A career with music?

Transcription

1 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 , membership@ism.org or visit our website

2 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 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 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 ( 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 Sound Sense or for further employment advice.

3 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

4 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 twoand-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 electroacoustic 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 or 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 individual musicians to create the sort of sound that you want and that people will pay to

5 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

6 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 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.

7 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 sixthform 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

8 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 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.

9 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-ofhouse 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.

10 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: 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. Publishing

11 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 Fellowship of Makers and Researchers of Historical Instruments

12 Institute of Musical Instrument Technology National Association of Musical Instrument Repairers Pianoforte Tuners Association 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.

13 Colleges of Higher Education Access to Music Accrington & Rossendale College Brighton Institute of Modern Music Canterbury College Colchester Institute Drumtech University College Falmouth Incorporating Dartington College of Arts Kings College London Knowsley Community College Leeds College of Music Liverpool Community College The Liverpool Institute for Performing Arts The London College, UCK Merton College Newcastle College Northbrook College Sussex Point Blank Royal Welsh College of Music & Drama Walsall College West Dean College Conservatoires Birmingham Conservatoire Guildhall School of Music and Drama Leeds College of Music Royal Academy of Music Royal College of Music Royal Northern College of Music

14 Royal Scottish Academy of Music and Drama Royal Welsh College of Music and Drama Trinity College of Music Universities The University of Aberdeen +44 (0) Anglia Ruskin University Bangor University / Bath Spa University University of Bedfordshire Birmingham City University The University of Birmingham The University of Bolton Bournemouth University University of Brighton University of Bristol University of the West of England, Bristol +44 (0) Brunel University Buckinghamshire New University University of Cambridge Canterbury Christ Church University Cardiff University University of Wales Institute, Cardiff University of Central Lancashire University of Chester University of Chichester Coventry University De Montfort University University of Derby

15 Durham University University of East Anglia University of East London The University of Edinburgh University of Glamorgan, Cardiff and Pontypridd University of Glasgow The University of Gloucestershire Goldsmiths, University of London University of Greenwich University of Hertfordshire The University of Huddersfield The University of Hull Keele University Kingston University Lancaster University University of Leeds Leeds Metropolitan University The University of Liverpool Liverpool Hope University London Metropolitan University The University of Manchester The Manchester Metropolitan University Middlesex University Newcastle University University of Northampton The University of Nottingham The Open University Oxford University

16 Oxford Brookes University University of Plymouth University of Portsmouth Queen's University Belfast The University of Reading Roehampton University Royal Holloway, University of London The University of Salford The University of Sheffield University of Sussex Thames Valley University University of Ulster University of the West of Scotland University of Westminster University of Wolverhampton University of Winchester The University of York York St John University University of Southampton Southampton Solent University +44 (0) Staffordshire University University of Sunderland University of Surrey +44(0)

17 Useful Contacts Arts Council England Arts Council Northern Ireland Scottish Arts Council Arts Council of Wales Access to Music Arts Marketing Association Associated Board of the Royal Schools of Music Association of British Choral Directors Association of British Orchestras Association of Professional Music Therapists Association of Professional Recording Services BBC Careers British Academy of Songwriters, Composers and Authors British Arts Festivals Association British Council British & International Federation of Festivals British Library British Music Rights British Association for Performing Arts Medicine British Phonographic Industry British Recorded Music Industry British Society for Music Therapy Broadcast Journalism Training Council Careers Advice Careers Research and Advisory Centre Channel 4 Television Conservatoires Admissions Service

18 Creative Choices Birmingham Opera Company Community Music Crafts Council Department of Education, Northern Ireland Early Music Network English Touring Opera Hospital Broadcasting Association ISM (Incorporated Society of Musicians) Institute of Musical Instrument Technology IAMA, (international Artist Managers Association) IAML (International Association of Music Libraries) ISME (International Society for Music Education Jazz Services Lifelong Learning Live Music Now! Making Music Museums Association Music and the Deaf Music Education Council Music Industries Association Music Publishers Association Musicians Benevolent Fund Musicians Union National Association of Music Educators National Council for Training in Journalism National Opera Studio National Sound Archive

19 NHS Careers Nordoff Robbins Music Therapy Centre OFCOM PACT (Producers Alliance for Cinema & TV) Pianoforte Tuners Association Radio Academy Rhinegold Publishing Rock School Royal Air Force School of Music Royal College of Organists Royal Marines School of Music Royal Military School of Music Royal School of Church Music Scottish Office of Education & Training Showcase Publications Society of Teachers of The Alexander Technique Sound and Music Sound Sense Student Radio Association Teach First The Radio Centre Training and Development Agency for Schools Trinity College London UCAS (Universities & Colleges Admissions Service) UK Performing Arts Welsh Assembly Government for Education & Skills Westminster Music Library Young Concert Artists Trust Youth Music

20 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