25 Music Jobs That Most People Don’t Know About

25 Music Jobs That Most People Don’t Know About

You may have heard that music jobs are almost impossible to find, especially if you’re young and just starting out. While it may be true that few aspiring musicians will reach the top of the charts, there are hundreds of thousands of music jobs available. Some are for performers, some for teachers, and some for support staff for musicians and performers. Musicians and others in the music industry may work in production, performance, promotion, and education – even medicine. I promised you 25 music jobs that most people don’t know about – but that’s not technically true. Many of these are jobs that people know about – but don’t consider when they think of ‘music jobs’. Ready for the list? Here we go:

Music Jobs for Songwriters:

A Staff Songwriter works for a record or media company and writes songs for the artists signed by the label.

A Freelance Songwriter writes and markets his or her own songs. Your hours are your own, but you’ll have to work a lot of them to get your songs heard.

A Lyricist writes just the words to songs. He may team up with a composer, or be teamed up with one by a music production company.

A Jingle Writer writes those catchy ads that you hear on the television and radio – you know, the ones that get stuck in your head for days. A jingle writer may not become a famous household name – but he or she will always find work.

Music Jobs in Publishing:

A Music Publisher finds and acquires the copyrights to songs with the intent of licensing or selling them to record companies and musicians.

A Copyright/Licensing Administrator ($20,000 – $60,000) manages the licensing and copyrights for a music publishing company.

A Music Editor ($20,000 – $60,000) works closely with the composer to document, organize and time cues for the musicians in a project.

A Notesetter ($15,000 – $50,000) transcribes music from audio to the page.

Music Jobs in the Record Business

An A&R Coordinator (artist and repertoire) finds talent for a record company to sign. His boss is the A&R Administrator, a position that includes planning budgets for artists, managing reps and coordinators and monitoring the expenses on production.

Public Relations music jobs range from assistant publicist to director of public relations. The PR department is responsible for getting the names of the artists on a record company label out in front of the public often. Pay ranges from nothing for an intern to three figures for highly experienced public relations managers.

An Artist’s Relations Representative is responsible for maintaining communication and cooperation between the record company and an artist or band.

A Promotional staffer works with radio stations and video stations to get airplay for a label’s records.

Campus representatives are promotional agents – but they work directly to promote a record label’s products to college students and music retailers. Working as a campus representative is a great way to get your foot in the door at a record label.

Music Jobs in Education

A music teacher teaches music to classes from pre-school through college, with duties varying depending on the age of the classes. In the elementary grades, the music teacher may concentrate on teaching music appreciation and theory, with some teaching of instruments and performance theory. By high school, the job duties are more varied, and may include directing student performances and organizing and directing a band or choir.

A Music Director or Supervisor is responsible for managing and setting policy for music instructors hired by the school department.

Music Jobs in the Ministry may include part time work as an organist to full time work directing a professional choir and the entire music worship for a parish or citywide.

Why Radio Won’t Play Indie Music

Why Radio Won’t Play Indie Music

One Reason Why Radio Won’t Play Indie Music
And What You Can Do About It

by Jeronimo Black

As I clicked on a popular music business forum, I was greeted with a question. “Why won’t commercial radio play music by Indie Artists?”

My reply to this person was as follows:

“As a former Operations Manager and Music Director on both the Comm and Non-Comm sides, Let me break the reason down for you.

Commercial Radio needs ratings to get paid from advertisers. Most advertiser’s, on radio, are ad agencies. Ad agencies base their “buys” (sponsorships) on a Cost per point (“CPP”) basis. CPP is based on how many thousands of listeners a radio station can capture in a 15 minute period (or cume).

Many commercial radio [Program and Music] don’t want to put thier ratings at risk, by airing an ‘untested song’ on the air. So what these commercial radio directors do, is, air music based on the national charts provided by Radio and Records, Broadcast Data Systems (BDS) and Billboard.

These charts are mainly influenced by the major labels via promotions and strategic alliances.

Your best best is to do like Knarles Barkley. Knarles Barkleys’ single “Crazy” went #1 on the internet and radio couldn’t help but to get them the single on the air.

Get your music on music submission sites, make some noise on the net, and get a CDBaby.com account so you can get your music on iTunes and start promoting.”

I suggested this because the music business is going digital. Clear Channel has a partnership with GarageBand.com where they will feature a certain amount of new artists every week in on their website. Since Clear Channel is the biggest and most innovative broadcaster in the music business, it’s just a matter of time before the other cowardly copy-cat broadcasters will follow suit.

The world is going digital, while radio continutes to operate using an analog business model. You can be successful in the music business if you change your marketing model from analog to digital.

Succeed In the Music Biz By Planning Your Success.

Succeed In the Music Biz By Planning Your Success.

Getting a record deal can be easy to do with proper planning. There are many experienced professionals in the music biz who will tell you that the music biz is all business. I agree. With any business, proper planning is the key to success in the music biz. This article describes some simple steps to plan your success.

Think of your career as a business. Have you assembled your business plan? How do you plan to market? What is your mission statement? Are you going to start your own record label to be distributed by a major, or are you going to use the full service resources of a major label? These are all important issues that you have to have in order to really succeed in the music biz. A music biz plan helps you resolve these issues well in advance.

A lot of recording artists enter the music biz with one big goal “to make it”. These artists see themselves on a big stage in front of thousands of screaming fans, but often that is as far as the planning goes. Artists rarely conduct the planning that it takes to succeed in the music biz.

I’ve yet to speak to an artist who has a business plan. In my experience if you don’t have a business plan, then you shouldn’t plan on being in business. A good business plan will cover your business and legal structure, your marketing model, financial projections, goals, benchmarks and finally what you’ll do after the your career is over.

I’ve met many recording artists who treat the music biz like a glorified hobby. They often don’t have business cards, a website or in many cases, a valid email address. Many more artists don’t have the marketing structure in place that will allow them to get the attention from fans or record labels. Remember that the music biz is all business. If you treat your music career as a hobby then you might as well just play your music for friends and family and be content with people pretending to take you seriously.

Getting attention and interest from record labels is easy if you are on the radar. Many Artist and Repertoire Representatives (A&R Reps) agree that if an artist is making it happen on for themselves (by selling a couple thousand CD’s locally or selling out a 2,000 seat venue) they will get on the major label radar. You can’t get on the radar of the record labels (or your fans) if you are flying by the seat of your pants and living on a prayer.

As a wise person once said “failing to plan is planning to fail”.

Singers Who Sing &; Talent Agents Who Book

Singers Who Sing & Talent Agents Who Book

In the world of the music business, there are truly singers who sing and singers who don’t, along with talent booking agents who book and those that couldn’t sell cotton candy at the circus. Is it drive, talent or a mystical combination of “factors” that create singers and talent booking agents, or is it yet the pure unexplainable? Let’s look at some factors in this article as singers, looking to further their careers, try to find suitable representation.

As a former talent booking agent with the William Morris Agency, I can tell you that there are many factors that determine both effective agents and marketable singers and artists. While there are many explainable factors, there certainly is the element of luck, the right place at the right time and the “Who knows, it just happened,” phenomenon. Let’s start with what we can determine and hopefully you will gain some insight into what effective booking agents look like and your securing one of them.

To begin with, there are many caliber of booking agents out there. As I’ve outlined in a previous article on booking talent, that you can find at ReelMusician, there are the order taking agents who book mainly headline acts, the agent who started in some agency somewhere and who branches out starting their own agency booking more of the “has been” acts and the lowest, but not always the least on the totem pole agents. These agents are usually friends of the artist or a manager looking to push their act before a major record deal signing, etc.

With each agent level comes a different approach. The order taking agent, with the larger well known talent agencies, isn’t going to be interested in your act unless there is interest and ongoing courting from a major record label. These agents take the “baby” acts and use leverage, with promoters who want the headline act, into a must take the baby act as well deal – And most promoters don’t have a problem and understand that this is part of the deal when playing in the big boys club. Unless you have a record deal or are very appealing and are drawing some interest from the labels or a big time manager, you won’t find yourself behind the desk of one of these agents. If you are trying to approach the agent at the top of the pyramid, you must recognize that image, packaging, appeal, and your knowing and talking the game to a tee, and not in artsy fartsy language, is going to be key.

I recommend that you really have your act together and don’t even begin to bother these individuals, not that they’re necessarily the best agents in the game, but certainly have more power and influence from position alone, before approaching them. Your artist bio, pictures, artist demos have to look like there label ready. And before that, you really need to have a manager and a manager working on securing an agent on your behalf.

Again, many more articles on this and other topics can be found at ReelMusician. So, unless you really have your act together, with management in place, don’t bother wasting yours or the agent’s time.

The next level down the agent totem pole will be not only be easier to gain access to, but easier to gain representation from. The middle line agents are hard working agents who make their bread and butter on the older, end of the product or market shelf life acts. These acts, because of name recognition, can make these agents a significant income. You will have to prove to this agent that you will not take up any more time than any other act that they are promoting. Why should they spend all of their time trying to book your act with nothing or little in return? This is a key question. Ask yourself, as an agent, what do I get out of this? – Phone bills and mailing costs or am I going to see a valid positive cash flow return on all of my time expended on this act? I want you to think about that question and reflect. This alone will help you not only relate, converse knowing their difficulties in booking, but ultimately help you secure a booking agent.

In the game of booking, you as an artist have to have something more than “hip and cool” and a “new” artist sound, but you have to be able to present to the seller, that being your agent, that he or she has something of value to sell with minimal headaches. You can’t possibly begin to imagine how hard it is to book some acts – when you start booking your own shows, with vested interest I might ad, you begin to touch on the realities of the agent’s day to day barrage of booking complexities. So begin to compile a mental list of positive booking attributes that you or your band can bring to the table.

As you look at either contemplating a manager, or a serious friend who wants a try at booking and management of your act, try to be reasonable in your business relationships. I’ve said it before, that everyone wants to be a star, but nobody wants to help pay for it. For the most part, artists just expect that booking agents and managers will pick up the exhaustive phone, mailing and press kit bills. You might inquire, if you are really serious about securing a business team, about helping out with some of the initial start-up costs trying to land your act on the map. It takes a tremendous amount of energy and money and just your willingness to help out alone, will tell a manager or booking agent that you are serious and not just “takers.” This alone, even if they decline the financial help, may be the key in determining the start of a successful relationship.

In closing, in order for you to succeed, you must remain in front of the masses and this is done not so much musically, but in your day to attitude and business focus and with your professional and well laid out blueprint for success. Feel free to contact us at the contact numbers that follow.

The Pillars Of Successful Artist Management.

Each one has a role to play. An artist can’t rely solely on his talent to succeed. Neither can a manager have feathers in his cap without developing his artist to achieve success.

Managers may have different artist management styles but there are 3 things that work for all of them.

Partnership Built On Trust

This is the foundation of a great team. Some may say, it’s a partnership made in heaven! The connection is solid and deep. It’s where you see the artist and manager working together to build a brand – creating music that people want to buy. The artist’s talent is showcased. The manager’s skills are put to a test … and both succeed. Trust in each other never fails to bring sweet success.

Solid Work Ethic

The music industry is a tough turf to break into. For an artist to make it big, artist mangers have a lot to do. Being hands on is a must. Being on top of things is an every day task. That’s why a strong work ethic that is shared by both artist and manager is important. It’s a potent ingredient of the partnership. It gets the job done well. Combine this with a positive attitude and a joyful heart – that’s when great things happen. Afterall, creating music is a passion that springs from the heart. It’s good to let others enjoy the fruit of your labor.

Shared Passion And Vision

Music has a way of getting people together. Artist and manager share one desire —to pursue success through music. Artist explores and creates his music. Manager employs artist management strategies to make it marketable, get record labels to recognize it and give it airtime so people buy it. You know success will not happen overnight. Things happens one step at a time. Be patient, every small step will lead to bigger steps. Your vision of success is clear. Keep your eye on it. Success is your north star.

To succeed in the music industry, artists have explored different paths. There may have been rough roads, with risky twist and turns. Some may have failed at first. Some may have taken longer to get to where they want to. Time and again, with a strong partnership, a solid work ethic and an undaunted passion for their craft and their vision to succeed, many talented music artists found their way to their ultimate success.

These are time-proven pillars of success in artist management. There are professionals who have the experience and skills to make the path to success

easier and faster. Check out http://360mediatouring.com/artist-management/ They have been in the music business for 21 years and know all about managing songwriters, artists and bands.360 Media Touring Management group who can help steer music careers of freshArticle Search, new music talents like you.

How to Promote Your Music by Gigging

The problem of how to promote your music is one of the main challenges facing
any band or musician who wants to be a success. Even when your act or material
is established, building your fan base and selling your CDs or mp3s is all
about exposing people to your music. Basically, if you don’t know how to
promote your music, how will you get people to buy what you write or play?

1. Learn how to get band bookings from venues

Clearly you’re never going to know how to promote your music at gigs if you
can’t get your band booking. So, learning how to do this is a key requirement.

Getting gigs boils down to:

a) Working out what’s different
about your band

b) Drawing up a long list of
target venues

c) Agreeing between band members
how many band bookings you want to play every week or month

 d) Creating a demo

e) Hitting the phones to canvas
your long list of venues

Oh, and of course… rehearsing.

More band
booking tips
here


2. Get people to come to your gigs.

So, once you’ve mastered the art of how to promote your music to venues, you
need to get people in through the door to watch you play on gig night.

You should do this both on and offline. Online, think your Facebook, Twitter
and Youtube accounts to advertise your gigs. Also, your own website should be
collecting email addresses so you can email newsletters with details of the
event. Offline Press releases, flyers and verbally telling everyone you know
about your forthcoming gigs.

3. Play Great Shows

Many bands and musicians learn how to get band bookings and even then to
fill venues on gig night. You can set yourself apart from other acts when you
know how to promote your music by putting on great shows every time you
play. The key points are:

-Creating the confidence to perform

-Knowing your material inside out (so
you can concentrate on the “show”

-Planning the show in advance

and crucially:

-Interacting with your crowd

More about playing great shows here

Once you can get band bookings, get people to your gigs and put on a great
show, here’s how you can make the most of every gig to promote your music.

1. Use audience reactions to help fine-tune your song arrangements and to
test new material

2. Sell your music (CD’s) and merchandise at the gigs

3. Publicise your website and social media at the gigs (think flyers and
on-mic announcements)

4. Book repeat gigs at the same venue on gig night itself and publicise this
to the crowd

These will all help build your fan-base over time – a key ingredient in
knowing how to promote your music.

When you’ve mastered all the above it may be time to:

5. Invite industry contacts to your shows

A&R people if getting signed is your goal, band management or just
booking agents for bands if you want someone to handle that side for you.

No matter what your ultimate musical aim is, playing band bookings will do
more than help create a buzz about your band and music.  When you know how
to promote your music this way it drives your motivation and builds
momentum for your musical career. And, it will put some extra cash in your
pocket at the same time.

Support Music Education

”;

I support music education because it has played a vital role in my
life. I had very difficult behavioral challenges as a child. I was
defiant. I was expelled from three schools and was hospitalized three
times because of mental, emotional and behavioral challenges. I was
diagnosed with depression, obsessive compulsive disorder, and a
behavior disorder.At the end of tenth grade, my defiance was at
its peak and contributed to my third expulsion from school. Like a
defiant child, I told my parents that I was not going back to school
unless they found a way for me to play the drums more during the school
day.Weeks later, my mother discovered the Long Island High School for the
Arts. I was accepted and life changed for me completely. My
grades went up, my behavior improved, and I discovered my mission in
life. This is how I reaped the benefits of music education. I remember
my adolescence as a time of life-changing transformation. Today I am
honored to mentor musically-minded teens on the faculty at the Long Island High School for the
Arts.Now I am a professional drummer and I love my
job. I am happy, healthy, and I am in control of my own behavior.
Instead of defiance, I’ve found positive ways to express myself. Like
everyone, I suffer from periodic stress. When I sit behind my drums and
play, I experience relief, emotional expression, and a wonderful
connection with other people.Music education is extremely
beneficial for children and adults. If you type “benefits of music
education” into a search engine you will discover tons of research done
on the positive effects music education has on people. The best-known
benefits of music education are improved SAT scores, literacy, and
social skills.One famous study was done by Profiles of SAT and
Achievement Test Takers, The College Board, 1998. The researchers who
conducted this study concluded that students who participate in music
score higher on the SAT. Another popular SAT study showed that students
who performed music scored 57 points higher on the verbal and 41 points
higher on the math, than those who were not musical. Students who take
music appreciation classes score 63 points higher on the verbal and 44
points higher on the math, compared to students who don’t participate
in the arts.Although much of the research about music education
focuses on children, there are many benefits of music education for
adults. According to a study done by the American Music Conference in
1998, retired adults who took keyboard classes reported decreased
anxiety, decreased depression, and decreased loneliness when compared
to a control group. I believe that music education is just as important
for adults as it is for children.As a proud supporter of the
Fender Music
Foundation (formerly the Guitar Center Music Foundation), I
encourage you to support music education. You can do this through
becoming an advocate or making a donation. When you purchase anything
through my website, www.MikeVeny.com, a portion
of your purchase will be donated to the Fender Music
Foundation. Music education has improved my life a great
deal, and I hope you will join me in supporting it. Please make
learning music a part of your life.

Article Tags:
Support Music Education, Support Music, Music Education, Points Higher, Music Foundation

Source: Free Articles from ArticlesFactory.com

ABOUT THE AUTHOR
www.MikeVeny.com

Trust professional entertainment agents to find you the best live band

”;

For any entertainment event one of the must haves is music. And when we talk music during an entertainment event what is needed is a live music band. Thankfully, the UK has always had a rich heritage in music and there is no lack of fine musicians playing some of the finest music of all times. These bands can play music of all times from all decades. These live bands can be found online and hired. Entertainment hire through online entertainment agents takes at best half an hour.Finding live music bands, if you try to go by the way of yellow pages, could be a daunting task. There are thousands of live music bands available all over the country. When you talk to them you will feel that each one is better than the previous one. You don’t have a mechanism to gauge how good a particular band is. But when you go for entertainment hire through online entertainment agents you can actually follow a systematic way to identify the best.If there is a wedding ceremony that you are hosting you would want a live music band to entertain the guests. Instead of finding a professional live music band among so many available, what you will need to do is find a professional, online entertainment agent. If you do this task well there will be no need for you to look elsewhere for entertainment hire.There are some professional entertainment agents that have been in the business of entertainment hire for a long time. Some are actually in business for more than a decade. And now that they are present online, finding them becomes that much easy. All you need to do is search online using the keywords online entertainment agents and there will be plenty to choose from.Spend some time on the websites of some of the top listed online entertainment agents and you will be able to identify the one you want to deal with. Entertainment hire through the shortlisted online entertainment agent will be very easy. They will ask you about the type of event you are hosting, the date of the event, the type of live music band you are looking for, the venue and your budget. Give them the inputs and they will list all the live music bands that fit your criteria.Now spend some time researching the listed live music bands. See whether they are based out of and see the number of band members and the type of music they play. Also find out their rating on the website and the level of recommendation. If needed click the appropriate link to find out more about them and also ensure that they are within your budget. You will take about half an hour to finalize one.This is the easiest method for entertainment hire through online entertainment agents. Try out this method and see how easy hiring a live band can be. A professional band will add a few stars to your event.Source: Free Articles from ArticlesFactory.com

ABOUT THE AUTHOR
Entertainment hire could be a really challenging task when you are looking for someone apt for the occasion. But online entertainment agents make light work of this task. You just need to find a professional one.

Music Licensing – The Basics – Part 1 License Agreements

In this digital age using music in web-based presentations, business applications, products or services has a number of legal implications for you and your business. Minimising copyright issues can be relatively simple and a little knowledge about music licensing can set you off in the right direction and keep you safe for the future.

This two-part article will provide a basic understanding of music licensing and the royalties included in a license agreement. It will serve you well when licensing music and is a starting point for more in-depth research.

Put simply, you need a license in order to use music legally. Whether you are using music at home or in a commercial project it will require a license. In the example of home use, the CD you buy from a music store is a license to listen for your own personal pleasure. You are not able to reproduce it or broadcast it in any way.

If you wish to use music as part of your business or in a commercial project you will need to get the relevant licenses depending on your usage. The fee you will have to pay will vary depending on the scope of your project and whether the music is mainstream.

Arranging clearance to use mainstream music can be a complicated process and can require a large budget. In comparison, using original music from an independent composer is less complicated to license and can easily fit into your budget.

The Agreement

When you purchase a license you are paying a fee to have certain rights assigned to you for a defined period. This is subject to the terms and conditions of the agreement. Your agreement will detail where and how you can use the music and will also point out the limits or restrictions of the license. The copyright does not become yours, it remains with the composer – you have only been assigned some of the rights.

Music can be licensed on an exclusive or non-exclusive arrangement.

An exclusive agreement means that you are the sole user during the life of the agreement and nobody else can use it for the same purpose.

Non-exclusive usage means that anyone can license the music at anytime.

Music is traditionally licensed within certain territories of the world. This is because the royalty collection societies tend to operate within their own country rather than globally.

Recently, there has been an increase in digital delivery of music with agreements covering worldwide use that bypass the royalty collection societies.

Strange but true, some license agreements even make provision for intergalactic use!

The term is the period of time that you are able to license the music for. This can be from as little as one day or as much as 100 years.

In order to include music in a product or production you have to pay what is known as the synchronisation or sync fee. There are no standard prices set by the industry for a sync fee and the fee can be open to negotiation.

The mechanical royalty covers the number of duplications you wish to make of your product. The mechanical royalty collecting societies have set rates for these, however, some composers / companies are now starting to use digital delivery and will license music directly without using the collecting societies. This can get you a better deal and give you the rights to produce a specified number of reproductions within the license agreement.

Performance royalties are due anytime music is broadcast on websites, TV, radio, podcasts, etc, or played at public exhibitions, events, public houses etc.

Quite often a license agreement will exclude coverage of these, making it the responsibility of the person or company broadcasting the music. This involves paying an additional fee to the performance royalty collecting societies. Many Royalty Free licenses operate in this manner.

There are occasions where a company or composer will cover the performance element in the license fee you pay, but you have to be clear about thisScience Articles, either by negotiating with the composer or checking the small print before purchasing.

Music licensing is a lot simpler to understand once you know the basic components of an agreement and what they actually cover.

Part one of this article should have given you a good basic knowledge of licensing agreements. Part two explores the options available to you as a music licensee.

The Legal Rights of Musicians

The Legal Rights of Musicians

Creative people of all types all come back to one legal touchstone and that is copyright law. It is often sited in all kinds of cases involving literature, film, publishing and certainly in music. Within the music industry, the ability of copyright to protect an artist’s work has come under new challenges in the last ten years. The rise of peer-to-peer file sharing, online music downloading and other internet related ways that music gets passed around has presented some real challenges to musicians to collect what is due them as owners of music under copyright.

There are numerous royalty rights associated with the writing, publication, performance and distribution of music that have to be sorted out by a complicated infrastructure that the music industry maintains to protect its own. But when you get back to the basics, the copyright of a piece of music works in music the same way it does in any literary field. That copyright, at least at first, belongs to the songwriter.

That is where the simplicity of the situation ends. For most songwriters, complete ownership of a song rarely remains the exclusive property of that author of the song. Most songwriters work with a publishing house to get their music out on the market. Even if the songwriter is writing songs for their own band, the publishing house provides the valuable service of not only publishing the song or songs but getting them out on the market to be covered or produced by others as well, if that is how the songwriter wants.

So this is a valuable service that is provided by the publishing house. In exchange for handling all of the promotion of the music, the publishing house takes over 50% of the copyright. This may seem like a lot to give up but there is a hidden side to sharing copyright that benefits the songwriter maybe even more than the promotional help the publishing house provides.

Because the publishing house now has a vested interest in that creative work, they also have a vested interest in protecting it. A copyright over a piece of music, at least on paper, is a pretty strong legal right. It covers all aspects of how that song can be used. If the song is used on a recording, obviously the songwriter has some rights to the proceeds of that release. But even if the song is just covered in a performance, technically the copyright owner has some rights to payment for the use of that exclusive creative intellectual material.

The issue is as much one of enforcement as it is whether the rights are there or not. This is a judgment call to be made by the songwriter, the publishing house and the legal representation of all involved. Sometimes seeing your creative material used has such a positive marketing value that to start a legal battle for the monetary rights could hurt your music career as much as it might help you.

These are decisions that musicians and owners of copyright or royalty rights are making every day in the music industry. The debate over the value of fighting for copyright versus allowing small infractions in exchange the marketing value of your music being heard is one that is held more and more as music sharing has become more common with the spread of internet services. While a strict copyright lawyer might argue that once you stop defending your ownership, you loose it forever, the truth of the marketplace is not always that black and white. The rights are there, to be sure. But the wisdom of how to let your music make you more successful calls for the use of judgment and a savvy that comes from your extensive knowledge of how the music industry really works. 639