A career with music?

A career with music?

A career with music is challenging and worthwhile, and offers a high level of job satisfaction for anyone with a strong interest in music.

Music offers a wide variety of opportunities. There are performers and composers, teachers in schools and at home, administrators, publishers, record companies, instrument manufacturers, librarians, broadcasters and journalists.

The skills and experience required for each activity are quite specific; but many people occupy more than one niche during their careers. The most common example is musicians who perform and teach.

Careers With Music, will give you general guidance on all areas of the music business,

with useful addresses and contacts.

When you embark on your musical career, ISM membership is the best way to equip yourself with legal and professional backing, technical advice and essential insurance schemes, as well as opportunities for professional development. As a Student member you would also find the ISM Music Journal, a useful way to tune in to the music

profession.

To find out more, browse through the subjects listed below.

Performing Education Composing Copying Music Therapy Arts Administration Broadcasting

Libraries and Museums Press Publishing Record Companies Instrument Technology Musical Training Useful Contacts Useful Publications

Further Careers Information Work Experience

And Finally...

For more information on the ISM and membership details please contact the staff team on 020 7629 4413, [email protected] or visit our website www.ism.org.

Performing

Many young musicians aspire to a solo career. The majority of performers make a living out of regular recordings, broadcasts and concerts without becoming publicly known, and there is an increasing number of musicians working in the community, with disabled people, in hospitals or in schools.

Any performing career demands very high standards, simply because the competition is so intense. Technical mastery of the instrument or voice, and general musicianship, must be taken for granted. Beyond these are less tangible, but no less important qualities such as artistry, determination and dedication.

Performers usually begin learning an instrument while at school, either with the local peripatetic teacher or with a private music teacher. (The Register of Professional Private Music Teachers is available from our website www.ism.org, who will all teach to a high standard.) You should have reached an advanced level of performance (at least grade 8) before you leave school, and further specialist training will be essential after that. Music colleges offer three or four-year courses for performers usually leading to a

degree. The emphasis is on performance, with considerable time devoted to practice, but including some academic work. Although most time is devoted to a first study

instrument, in most courses a second instrument is also learnt.

An alternative route is to take a degree in music (or indeed any subject) at a university, and follow this by postgraduate work at a music college. Music degrees vary from the purely academic to the predominantly practical, but all provide opportunities for performance, especially in ensembles. You should also continue with private study and practice.

Advice on which course to follow can be obtained from your teacher, the college prospectuses, UCAS (course guides are available from www.ucasbooks.co.uk), or The Music Education Yearbook which has a good summary of courses on offer.

Having emerged from full-time training as a first class performer, your next task is to make a living. To get work you have to be known; and this means taking every opportunity which might show that you are worth engaging - concerts, auditions, awards, bursaries, competitions, and listings.

After becoming established, performers find that earning a living can be hard work. A one-off major concert can be very exhilarating, but a four-week tour requires great concentration, stamina and dedication.

Apart from the few stars who can command very high fees, wages in general are not high. Many performers combine a performing career with teaching or other educational work such as workshops and masterclasses for which additional training may be

required.

More detailed information on establishing a career as a performer is contained in our advice sheets: Establishing a Solo Career, Establishing an Orchestral Career and Approaching an Agent, which are available from our website (www.ism.org). A performing career, with its many facets, is certainly rewarding and can be exciting. If you are a disabled person there is a wealth of information available, try consulting www.skill.org.uk, Sound Sense or www.opportunties.org.uk for further employment advice.

Solo Instrumentalists

To develop a successful career as a soloist, you need to become known to the audience as well as to the promoters. There is a wide range of opportunities, from live broadcasts of concerts to village hall recitals; and the promoters include music clubs, festivals, and choral societies, local authorities, broadcasting companies and arts centres. Most soloists engage an agent. But agents will only take on an artist who can show sufficient success to make the arrangement an economic proposition. To gain recognition, you need to make the most of every available opportunity - competitions, bursaries, young artists’ platform schemes.

There are organisations such as the Young Concert Artists Trust and Live Music Now! which promote soloists early in their careers. Our advice sheet Establishing a Solo Career has details of performing opportunities for young musicians.

Singers

Career opportunities for singers include opera, oratorio, recitals and professional choral work. Operatic opportunities are limited by the small number of opera companies in Britain. Young singers usually have to start in a chorus and can gain early experience with the (few) small companies such as English Touring Opera, Pavilion and City of Birmingham Touring Opera.

Most choral societies engage professional soloists, and music clubs often include singers in their annual programmes of recitals. These societies and clubs are generally members of Making Music, which itself runs a scheme to promote young soloists.

There is also professional choral work available with cathedral and church choirs, the BBC Singers and session work.

The voice takes time to develop, so training for singers starts later than for

instrumentalists. Postgraduate courses are therefore even more important. Most of the music colleges offer specialist postgraduate training in opera (as does the National Opera Studio) and lieder.

Conductors

Competition for conducting opportunities is fierce. Conductors train primarily on an instrument (usually keyboard), and many work as repetiteurs, to specialise in conducting at a later date. Some of the music colleges offer postgraduate courses and there are summer schools, seminars and short courses, all offering valuable experience and training. The Association of British Choral Directors and the British Federation of Young Choirs organise regular seminars. A list of conductors is available in our Register of Performers and Composers found on the ISM website.

Accompanists

The demand for piano soloists is limited but there is more work for accompanists, repetiteurs and coaches. The work ranges from accompanying lessons and grade exams to broadcast recitals and coaching in opera houses. Keyboard skills are paramount (particularly sight-reading and transposing) and a high standard of performance is required. Conservatoires offer specialist postgraduate courses and the National Opera Studio trains repetiteurs.

Organists

Most organists are attached to a cathedral or church. In some cases, this is a full-time post which encompasses the roles of choirmaster and director of music. Promotion within this circuit depends on others retiring or being promoted themselves. A few organists make a career as recitalists. Part-time posts of organist and choirmaster are sometimes combined with teaching posts at an associated school, or with conducting a local choral society or orchestra.

Organ scholarships at a university (particularly Oxford and Cambridge) can give valuable training. The Royal College of Organists offers well-respected qualifications (the

Associateship and Fellowship). We provide advice in the Organists’ Guide to Employment and Agreements for Appointment of a Director of Music.

Orchestras

There are two types of orchestra: contract orchestras (such as the BBC orchestras and those of the major opera companies); and ad hoc orchestras which engage players on a freelance basis.

Orchestral players are similarly differentiated. Some spend many years with one orchestra; others prefer to work freelance, deputising in the contract orchestras and taking session work for concerts, recordings, backings and jingles.

Good sight-reading is essential for orchestral and session musicians. Some

conservatoires have links with professional orchestras; the Guildhall School of Music and Drama offers a one-year course for orchestral string section leaders in conjunction with the LSO. The British Music Yearbook publishes a list of orchestras and our Register of Performers and Composers lists orchestral musicians. Further advice is available in our advice sheet Establishing an Orchestral Career.

Military and Brass Bands

The three armed services each train musicians (including string players) for service with the regimental bands. Recruits are brought in from the age of 16, and are given two-and-a-half years of professional training. Most regimental bands are military bands (i.e. woodwind, brass and percussion) although some Scottish regiments have drum and pipe bands. The Royal Military School of Music, the Royal Marines School of Music and the Royal Air Force School of Music can all offer further advice.

The police also have professional bands, the most famous being the Metropolitan Police Band at New Scotland Yard.

Most brass bands have amateur status but there are a few opportunities for a career in brass bands, particularly for conductors. Denis Wright’s The Complete Bandmaster is a valuable guide to the brass band world.

Electronic Music

There has been more demand in recent years for musicians specialising in electro-acoustic music. TV, film and theatre companies provide most of the work although electronic instruments are being used more frequently in contemporary classical music. You will be largely studio-based and you may find you are as much a technician as a musician; but there are opportunities in all areas of music - performance, composition and education.

Most of the music colleges and universities have studio facilities. Kingston and York Universities offer a BA in Music and Technology and Salford University offers a BSc in Music Acoustics & Recording.

Pop

The pop world is driven by DJs and the Artists and Repertoire (A & R) departments of the record companies. You need to have talent, determination and fashionability: even then, there is no guarantee you will make the break. The pop industry only needs a few stars to sustain it and these support a network of agents, managers, pluggers, sound and lighting engineers and roadies. It is important to gain plenty of practical experience by playing with bands and doing gigs. It is also common for bands and solo artists to showcase their music on networking websites such as www.myspace.com or

www.youtube.com. You could also get yourself noticed by entering talent competitions for bands.

There is limited formal training, but you have to gain as much experience as possible playing with bands and doing gigs at every opportunity. A recording contract is the key to success so try and get the independent labels to hear you. They have scouts looking out for young talent.

Don’t be disheartened if your band splits up - it takes time to find the right mix of

hear. The International Music Book lists record companies, radio stations and recording studios. Relevant qualifications include BTEC National Certificates/Diplomas, BTEC HNC/HNDs or degrees. Check with the Universities and colleges for exact entry requirements, as you may need to partake in an audition.

Jazz

There is a flourishing circuit of jazz clubs and festivals. Jazz musicians supplement earnings from live performance with session work (such as backing tracks for pop videos).

Training opportunities include summer schools, postgraduate courses at music colleges and a variety of courses at the Leeds College of Music, Salford University, Newcastle College of Arts and Technology, Royal Academy of Music and Trinity College London. Jazz Services and the Regional Jazz organisations (listed in the British Music Yearbook) are useful contacts.

Community Music

Community Music involves helping people to participate actively and creatively in music. It makes room for people who cannot usually take part, whether for social, physical or technical reasons.

As a musician working in the community, your work will be focused towards enabling rather than instructing, so as well as fluent musicianship you will also need excellent people and team-work skills. Some community musicians work as freelancers, running projects in prisons, hospitals, schools, with people with physical disabilities or learning difficulties, on housing estates, in the middle of forests, and a host of other places. Others work for community and music organisations, in arts centres, or for community and education departments of orchestras and opera companies.

Some universities and colleges, and community music organisations, run courses or modules in community music skills, but most training is on the job and in short courses. SoundSense can provide information on training.

Modern Apprenticeships

National Vocational Qualifications (NVQ’s and in Scotland SVQ’s) in Arts Development and Teaching and Performing Arts can be used within the modern apprenticeship

framework for arts and entertainment developed by the industry’s leading body, METIER.

Education

Almost every musician becomes professionally involved in music education. Some devote their career to teaching; others combine teaching with performing or composing. But music education also embraces musician-in-residence schemes, workshops in schools, the school music inspectorate and musicology.

Private Teaching

It is from private teachers that most people first learn to play their instruments. Today’s private teachers are educating tomorrow’s musicians - including the next generation of instrumental and singing teachers.

From teaching beginners to giving refresher lessons to top performers, private teachers have a major influence over their pupils’ musical lives. This one-to-one teaching can be both stimulating and demanding. It is wonderful when a pupil succeeds in a particular task, but training in music is a long-term process. A musician never stops learning! To be a private teacher you will need good communication skills, patience, perseverance, stamina, resourcefulness and the ability to run the business side of your teaching

practice efficiently.

Private teaching is not simply a matter of passing on your own instrumental skills or teaching as you were taught. Every pupil will be different and you will have to be able to plan lessons and courses of study to suit their individual needs. To do this, musical and teaching ability are essential. The standard qualifications are the teaching diplomas and

degrees awarded by recognised music colleges, but certain other advanced music

courses are equally suitable. The Associated Board’s certificate for teachers (CT ABRSM), which counts towards the LRSM diploma, is a good preliminary course. Many

conservatoires now include practical experience in their teacher diploma courses. Further professional training for private teachers is offered by the Diploma Course in Music Teaching in Private Practice (Mtpp), which is run by Reading University in collaboration with the ISM. This is a part-time postgraduate diploma, taken over 2-4 years, taught by distance learning methods. The diploma may also lead on to an MA course.

We set professional standards for members who are listed in our Register of Professional Private Music Teachers. These teachers agree to abide by a code of ethics and a code of practice to ensure the quality of their services for pupils. We advise on tuition fees, so that a reasonable income can be assured these can be viewed online at www.ism.org; and we also advise on business matters such as tuition contracts.

Schools

Throughout the UK, music is a compulsory subject in schools for all pupils from 5 to 14. Secondary schools usually have at least one music specialist on the staff, supported by visiting instrumental and singing teachers who give individual or group tuition.

In primary schools, class teachers are expected to cover all the compulsory subjects in the curriculum, but they may be helped by a music specialist or curriculum leader, or a primary music consultant serving several schools. Generalist teachers who are interested in music may join the ISM as associate members.

Teaching music in schools is subject to the same pressures and constraints as teaching any other subject. In maintained (state) schools, salary scales are set by different bodies in England and Wales, Scotland and Northern Ireland. The Teachernet website gives the scales for England and Wales, which are part of the School Teachers Pay and Conditions Document; the SNCT Handbook of Conditions of Service gives the salary scales for teachers in Scotland and the Teachers’ Salaries and Conditions of Service Committee (Schools) for teachers in Northern Ireland. Independent schools set their own salaries. Hourly rates of pay for visiting instrumental and singing teachers vary, and are decided by the instrumental service or school which employs them. The ISM recommends a minimum fee range for visiting teachers. Job prospects for class teachers are good, since the demand for music teachers exceeds the supply, though sometimes music teachers are also required to teach other subjects.

Some teachers become advisory teachers or inspectors employed by a local education authority or an independent agency, to oversee the teaching of music (sometimes together with other subjects) in local schools. Others go on to be head teachers. To work in schools, it is essential that you like and understand children and young people and want to teach them, no matter what their ability. You will need enthusiasm, energy, mental and physical stamina, patience, perseverance, a sense of humour, an ability to work with other adults, and good social skills. The better your training and musical knowledge, the more confident you will feel.

To teach in maintained schools, you will need to have a recognised professional

qualification for teaching (as distinct from training in music). In England and Wales such a qualification is necessary for qualified teacher status (QTS), granted by the

Department for Education(DFE). In Scotland, teachers must be registered with the General Teaching Council, and in Northern Ireland teachers must receive a reference number from the Department for Education in Northern Ireland. A professional teaching qualification is achieved either by gaining a first degree in education, such as a BEd, in which you can major in your specialist subject (music); or by completing a first degree in your specialist subject and following it with training for a Post graduate Certificate in Education (PGCE) or a Diploma in Education (Dip.Ed). These are usually one-year courses although there are a few special training schemes for mature students based on two-year BEd, and PGCE courses. The emphasis in teacher training has shifted from college-based to school-based training.

It is not necessary to have a recognised professional teacher qualification for

independent schools, but it is strongly recommended. Teachers move in and out of the maintained and independent sectors, so it is wise not to put a limit on your career opportunities by not getting a suitable qualification.

The same advice about training applies to those who hope to become instrumental or singing teachers in schools. Career prospects are less structured for teachers who work part-time in schools, unless they are employed full-time by a music service. The nature of the job is changing too, as instrumental teachers in maintained schools come

increasingly in contact with class music teachers. In primary schools, this may mean working in the classroom with the generalist teacher, to provide the musical expertise and to develop the more advanced or able pupils. Instrumental teachers who are not directly involved in classroom work still need to take account of it, so that their pupils’ lessons can be used either to broaden classroom work or to provide focused study. For further information on training as a teacher, consult the UCAS Handbook, and the Music Education Yearbook, which summarises the courses on offer. Ask for prospectuses, which are available from the Registrar of each establishment. The Teacher Training Agency (TTA) has set up an Advisory line for prospective teachers, and the DFE also publishes advice leaflets for teachers. Teaching posts are advertised in the Times Educational Supplement, and in specialist music magazines.

Continuing, Higher and Further Education

Universities and colleges of further and higher education have a number of teaching posts in music, sometimes combined with research. They also employ instrumental and singing teachers, usually on a part-time basis. These institutions may also have

departments of continuing (ie adult) education, a category which also applies to sixth-form colleges. For academic posts, you should normally have a second degree in music. Vacancies are usually advertised in the Times Higher Education Supplement.

Composing

Very few composers earn a living solely by composition. Most also perform or teach, particularly early in their career. Establishing yourself as a composer takes a long time. For concert composers, the main sources of income initially are competitions, awards and bursaries. Once established, a composer will receive earnings from commissions, publishing and recording contracts and royalties from performances, broadcasts and sales of recordings and sheet music.

Media composers work primarily for TV, film and video production companies on commissions. Immaculate presentation is essential.

Composers generally train as performers or academics, specialising in composition only at postgraduate level. Composition as a special subject is offered by many music colleges and universities.

The Arts Council and the Regional Arts Boards support promoters and performers commissioning new works. Sound and Music (formally The British Music Information Centre) is a useful contact.

Copying

Few copyists make a living solely from copying. Most combine copying with other freelance activities. The work ranges from writing out parts by hand to typesetting a work on computer for publication. With the availability of good notating software packages, most copying is now done on computer. There is no formal training but The Essentials of Music Copying is an excellent guide to copying standards.

Music therapy has established itself as a recognised career. Hospitals, special schools and rehabilitation centres employ music therapists on a full- or part-time basis to work with doctors, psychologists and other therapists.

You should study music to a high level (degree or diploma level) before training as a music therapist. The Guildhall School of Music and Drama, the Royal Welsh College of Music and Drama, Roehampton University and the Nordoff-Robbins Music Therapy Centre all offer postgraduate courses, which lead to a diploma in music therapy.

To work in an educational establishment you may also need a teaching qualification. We also publish an advice sheet on careers in Music Therapy. Further advice can be obtained from the Association of Professional Music Therapists or from the advice sheets available at www.ism.org.

Arts Administration

Although there have been arts administrators for centuries, it is only relatively recently that this activity has become recognised as a professional career. It is a diverse sector, encompassing the Arts Council, concert agents, orchestras, festivals, concert halls and associations, such as the ISM. Because arts organisations are usually small, you need to have a flexible approach to work and be prepared to seize opportunities when they arise. Arts administration tends to attract a lot of young graduates. Competition for jobs is fierce. Since the main qualification is experience, getting the first job is especially difficult. You should take every opportunity to organise events, or work (even voluntarily) with local arts organisations while at college or university.

There are very few qualifications in arts administration. Most arts administrators have music or other arts degrees supplemented by short courses. Durham and Warwick Universities offer postgraduate courses. Arts organisations are becoming increasingly business-oriented, so specific skills - marketing, finance, PR, sponsorship, as well as secretarial - are invaluable. Most of the top jobs are filled by people who have commercial experience in addition to experience in the arts.

Vacancies are advertised in national newspapers and periodicals - The Guardian on Mondays, The Independent, The Times, and Classical Music. The Music Publishers Association circulates details of CVs to publishers and others.

Concert Agencies

Many soloists employ an agent whose main job is to represent and promote the artist in negotiations with promoters. An Agent’s work is demanding and at times frantic. It requires good interpersonal skills and some knowledge of the law, as much of the work is contractual. It is also useful to have a working knowledge of other European

languages. For further advice contact the International Artist Managers’ Association.

Funding Agencies

Government subsidy for the arts is channeled through Arts Council England, the Arts Council of Northern Ireland, the Welsh Arts Council, the Scottish Arts Council and the Regional Arts Boards. These bodies also take a proactive role in formulating policy and developing the arts. Most employ a Music Officer who works with advisors or panel members to allocate grants or determine policy. Music Officers’ jobs involve a lot of travelling and contact with promoters, local authorities and venues - though rarely directly with musicians themselves.

Local Authorities

Local authorities collectively are major promoters of the arts. The larger cities have a long tradition of promoting concerts through their leisure or recreation departments, and many other local authorities are now employing arts officers to develop the arts in their area. The work includes processing grant applications and payments, managing concert venues, box office management, concert promotion and liaising with local arts

organisations. Local authority employers like candidates to be formally qualified -

diplomas and related degrees are more important in the public sector than in other areas of arts administration.

Orchestral Management

The full-time orchestras employ a small staff to manage the orchestra, organise tours, negotiate with promoters and record companies and promote their own concerts. At the other end of the scale a single “fixer” (orchestral contractor) may manage an orchestra, assembling the players only as and when it is booked. There are, therefore, very few jobs in orchestral management. Experience of other areas of arts administration is a useful asset when applying for orchestral management posts.

Promoters

Local authorities, orchestras, concert agents and venues all undertake some concert promotion. There are also independent promoters, such as festivals, which employ professional staff. Staffing levels are low, even though concert promotion is labour intensive, so most festivals rely heavily on volunteers and casual staff. This is a golden opportunity for gaining experience. Festivals are listed in the British Music Yearbook and in leaflets published by the British Arts Festivals Association.

Venues

Concert venues, from small arts centres to major concert hall complexes such as London’s Barbican Centre, all need to be managed. The main function of venue

management is to take bookings but most also run box office facilities, provide front-of-house staff, produce diaries and other publicity material and promote their own events.

Broadcasting

The musical output on radio and television is generated by producers who devise programmes and oversee their production.

The main areas of work in Independent Radio are programming, news, engineering, IT, sales, administration and management. Each station will have a slightly different staff structure and policy on training.

There are separate departments for light and popular music and the National Regions and Network Production centres have their own music producers. BBC TV has a smaller output of music programmes produced by the Music and Arts Department.

As more television and radio production is contracted out, an increasing number of independent production companies are producing programmes on every subject, including music.

A career in broadcast journalism, requires a combination of journalistic and presentation skills. Many find a post-graduate course of value, or a background in newspaper

journalism. As with most on-air posts, an informed interest in current affairs, a knowledge of the area concerned, and hands-on experience in radio are useful attributes.

As a music producer you must be well versed in production techniques for the medium (radio or television), have experience of programme building, be able to manage the production of a programme and have a wide knowledge of repertoire. You should also have good writing skills, as most scripts are written by producers. Performance is not a part of a producer’s duties, although some experience could be valuable.

Several universities and colleges offer media studies courses and the BBC has a training scheme for studio managers. To succeed you must demonstrate a high level of

commitment, have an awareness of the media and take every opportunity to gain experience - on hospital radio, on student newspapers and in work placements.

The career structure for DJs/presenters is hard to specify. Many gain experience at hospital, school or college radio stations. Some presenters cross-over from broadcast journalism. Prospective presenters should prepare a CD or MP3 Track illustrating their presentation style and send this, with a CV, to the programme controllers of the stations where they would like to work.

Libraries & Museums

For librarians with knowledge of music there is a range of possibilities. The major orchestras, opera companies, broadcasters, conservatoires and publishers (hire departments) all maintain specialised libraries of music. County and large city libraries usually have separate music departments with qualified librarians in charge, while most universities have large music libraries. Even small public libraries have music sections, usually comprising of mainly sound recordings (CDs, records and cassettes).

To work as a music librarian, a qualification in librarianship is desirable and in some cases essential. Many music librarians take a first degree in music and go on to study librarianship on a one-year diploma course. There are a few opportunities in museums and national libraries. The British Library maintains a huge collection of printed books, scores, manuscripts and sound recordings. Other major collections of musical material include the national libraries of Scotland and Wales and the music departments of museums such as the Victoria and Albert. Music and history degrees are relevant qualifications.

For further information consult the professional journals of the International Association of Music Libraries (Brio) and the Museums Association (Museums Bulletin). Posts are advertised in the Times Literary Supplement and in the Library Association’s Vacancies Supplement.

Useful websites: www.museumjobs.com

www.nationalmuseumjobs.org.uk

Press

The national and regional press covers the arts with news stories, features and reviews. News stories and features are written by reporters and feature writers, who may have an interest in the arts but will most likely be journalists covering a wider range of issues. They may be given a byline as Arts Correspondent.

The music specialists are the critics. Some are employed full-time by one or other of the national dailies; most work freelance for a variety of publications, radio and even

television.

The specialist music press (publications such as Classical Music and Musical Times) has very small teams who write news items from press releases as well as researching their own stories and editorial.

Since the main function of a journalist is to write pieces which are interesting to the reader, you must have good writing skills combined with knowledge of music. Universities, schools of journalism and regional newspapers offer general training in journalism although above all you must gain writing experience. Student newspapers are valuable for providing a grounding in journalism. The National Council for Training in Journalism can advise.

The British Music Yearbook lists critics, major newspapers and music periodicals.

Music publishing is based on the production and sale of printed music and music books and, on the serious contemporary music side, with the development and promotion of living composers. It is also concerned with the exploitation of copyrights and the collection and distribution of royalties arising from performances and sales (normally record sales).

Departments in a large publishing house might include editorial, production, composer promotion, hire, sales, marketing, copyright and royalty administration. Tasks such as copying, note processing and even editorial, are often contracted-out so there are opportunities for skilled freelancers.

Some functions, such as editing, require considerable musical knowledge; some demand specific technical, administrative or legal expertise; others need market knowledge and an entrepreneurial spirit. You should therefore develop qualifications and experience in the area in which you wish to work.

The Music Publishers’ Association offers further advice and also operates an induction course.

Record Companies

Despite their high profile, record companies are remarkably small and only recruit people with very specific skills. Producers and others in the Artists and Repertoire (A & R) Department usually have a degree in music; PR and sales and marketing personnel might have an arts degree and a diploma or in-service training in marketing; legal training is necessary for contracts and royalties; while for recording engineers there are courses such as the Tonmeister course at Surrey University.

Competition is tough. You must get to know the record industry and gain experience in any related field, such as a recording studio or publishing. It is sometimes possible to get work experience through a placement with a record company. Even once you are

working for a record company, success in a particular area does not guarantee promotion.

The British Music Yearbook and the International Music Book lists record companies, and the British Phonographic Industry Ltd publishes a careers guide.

Music Technology

The demand for musical instruments supports a huge range of manufacturers, from individual craftsmen to large international companies. Reproductions of period

instruments, organs and high quality orchestral instruments are usually hand-crafted by skilled workers; digital equipment, pianos, guitars and many wind and string instruments are mass-produced in factories here and abroad. There is also a demand for repairers of all instruments and for piano tuners; the Pianoforte Tuners’ Association sets the

standards in this area.

For a career in instrument technology, you should have some musical ability (at least an ear for tuning), but most importantly you should have the relevant technical skills - woodwork, electronics and metalwork. If you are going to set up as an instrument maker, you will also need basic business and entrepreneurial skills. The Crafts Council can offer advice and in some cases financial assistance.

A wide range of courses are available at University of Huddersfield, Keele University and Staffordshire University. Courses range from one to three years and are available as part time or full time.

Useful Contacts:

British Violin Making Association 01749 343912

www.bvma.org.uk

[email protected]

www.nrinstruments.demon.co.uk

Institute of Musical Instrument Technology www.imit.org.uk

National Association of Musical Instrument Repairers 01328 821192

www.namir.org.uk

Pianoforte Tuners’ Association 0845 602 8796

www.pianotuner.org.uk

Musical Training

The colleges, conservatoires and universities listed all offer advanced musical training, in performance, composition, musicology or teaching. The Music Education Yearbook includes a resume of courses offered. You can also contact the Registrar of the institutions that interest you and ask for a prospectus.

Colleges of Higher

Education

Access to Music

0800 28 18 42

www.accesstomusic.co.uk

Accrington & Rossendale College

01254 389933 www.accross.ac.uk/

Brighton Institute of Modern Music

01273 626 666 www.bimm.co.uk Canterbury College 01227 811 111 www.cant-col.ac.uk Colchester Institute 01206 712777 www.colchester.ac.uk Drumtech 020 8749 3131 www.drum-tech.co.uk

University College Falmouth

Incorporating Dartington College of Arts

01326 211077 www.falmouth.ac.uk

Kings College London

020 7836 5454 www.kcl.ac.uk

Knowsley Community College

0845 155 1055

www.knowsleycollege.ac.uk

Leeds College of Music

0113 222 3416 www.lcm.ac.uk

Liverpool Community College

0151 252 1515 www.liv-coll.ac.uk

The Liverpool Institute for Performing Arts

0151 330 3000 www.lipa.ac.uk

The London College, UCK

020 7243 4000 www.lcuck.ac.uk Merton College 020 8408 6500 www.merton.ac.uk Newcastle College 0191 200 4000 www.newcastlecollege.co.uk

Northbrook College Sussex

0845 155 6060

www.northbrook.ac.uk

Point Blank

020 7729 4884

www.pointblanklondon.com

Royal Welsh College of Music & Drama 029 2039 1363 www.rwcmd.ac.uk Walsall College 01922 657000 www.walsallcollege.ac.uk

West Dean College

01243 811301 www.westdean.og.uk

Conservatoires

Guildhall School of Music and Drama

020 7628 2571 www.gsmd.ac.uk

Leeds College of Music

0113 222 3416 www.lcm.ac.uk

Royal Academy of Music

020 7873 7373 www.ram.ac.uk

Royal College of Music

020 7591 4362 www.rcm.ac.uk

Royal Northern College of Music

0161 907 5260 www.rncm.ac.uk

Royal Scottish Academy of Music and Drama

0141 332 4101 www.rsamd.ac.uk

Royal Welsh College of Music and Drama

029 2039 1361 www.rwcmd.ac.uk

Trinity College of Music

020 8305 4402 www.tcm.ac.uk

Universities

The University of Aberdeen

+44 (0) 1224 273504 www.abdn.ac.uk/sras

Anglia Ruskin University

0845 271 3333 www.anglia.ac.uk

Bangor University

01248 382016/2017 www.bangor.ac.uk

Bath Spa University

01225 875875 www.bathspa.ac.uk

University of Bedfordshire

01582 489286 www.beds.ac.uk

Birmingham City University

0121 331 5595 www.bcu.ac.uk

The University of Birmingham

0121 415 8900 www.bham.ac.uk

The University of Bolton

01204 900600 www.bolton.ac.uk Bournemouth University 01202 524111 www.bournemouth.ac.uk University of Brighton 01273 644644 www.brighton.ac.uk University of Bristol 0117 928 9000 www.bristol.ac.uk

University of the West of England, Bristol +44 (0)117 32 83333 www.uwe.ac.uk Brunel University 01895 265265 www.brunel.ac.uk

Buckinghamshire New University

0800 0565 660 www.bucks.ac.uk

University of Cambridge

01223 333 308 www.cam.ac.uk

Canterbury Christ Church University

01227 782900

www.canterbury.ac.uk

Cardiff University

029 2087 9999 www.cardiff.ac.uk

University of Wales Institute, Cardiff

029 2041 6070 www.uwic.ac.uk

University of Central Lancashire

01772 201201 www.uclan.ac.uk University of Chester 01244 511000 www.chester.ac.uk University of Chichester 01243 816002 www.chiuni.ac.uk Coventry University 024 7615 2222 www.coventry.ac.uk De Montfort University 0116 255 1551 www.dmu.ac.uk University of Derby 08701 202330 www.derby.ac.uk

Durham University

0191 334 2000 www.durham.ac.uk

University of East Anglia

01603 456161 www.uea.ac.uk

University of East London

020 8223 2835 www.uel.ac.uk

The University of Edinburgh

0131 650 4360

www.ed.ac.uk/studying/undergraduate/

University of Glamorgan, Cardiff and Pontypridd 0800 716925 www.glam.ac.uk University of Glasgow 0141 330 6062 www.glasgow.ac.uk

The University of Gloucestershire

01242 714501 www.glos.ac.uk

Goldsmiths, University of London

020 7919 7766 www.goldsmiths.ac.uk University of Greenwich 0800 005 006 www.gre.ac.uk University of Hertfordshire 01707 284800 www.herts.ac.uk

The University of Huddersfield

01484 473969 www.hud.ac.uk

The University of Hull

01482 466100 www.hull.ac.uk Keele University 01782 734005 www.keele.ac.uk Kingston University 020 8547 7053 www.kingston.ac.uk Lancaster University 01524 592029 www.lancs.ac.uk University of Leeds 0113 343 3999 www.leeds.ac.uk

Leeds Metropolitan University

0113 81 23113 www.leedsmet.ac.uk

The University of Liverpool

0151 794 2000 www.liv.ac.uk

Liverpool Hope University

0151 291 3295 www.hope.ac.uk

London Metropolitan University

020 7133 4200 www.londonmet.ac.uk

The University of Manchester

0161 275 2077

www.manchester.ac.uk

The Manchester Metropolitan University 0161 247 2000 www.mmu.ac.uk Middlesex University 020 8411 5555 www.mdx.ac.uk Newcastle University 0191 222 5594 www.ncl.ac.uk University of Northampton 0800 358 2232 www.northampton.ac.uk

The University of Nottingham

0115 951 5151

www.nottingham.ac.uk

The Open University

0845300 60 90 www.open.ac.uk

Oxford University

01865 288000

Oxford Brookes University 01865 483040 www.brookes.ac.uk University of Plymouth 01752 588037 www.plymouth.ac.uk University of Portsmouth 023 9284 8484 www.port.ac.uk

Queen's University Belfast

028 9097 2757 www.qub.ac.uk

The University of Reading

0118 378 8619 www.reading.ac.uk

Roehampton University

020 8392 3232

www.roehampton.ac.uk

Royal Holloway, University of London

01784 434455 www.rhul.ac.uk

The University of Salford

0161 295 4545 www.salford.ac.uk

The University of Sheffield

0114 222 1255 www.sheffield.ac.uk

University of Southampton

023 8059 4732

www.southampton.ac.uk

Southampton Solent University

+44 (0) 23 8031 9039 www.solent.ac.uk/ Staffordshire University 01782 292753 www.staffs.ac.uk University of Sunderland 0191 515 3000 www.sunderland.ac.uk University of Surrey +44(0)1483 689305 www.surrey.ac.uk University of Sussex 01273 678416 www.sussex.ac.uk

Thames Valley University

0800 036 8888 www.tvu.ac.uk

University of Ulster

028 7032 4221 www.ulster.ac.uk

University of the West of Scotland

0141 848 3727 www.uws.ac.uk University of Westminster 020 7911 5000 www.westminster.ac.uk University of Wolverhampton 01902 321000 www.wlv.ac.uk University of Winchester 01962 827234 www.winchester.ac.uk

The University of York

01904 433533 www.york.ac.uk

York St John University

01904 876598 www.yorksj.ac.uk

Useful Contacts

0845 300 6200

www.artscouncil.org.uk

Arts Council Northern Ireland

028 90385200

www.artscouncil-ni.org

Scottish Arts Council

0131 226 6051

www.scottisharts.org.uk

Arts Council of Wales

0845 8734 900 www.artswales.org.uk

Access to Music

0800 28 18 42

www.accesstomusic.co.uk

Arts Marketing Association

01223 578078 www.a-m-a.org.uk

Associated Board of the Royal Schools of Music

020 76365400 www.abrsm.org

Association of British Choral Directors

www.abcd.org.uk

Association of British Orchestras

020 7287 0333 www.abo.org.uk

Association of Professional Music

Therapists 020 7837 6100 www.apmt.org Association of Professional Recording Services 01803 868600 www.aprs.co.uk BBC Careers www.bbc.co.uk/info

British Academy of Songwriters, Composers and Authors

020 7636 2929 www.basca.org.uk

British Arts Festivals Association

020 7240 4532

www.artsfestivals.co.uk

British Council

0161 957 7755

www.britishcouncil.org

British & International Federation of Festivals 01625 428 297 www.federationoffestivals.org.uk British Library 0870 444 1500 www.bl.uk

British Music Rights

020 7306 4446 www.bmr.org

British Association for Performing Arts Medicine

020 7404 5888 www.bapam.org.uk

British Phonographic Industry

020 7803 1300 www.bpi.co.uk

British Recorded Music Industry

020 7803 1300 www.bpi.co.uk

British Society for Music Therapy

020 7837 6142 www.bsmt.org   

Broadcast Journalism Training Council

www.bjtc.org.uk

Careers Advice

http://careersadvice.direct.gov.uk

Careers Research and Advisory Centre

01223 460277 www.crac.org.uk

Channel 4 Television

www.channel4.com/4careers

Conservatoires Admissions Service

0871 468 0470 www.cukas.ac.uk

Creative Choices

020 7015 1800

www.creative-choices.co.uk

Birmingham Opera Company

0121 246 6644 www.birminghamopera.org.uk Community Music 020 7377 0621 www.cmsounds.com Crafts Council 020 7806 2500 www.craftscouncil.org.uk

Department of Education, Northern Ireland

028 9127 9279 www.deni.gov.uk

Early Music Network

020 8743 0302

http://earlymusic.org.uk

English Touring Opera

020 7833 2555

www.englishtouringopera.org.uk   

Hospital Broadcasting Association

0870 321 6000 www.hbauk.com

ISM (Incorporated Society of Musicians)

020 7629 4413 www.ism.org

Institute of Musical Instrument Technology

www.imit.org.uk

IAMA, (international Artist Managers’ Association)

020 7379 7336 www.iamaworld.com

IAML (International Association of Music Libraries)

www.iaml.info

ISME (International Society for Music Education www.isme.org Jazz Services 020 7928 9089 www.jazzservices.org.uk  Lifelong Learning 020 7936 5798 www.lluk.org

Live Music Now!

020 7493 3443 www.livemusicnow.org.uk Making Music 020 7422 8280 www.makingmusic.org.uk Museums Association 020 7426 6955 www.museumassociation.org

Music and the Deaf

01484 483 115 www.matd.org.uk 

Music Education Council

0161 928 3085 www.mec.org.uk

Music Industries Association

01372 750600 www.mia.org.uk

Music Publishers Association

020 7580 0126

www.mpaonline.org.uk

Musicians Benevolent Fund

020 7239 9100 www.mbf.org.uk Musicians Union 020 7840 5504 www.musiciansunion.org.uk   

National Association of Music Educators

01629 760791 www.name.org.uk

National Council for Training in Journalism

01799 544014 www.nctj.com

National Opera Studio

020 8874 8811

www.nationaloperastudio.org.uk

National Sound Archive

020 7412 7676 http://cadensa.bl.uk

NHS Careers

0845 606 0655

www.nhscareers.nhs.uk

Nordoff Robbins Music Therapy Centre 020 7267 4496 www.nordoff-robbins.org.uk OFCOM 020 7981 3000 www.ofcom.org.uk

PACT (Producers Alliance for Cinema & TV)

020 7380 8230 www.pact.co.uk

Pianoforte Tuners’ Association

0845 602 8796 www.pianotuner.org.uk Radio Academy 020 7927 9920 www.radioacademy.org Rhinegold Publishing 020 7333 1720 www.rhinegold.co.uk Rock School 0845 460 4747 www.rockschool.co.uk

Royal Air Force School of Music

www.raf.mod.uk/rafmusic

Royal College of Organists

05600 767208 www.rco.org.uk

Royal Marines School of Music

www.royalmarinesbands.co.uk

Royal Military School of Music

www.army.mod.uk/music/music-school

Royal School of Church Music

01722 424848 www.rscm.com

Scottish Office of Education & Training 0131 556 8400 www.scotland.gov.uk Showcase Publications 020 7549 8666 www.showcase-music.com

Society of Teachers of The Alexander Technique

020 7482 5135 www.stat.org.uk   

Sound and Music

020 7759 1800

www.soundandmusic.org

Sound Sense

www.soundsense.org   

Student Radio Association 

020 7255 2010 

www.studentradio.org.uk

Teach First

0844 880 1800 www.teachfirst.org.uk 

The Radio Centre

020 7306 2603 www.radiocentre.org

Training and Development Agency for Schools

0845 6000 991 www.tda.gov.uk

Trinity College London

020 7820 6100

www.trinitycollege.co.uk

UCAS (Universities & Colleges Admissions Service) 0871 468 0468 www.ucas.ac.uk UK Performing Arts 01223 570380 www.ukperformingarts.co.uk

Welsh Assembly Government for Education & Skills

0845 010 3300

www.learning.wales.gov.uk

Westminster Music Library

020 7641 1300

www.westminster.gov.uk

Young Concert Artists Trust

020 7379 8477 www.ycat.co.uk

Youth Music

020 7902 1060

Useful Publications

• A Career in School Music Teaching (ISM)

 Access All Areas (BPI)

• Advice on Music Careers for People with Disabilities (Sound Sense) • An A-Z of Careers and Jobs (Kogan Page Ltd)

• Arts Management Appointments (Rhinegold Publishing)

• Brio (Int Assoc of Music Libraries) • British Education Directory (British Phonographic Industry)

• British Music Yearbook (Rhinegold Publishing)

• Broadcasting: Getting In & Getting On (Newpoint Publishing)

 Career Opportunities in the Music Industry, (Facts on File Publishing) • Classical Music (Rhinegold Publishing) • Complete Bandmaster, The

(Pergamon Press)

• CRAC Degree Course Guide (CRAC) • Handbook of Music Awards and Scholarships (MBF)

• Jazz Musicians Guide (Jazz Services) • Museums Bulletin (Museums

Association)

• Music Education Yearbook (Rhinegold Publishing)

• Music Journal (ISM)

• Music Teacher (Rhinegold Publishing) • Music Therapy (ISM)

• Music Therapy in the Education Service

(Association of Professional Music Therapists)

• Musician’s Handbook (Rhinegold Publishing)

• International Music Book (Showcase) • The Big Noise - A BPI Guide to

Working in the Music Industry (BPI) • Organists’ Guide to Employment (ISM)

• Organ Scholarships available at Cathedrals and Universities in the UK (Royal College of Organists)

• Private Teaching as a Career (ISM) • Register of Professional Private Music Teachers (ISM)

• The Community Musician : Training a New Professional (Sound Sense)

• The Essentials of Music Copying (Susan

Homewood & Colin Matthews, MPA) • The First 2 Years : Establishing an Orchestral Career (ISM)

• The First 10 Years : Establishing a Solo Career (ISM)

• The Sampler (Sound and Music) • The Strad (Orpheus)

• UCAS Handbook (UCAS)

• Working in Community Music (Sound Sense)

Further Careers Information

http://careersadvice.direct.gov.uk www.prospects.ac.uk

www.connexions-direct.com www.creative-choices.co.uk www.name.org.uk

Work Experience

Many large organisations, such as symphony orchestras or arts venues, will be able to provide a range of work experience placements. Contact your Local Authority arts and leisure or library departments, concert halls, churches, exhibition halls or theatres, radio stations, television broadcasters and recording studios to find out what opportunities are available. For music in education it is best to contact the performing arts or music department of your local further education college.

And finally

If you embark on a musical career and find it doesn’t suit you, don’t worry. By training as a musician, you will have developed a range of skills which employers value, such as self-discipline, teamwork and communication.

A recent survey has shown that music graduates are among the least likely to be unemployed. This is not because they all become professional musicians. Many

successfully pursue other careers, such as accountancy, the civil service or the voluntary sector.

You will not constrain yourself by studying music - and you will certainly enrich your life. If you are considering a career with music, or have just entered the profession, contact the ISM - we will be glad to help.

We have compiled the information in this advice sheet to the best of our knowledge. If you have any queries, updates or would like to contribute to the content please contact us on 020 7629 4413 or write to ISM, 10 Stratford Place, London W1C 1AA