in light opera andmusical_comedy

Advance - money paid to recoTdingartist against the income of a'record. -As a record earns moneythe,company deducts the advanceand the dost of.taking the re--cording before paying royaltiesto the artist.

AF of M (American Federation ofMusicians) - professional mu-sicians' union'for instrumen-talists

AFTRA (American Federation ofTeleVisiOn_And_Radio Artistair-_

, union representing singers whomake recordings

Agent - plans long-ranim careersof recording artists, findsemployment, negotiates contract

AGMA (American Guild of MusicalArtists) union for solo con-cert artists, and singers andchoralists in opera

%

Angel - person who finances aBrOadway musical show, the costof which can approach $1 million

Artist and Repertoire Person_ _

1"-1( & R MarrY - works for recordcompany deciding which artistsshould be recorded and what-songs they should record

ASCAP (American Society of Com-posers, Authors, and Publishers)- a performing rights organiza-tion which collects perforMancefees from radio and televisionstations, theaters, music halls,hotels, and concert performances

6 0

Associated Actors and Artistes ofAmerica, AFL-CIO - union formany performing musical artists(affiliated with AEA, AGMA,AFTRA)

Auer - prepares music infinal form for printing

BMI (Broadcast,Music, incorporated)- performing rights organizationsimilar to ASCAP

Copyright -the right to produCecopies

Copyright Law - restricts printedcopies, public performance forprofit including broadcast,recording. Original works arepro-tected by-Hcormtorrraw"copy-right from the moment they arewritten.

copy_y_ihrarofCongreSs - filing a'form withthe Copyright Service 'secures aregistered copyright certificate.The term of copyright is 28years,renewable for a second28-year term.

Copyyight Specialist (CopyrightExpeTt) - works with recording,file, and publishing companiesresearching and securing copy-rightsand mechanical licenses

Demon'stration Record ("Demo")recording made by artist, com-poser, publisher, or anyone,to demonstrate the potentialworth of a song or artist orgroup

ilai=rLcaL_cOffice clearing houseorganization which issues me-chanical licenses, collects fees,pays copyright holders, andresearches foreign copyrights

Lead Sheet Manuscript version ofa song whickincludes melody,lyriCs, and chords

Congress_

Servide - registers music', poems,plays, books, etc., and issuesrTgistration certificate as'prcisbfef eontrol of:copyright. (see Copyright Service, Libraryof Congress)

_Manager - provides day=to-dayguidance for'recording artist,may Control money and protectartist from unattractive offers

MeChahicatt.License - authoritygranted by copyright holder torecord,company to make record-ings for'cOmmercial distribu-tion.of copyrighted music,'

loapjA- unreported_and illegalJlayments or.gifts to disc jockeysta push the Company's records,during-radio broadcasts

Performa ce Fee-7 money paid for-the right to.perform or broad-cast copyrighted Music for'prcifit collected by ASCAP andBMI

,Producer, Reeord = arranges andmanages recording sessionseither'for record companies.

-or-independently

ProMotion Person - 'works forrecord company visiting discjockeYs andradio programmersOroMoting the company's records,may buY advertising time enradio stations

Public Domain when a copyrightexpires, a work is said to be"in the public domain." _Thework can be freely recorded andprinted. New arrangements ofthe work are protected by copy-right.

Royalty - percentage of sales ofsheet music or recordings paidto composers or recording artists

flt2t.:_.y_iable- recordingcompany,pays royalties aftercosts of recording and advance'sare met

Staff Arranges_--in publishing,arranges music for publicationas piano, vocal, or instrumentalmusic; in recording, makes ar---rangements for use in studiorecording sessions

Studio "Side-Men" - musicians an-call by reCording studio whosupport recording artists atrecording sessions

S nchronization License - author-A.ty needed by film company touse copyrighted recorded musicon sound tract of film

"Trades" - magazines and periodi-cals published with news of theentertainment industries; theseperiodiCals publish charts ofthe 40 best-selling recordingsin several categories -- popular,classical, albums, and singles(examples are Billboard, Cashbox,Variety, and Rollin Stone)

6 1

MUSIC EDUCAT ON

KUSIC TEACHERS

One out of every five Americans'age 16 pr older,plays a musicalinstrument. That is around 30million people making music, assomeene said, to-their own amaze-ment. Another 10 percent:of

14or-15-million singers,belong to choral_groups and,choirs. The millions of amateur.singers'and players are the-re--,Sult of music education, the work-of music teachers.

erhe field of music draws manypeople in search of a career.Among the thousand5of studentswho graduate'each year from musicschools and colleges, the largest:ingle group :chooses music educa-tion as their work-. A smallernumber enter the highly competi--,tive and crowded areas-of perfor-manceand business. A few takejobs unrelated to music,:prac-Using, performing, composingduting spare time. It'is safeto say that most musicians WhogO into perforthance Will teachat one time or another. Someperformers give lessons to helpsupport,their performing.career.

'There are different "settingsor places in which to teach anddifferent'ways to teach music.

.Public School Music Teachin

Teachers working in public schoolmusic departmentS can specializeon three levels: elementa,ry,

junior high OT middle school, andhigh school. -In-most-schoolsys-tems teachers concentrate on ei-ther vocal or instrumental music.

instrumental music teachlers workwith individual students;Jsmallclasses, andjarge orchestras orbands- 4n many schools, teachersspecialize-in winds, or strings.At the high school; an inStrumen-tal techer'maY have severallarge:groups such as bands ,or orchestras,Directing these largegroups- is avery 'complicated job for whichAPJ:gerschools mayAleed a staffof seVeral teachers.

The music director Of a-highSchool instrimental program needsto be:

An organizer

A conductor

A teacher

' An arranger

A public relations per n.

Public or PrivateSchools

WHERE MUSIC TEACHERS WORK

Conservator es,CollegpsUniversities

'Private Studio orCommunity MUsic School

or Music Store

KIND OF 1TACHIN

Teaching classes intheory, appreciation,-band, orchestra, c-or-us, marching band

Teaching private les-sons, in voice orinstrument

Teaching classea incomposition, theory)or history

Coaching chamber music

Conducting choruS ororchestra _

DIPLOMAS OR DEGREES NEEDED'_(MINIMUM)

Teaching ,priVate instru-Mbntal or vocal lessons(either individual orgroups) :

Bachelor of Arts inMusic Education pluscertification fromState Board of Edu-

.

cation

Usually Master ofMusic preferred

Experience and/ordiploma fromconservatory

.TYPES OF STUDENTS TAUGHT

All kinds, talented ornot. Some may bethusiastic, some maynbt.- -

Students seriously'Con-sidering professionalcareer

Studenta interested inmuSic,and usuallytalented

INCOME

Moderate income,- fairly secure salary

Moderate income, fairlysecure salary, percourse or per student

6 4

Moderate'or low income,insecure.,pay, per ,

student_per_lesson-..

ic director should alsol'\

Able to-make out a budget

Able to organize a musiclibrary

Able to do publicity

Able t6 interest new studentsin the music,department.

In addition to directing bands,orchestras, and groups, he/shemay also work on extra musicalproductions and shows. A musicdirector may have to teach courseson music theory, appreciation, orhistory, and quite possibly super-vise a study hall as well.

A high school vocal teacherneeds most of the same skills andabilities as an instrumental teach-er. In addition, vocal teachersshould be able to read music atfirst sight, understand voEal prob-lems, and know a vast amount ofmusic, from 16th century madri-gals to the latest popular hitsIt helps greatly if he/she is apianist.

Money, Degrees,__Advancement

Music teachers in public schoolsare paid like other teachers. In

most schools this means that ateacher with a more advanced de-gree, like Master of Arts in Teach-ing, is paid more than a teacherwith a Bachelor of Music Education,who has taught the same number ofyears. In order to make more mon-ey and become better teachers,many music teachers continue totake college courses at night andduring summer vacations.

Teachers with exPerience andcourse credits in administration'may want-tp become supervisors.Music supervisors have the job ofoverseeing and organizing the mus cprograms of entire school systems-.-They interview prospectiVettach-ers, attend meetings, and makesuggestions to individual teachers.Supervisors also try to get goodfinancial support for music pro-grams from the school board

Of course, in addition to hiringteachers, the supervisor may haveto fire them. Also, financialsupport from the school'committeemay not come at all.

9 ,

because thennyJath At'," an

a

don4t,linni. To be

00

-

-each class once every two-- eeks,:which isn'tnough. The classroom teachers.are supposed to keep

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

-Elementary Vocal Teecner

Satisfaction Guaranteed?

Teactling music in some publicschools can be a difficult andthankless job. In some communi-ties because music is not consid-ered important, the music depart-ment is small. Such a situationcan frustrate a teacher who istrying to build a strong musicprogram. Often, the music teach-er must become a public relationsperson trying to build supportfor music in the schools.

In many communities, elementary-music teachers must move fromschool to school, spending a fewhours in each. Such travelingmay be necessary in communitiesthat cannot afford to hire a musicteacher for every school, but itdoesn't make the teacher's jobany easier.

Yhat's ew?

Theways music is experienced andtaught in'public schools are chang-ing. .In lower grades,,new tech-niques of instrumental teachingare creating, a demand for teachersof-violin-who-can-use-the Suzuki-method. In vocal and instrumen-tal classes new methods of_teach-ing-baSed On.the work of Kodalyand Grff are being used. A musi-cian planning to teach young chil-dren should find out about theseand other new approaches to musicteaching.

Many schools are providing syn-,thesizers, instruments for elec-tronic music. SYnthesizers canbe used in muiic classes in a_num-ber of ways, and they can also beused in_science and media classes.Future musia:teachers 'will nee&electronie music skills to teachcourses which may not exist now.

Music teachers in colleges, Con-servatories, and universities areprofessionalsrtraining--pmfesSion----als. The highest standards ofperformance are maintained inthese schools. Often, performingprofessional symphony players willbe part of the faculty of a con-servatory, combining performing,and teaching into one,career.

Advanced degrees, Master of Mus cor Doctor of Philosophy-in Music(Ph.D.) are required to teach:atthis level. Accomplishedyirtu-osi teach their.special instrument..privately in .individual lessons,

Private Teaehin&

In colleges, "applied musi ma-

j.Ors are those who concentrate onperformance of one instrument orvoice.7while taking courses towarda dilloma or a degree. While someof these students:will become.yerformers, many of them will becometeaChers of their instrument orvoic_. ..Such music :teachers workin arge and small communities,sonle teaching in their own studios,

someteaching in community music-schools. :Many use teaching as apart-time job to support a, per-forming- careers. '-kusic,storesoften supply studio space toteachers who will attract-studentswho become custemers.

A private teacher,'s income isinsecure. Whenever a student

.

calls to cancel a lesson, it rep-resents Jost income for the teach-er. 'Many people do not take les-sons in the simmer, creating-two.months of,very 'little inCome. Ateacher who wises a stable income-should establish a good reputationin the community.

Between the. Deviland:the Deep Blue_ Sea

Times of economic hardship are'difficult for nearly everyone.'For private music teachers, re.-.cession and inflatiOn canresult

in special problems.. SoMeone with-out-musical abilities studying mu-sic can be disappointed at hisiber'Lack of progress. .A teacher who

. encouragessuch a student to con-tinue is not helping the student.

The teacher, heweVer, may need thestudent for the money. He or shemust decide whether to tell thestudent td stop music study, or-tocontinue taking the student's'moneY.

The Future.

Students thinking about music edu-cation as a career should know thatthe population is declining, andthat fewer elementary and secondaryteachers will be needed through the1980's.' However, innovative pro-grams' already mentioned will createa demand for specially-trai,nedteachers_

If 20 percent of the populationcontinues to be interested in play-ing an instrument, then thereshould be work enough-for privateinstrumontal teachers. Today'sschools provide much more e4osureto performing arts than ever;before.Such new programs may interest pore.'people in.studying music, creatinga need for more teachers.

MUSIC LIBRARIANS

There are many different kindsof music librarians doing com-Tletely different kinds of work.Music librarians work for largeperforming groups like symphoniesOr operas. Other kinds of music

librarians work.lor public librariesor music libraries of conser-vatories, collegesi or universities.'Still other workers called musiclibrarians work at radio stationskeeping track of thousands ofrecords and tapes.

Vmpb9ny_OrChestra and \,

221_21-_Librarians

Conductors select music to beperformed months ahead of time.Long before each piece is rehear-sed, the conductor wilINStudy both,the score and tach individual player's part. Changes, corrections,dynamic cues, bowings, and phras-ings usually have to be added to

,-the printed parts.. The orchestralibrarian helps the condOctor dothis,work. If new parts need tobe copied out, the librarian willdo the job. The librarian also,must keep the orchestra's libraryof'music in order, send fOr neWmusic, and correspond with futureguest conductors (to find outwhich edition fhey prefer, orwhetner-they- will bring-thtir-own--parts). It is the librarian's re-spo ibility to see that eachpla er has the printed partsnee ed for each rehearsal andeach concert, to-Collect musicafter rehearsalsa.nd concerts,and to care for,music with theorchestra on tour.

Orchestra and-opera librarians_should have-a musical backgroundin theoretical subjects,likeharmony,.instrumentation,'andorchestration. They must be ableto write clear, neat,:precise mu-sical notation. A Bachelor ofMusic degree,in theory, frOm 4 con-servatorY, College, or universityAs usualli expected of music ii-brarians,Larger_orchestras_andoperas may use assistants who gainknowledge and experience whilehelping the librarian.

Librarians for major symphoniesand opera companies work full-timeand make a moderate but stable in-come. Civic or community orches-tras use volunteers working forfree. In smaller orchestras, thelibrarian may also be a player inthe orchestra.

The outlook for orchestra librar-ians is closely connected to theoutlook for orchestras. Many majorsymphonies and operas are in finan-cial difficulty. Hopefully, or-chestraA,will find new sources ofincome and financial support bene-fiting not only the players andconductorsi. but also the musiclibrarians.

Public libraries in large citiesand special music librarieain con-s,ervatOries and universities hire ,

librarians with specialized musical .knowledge. Many music librarianscombine-library duties with Scholar-ly researchiyi music. Music li-brary duties' would include acquir-.ing and cataloguingjpooksi musicalscores, periodicals, and recordings.In,some libraries-rare books andmanuscripts:will* be preserved bythe librariaaand selected formicrofilm collections. The musiclibrarian may also,be responsible -fof setting up special exhibits ofbooks and storesi,arranging forconcerts,.and giVing lectures,inspecial fields of interest,.

NormallyAmusit'llbrarians need '

a Bachelor Of Musit degree, or a--Bathelor of Arts An Music, and aMaster of Library Science-dr-Mu-sidology, The relatively smallnumber of jobs available to music;librarians pay moderately and'provide a stable income, .

musxoLoGy AND ETHNOMUSICOLOGY

Musicologists are the historiansof music. They study the musicof the past, 'often consulting oldmanuscripts and books, to deter-mine hoW the music was performed.Occasionally, a musicologist willdiscover a piece of music from thepast that has not been heard inour time, and prepare this piecein a modern edition.

Musicologists also study thelives and times of musicians inthe past to see more clearly therelationships between musiciansand society.

The past is not the only areamusicological study. Musicolo-'gists analyze and,write articleson the latest musical compositionsand discoveries. Musicologistshelp musicians communicate witheach other.

Ethnausicology is the s,tudy ofethnic music, dance,-and culture.As civilization expands into areasthat were formerly remote, cul-tures. become absorbed and lost.For,instance, in our own countrywe know almost nothing about themusic and culture of eastern In-dian tribes. An ethnomusicolo:gist would have worked hard topreserve Indian songs in some form.

The twentieth century composerBela Bartok worked as an ethno-musicologist making sound record-ings -of Hungarian and other Balkanfolk songs, preserving them beforethey were forgotten. He latertranscribed these songs into musi-cal notation and catalogued them.'

Many.colleges arbtablish courses in eand courses that com

trying to es-hnic culturesine science

and art. Ethnotusicology.usesanthropological tools as well,as-,musical skills to hell understandethnic cultures and musit's4lacein them. A small-demand ler ethno--musicologists-to-teach-tourses-in-Black-or native American mi4ic maycreate a few academic job oppor-tUnities.

Job opportunities for musicolo-gists and ethnomusicologistsarevery'limited. Most research inthese fields is supp-orted by pri-vate foundations and governmentagencies who provide-money forspecific prolects and studies.Many musicologists work as teachersof music history and literature, oras musie librarians. Some work atjobs not related to music, oftenusing their own savings to paytravel and other,expenses for theigresearch in music.

Musicologists negd a wide know-ledge and variety of skills. Com-mand of a foreign language is anecessity to understand ancienttreatises in ,Latin, German, French,or Italian. Ethnomusicologisshould know the languages andtures of ethnic groups they arconcerned with. Studying his ry,

sociology, and anthropology is asimportant to a musicologist asmusical studies are. Musicologistsusually earn at least a Master'sof Musicology degree, concentratingtheir studies on the music of aparticular historical period orethnic group.

MuSIC THERAPY

, -

Menially ill pat, epts. whO:have.lost- the_'ahility, tocoMiunitatein_woida,mayfstille:able io Ommpnicatej111-41i,VerbaLway','=such':Ai:Musit, art4;or Once-

V 7

,movemOthe.music thel:apiat'uses muiit the--

emotiOnally ill, communicate tOli:TiWand thoughts thepatiept-cafihot-express iri-other waya..

_

Music's pewerto affect moOdAandstir emotions ,11;a: been; well known,

for-as long as.music has existed.'Stories'about the music Of-anCientGreece tell of.the healing powersof Greek music. .Leopold Mozart,the father of Wolfgang, wrote,thatif theGreek's meic could healthe Sick, then'our music should'be able tohring the-dead hack tolife. Unfortunately, tOdWsmusic cannot do quite'that much.

-The healing power of music,taken fox-granted by ancient manand-by many primitive societies,is only recently becoming-accept-ed_by medical professionals as a:new way of healing the emotion-ally ill.

Using, musical activities involv-ing patients., the music therapistsepks tO restore mental And phy-sical health. Music-therapists,usually work with emotionally=disturbed patientS as part of a_team:of therapists and.doctors.Music therapiSts work togetherwith: physicians, psychiatrists,psychologists,'physical therapists',nurses, teachers, reeteation lead-erS, family of patient./ ,

:The therapy that a music thera-pist gives to patients can,be inthe form of listening, performing,lessons on an instrument, Or evencomposing. A therapist may help -

A patient regain lost coordinatien

by,teaching the patient how to playan instrument. Speech defects cansometimes be helped by singing ac-tivities. \Some patients need the'social awareness ef group activi-ties, but others may need individ7,ual attention to build self-con-fidence. The music therapist mustlearn what kinds of activities arebest f,r ealch patient.

In.additilon to working with pa-tients, the music therapist hasto attend meetings with othertherapist and doctors who werkwith the sanie patients to discusprogress and plan new activities.Written _eperts to doctors aboutpatientS responses to treatmentare al-tether facet of the musictherap st's work.

Typtical duties of a music thera-

pist/can Anclude:

Selecting background music'

Arranging,for concerts foror by patients'

Accompanying and leadingsinging:or,rhythmicactivities

s Teaching indiVidual or groupmusic lessons

Encouraging musical Creativitypatients

* Directing vocal and instrumental groups.

Hospitals, idhools, retireMenthomes, andcpmmunity agencies andclinics are, some Of the sites where,music-therapists work. Some musictheraPists work in private:studioswitivpatiehts' sent to them-by Medi-cal doctors, psychologists, and,psychiatrists. Musid therapy canbe done in studios,-recreationrooms, hospital wards, or class-rooms depending-on the type ofactivitY and needs of the patients

Training_

Qualified-music therapists havefollowed a fOut-year cpurse witha major emphasis in mutic pluscourses in biological science,anthropology, sociology, psycho o-gy, and music:therapy. Generalstudies in--English,-,history,speech and government completethe requirementsforallachelorof Music,Therapy. After college'training, a-music therapist MustpartiCipate in,a six-month train-ing'internship under the-guidance-of,a,regiStered music therapist.-

Students who haVe completedcollege courses and'haVe demon-stratektheir ability .during thesix-month internship can become,registered music therapists_ byapplying- to the National.ASsoc-iation,for Music-Therapy; Inc,.New methods -and techniques ofmusic therapy are alwayS beingdeveloped,'so the trained thera-pist must continue_to study newarticles,books;:,and reportsthroughout his her career.

The following qualifiCationsare nepded by those who are con-sidering-a:music-therapy career:-

. Seriousness about_musicand-music study

Capability for college oruniversity study.

Versatility to adjust todifferent work situations

Good physical health andstamina

Emotional stability, maturity.

Other important personal quali-ties are patience, tact, under-standing, a sense of humor, and,ability to cope with disappoint-ment. :Therapists see a great dealof human suffering, and should beable to have compassion withouttoo much emotional involVementwith patients and their problems.

Graduates in music therapy findout about available jobs fromtheir college placement office;job openings are also listed inthe Journal of Music Theraa, sentto members of the National Associ-ation for Musid-Therapy, Inc.The income of a music therapistis moderate but stable for year-round full-time work. Generousfringe benefits such as health in-surance, vacations, regular salaryincreases, tenure, and retirementplans tare common in large hospitalsand institutions.

The first college training formusic therapy was established in1944. Now (1975) 32 colleges anduniversities offer at least bache-lor degree programs. Eight ofthese institutions offer advanced'degrees. , Approximately 600-hos-pitals and institutions locatedin all parts of the country employmusic therapists. Since the es-tablishment of the National Associ-ation for Music Therapy in_1950,this pioneering field has grown,and growth is expected to continue.

The continued growth of Musictherapy depends on doctors.acceping mu-sic therapy As -a way-oftreating_patients. In order to

_prove hOw.effeCtive music therapy-is and_to discover new methods,

-Music therapiSts are involved in

experiments and seieOne:growingareaapy is-specia1:4tional childrerl./wishing tu viertion should. amusic educa_

ific research.ng music ther-

cation of excep-Music therapistS

in special educa-0 be certified

s.'

ASSOCIATIONS: PROVIDINOMUSIC CAREER INFORMATION.

American Music Conference332 South Michigan AvenueChicago, Illinois 60604

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

Music Educators National 'onferenceSuite 6018150 Leesburg--Pike .

Vienna, VirgAnia 22180

Piano Technicians' GuildP.O. Box 1813Seattle, Washington 98111

7 3

* t..LE GOVERNMENT PRINTING OFFICE: 1976=A-0703/59

Companion-Documents in this Career Exploration Seriesi.

Student Guidelloo_ks

EXPLORING DANCE CAREERSEXPLORING THEATER AND MED_A CAREERS' .

EXPLORING VISUAL ARTS AND CROTS tAREERS'EXPLORING WRITING p\REERS------ ,

EXPLORING CAREERS IN'THE HUMANITIES

Materials for Teachers and Counselors.

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

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

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

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

A PRELIMINARY EXPLORATION OFOCCUPATIO_S IN THEARTSAND HUMANITIES