The Music Industry Handbook

Paul Rutter

• Éditeur: Routledge
• Année: 2016
• ISBN:
  9781317434603
• Édition: 2
• Sujet: Media & Performing Arts
• Sous-sujet: Performing Arts

The Music Industry Handbook, Second edition is an expert resource and guide for all those seeking an authoritative and user-friendly overview of the music industry today.

The new edition includes coverage of the latest developments in music streaming, including new business models created by the streaming service sector. There is also expanded exploration of the music industry in different regions of the UK and in other areas of Europe, and coverage of new debates within the music industry, including the impact of copyright extensions on the UK music industry and the business protocols involved when music is used in film and advertising.

The Music Industry Handbook, Second edition also includes:

• in-depth explorations of different elements of the music industry, including the live music sector, the recording industry and the classical music business
• analysis of business practices across all areas of the industry, including publishing, synchronisation and trading in the music industry
• profiles presenting interviews with key figures workings in the music industry
• detailed further reading for each chapter and a glossary of essential music industry terms.

CHAPTER 1

Introduction

Paul Rutter

WORKING IN THE MUSIC INDUSTRY

This book was devised for those who are considering a career in the music or interconnected entertainment industries; they may wish to gain understanding concerning the greater complexities of the music industry, or simply explore a small section of it. This introduction discusses the broad principles of working in this entertainment sector and will discuss common working principles, coupled with relevant important personal attributes required to embark on a career in the music industry.

From the outset, it should be pointed out that the vast majority of jobs available in connection with music are executed in a freelance manner; specifically, the persons carrying out the tasks are largely self-employed individuals providing services to music. Many of these freelance roles have evolved as a result of individuals starting out on a small-scale basis and subsequently building reputation and usefulness through a particular service offered to the music industry, thus incrementally increasing industry status and income as a result. Alternatively, there are those who may have resigned from a full-time music industry post but have stayed within their specialism or service, using the knowledge and contacts they have built up, and later progressed to work as a ‘freelancer’. If a musician signs a recording or publishing agreement and collects an advance or earns money from a manager or music company – they would still fit in the freelance business trading model. Setting up as a ‘freelancer’ and trading legally as a music industry professional, is covered later in this book; the ‘freelance’ working model should be carefully considered and observed, as this may require a certain measure of entrepreneurship. Full-time occupations in the music industry, whereby a regular monthly salary is provided on a long-term or permanent contract, have become less common as a whole. Full-time employment is far more likely when working for larger music companies that inhabit capital cities and larger office spaces – hence there are many more job applications sent into these companies than there are available posts. With electronic communication, there are roles that would permit working outside capital cities, but many roles in the music industry are dependent on its workers being connected directly with it physically – so in the UK, London remains the largest hub of music industry activity. Finding full-time jobs in connection with the music industry is difficult, but there are alternatives; for instance, working in music administration in a music publishing company or perhaps working for a significant music society or association, would afford a more regular work pattern and therefore facilitate a range of full-time posts. These suggested areas are covered throughout this book.

Regular working hours and salaries should not be confused with job security in the music industry; volatile, shifting markets, new media trends and fickle audiences can render certain job roles defunct in a very short space of time, and this is why many music companies only operate using a freelance workforce. Sometimes smaller music companies struggle ever to make a profit, become financially self-sufficient, or enjoy any form of longevity when embedded in such a mercurial industry. Yet there are music companies that manage and own long-term copyrights and catalogues of music that would appear to sell ad infinitum, providing lasting job security for those involved. Companies such as this, with solid ‘music earning’ foundations, are far more likely to be the providers of full-time occupations for those interested in pursuing such routes. There are a far greater number of independent and smaller music companies in existence than larger ones, so this would naturally dictate that there is more competition and demand from persons applying for full-time and allegedly ‘secure’ posts with larger music companies. However, the high ratio of numbers of applicants set against the number of jobs available should not discourage individuals from trying to enter a competitive industry, especially where it is felt that they have something unique to offer. Sometimes it is perhaps more a question of how an individual can contribute – or what may be brought personally, to an industry that is ever seeking new ways to entice music consumers, whether mainstream or niche market, in order to survive. There are many other media industries that hold glamorous reputations and are also difficult to enter; entering the music industry will require persistence, but it is not impossible and there are alternative routes. It is often said that happenstance plays a huge part in getting a job in the music industry, but if luck occurs one should consider the skills required, in order to capitalise on the situation and secure any opportunity. Being in the ‘right place at the right time’ is arguably associated with luck, but researching where the right place is – and when the best time is to be there – can only happen with increased awareness gained through detective work. Many professionals in the industry believe that one should be fully prepared for luck when it presents itself; finding out exactly what is required in certain music job roles is crucially important, alongside being proactive and professional. Knowing how the whole industry functions and is structured will assist crucially and may save much time in not pursuing routes that are clearly unsuitable. Researching all music industry job roles will help to identify the essential attributes required before entering a lengthy pursuit in vain. The importance of networking across ‘compartments’ and sectors in this industry cannot be understated (see Figure 1.1 on page 8); the vast majority of industry personnel who have had successful careers in this industry reflect on how their ‘networking’ abilities and opportunities afforded such careers. LinkedIn provides a useful digital connection and liaison tool for music career and network builders, both new and established (www.linkedin.com). Different types of music and media entertainment industry job roles can be identified using music industry year book subscription directories, such as Music Week Directory, or online music job description searches (www.musicweek.com). It is advisable to look closely at the vast range of supporting roles available within the music and entertainment industries and identify those that may hold alternative interest, e.g. perhaps roles within the live music industry sector. The wider entertainment event industries may be researched using such established publications as The White Book (www.whitebook.co.uk) or media industries and production intelligence via The Knowledge (www.theknowledgeonline.com). Many individuals place great expectation on what the music industry has to offer, but managing this expectation and being aware of the realities and actualities are crucially important when venturing into it to save time and unnecessary financial investment.

AN IRREGULAR OCCUPATION

It should be established at the outset that roles carried out in the music industry and their connected freelance occupations do not fall within regular daytime hours; the message from music industry employers and moguls is clear: if you want a job, go and get a job; working in the music industry is not a job – it is a lifestyle.

When we observe the roots of music creation – how, when and where music is made and performed – it can be seen that this practice does not usually fall into ‘regular daytime hours’. Known as ‘night owl’ occupations, most songwriters, musicians and producers create and record music late into the evenings, working either in home or commercial studios. Couple this with the reality that most live music is performed in the evening, and cocooned around this is an industry support network supporting these occurrences and events, and it will therefore follow that the hours worked will be irregular, to a greater degree. However, publishing or administration of music presents a more regular pattern of daytime working (e.g. working within a music law firm), as this is when most verbal business communication has to take place. Yet electronic communication has opened up these boundaries to permit more flexible working patterns across a range of music businesses and enterprises. Persons wishing to enter the music industry should expect the unexpected and the irregular, being prepared to work whatever hours might be needed, to get the job done. Often, getting the job done may take much longer than expected, especially when working away ‘on tour’ – and that does not always mean getting paid for the extra hours worked. In many areas of the music industry there are sometimes few guarantees of remuneration, success or longevity. Some music companies offer a chance to experience the music industry through ‘work placement’ opportunities – often this is unpaid work but can open doors and more importantly create valuable associations. With such job insecurity, irregularity and a distinct lack of stability, why do so many young people wish to be employed in connection with music? The answer is difficult to fathom, but there are many who wish to make their hobby their lifetime occupation and it could be argued that for many, this is a ‘young person’s sport’. After around thirteen years of often traditional education subjects (that is, from the ages of five to eighteen), young individuals with an interest in music and the arts often want diversification in their career path, away from less fulfilling occupations. Music is a magnet that fascinates and draws people to it, and for many, the music industry promises a lifestyle outside the norm. The industry attraction begins with fascination in the end product most of the time – the music artefact – or perhaps just being associated with music, successful artists or performances. The number of existent music occupations are vast; from music creators and performers, through to exploitation structures that bring music to audience, held in unison with peripheral support industries that service these structures, such as concert event audience security or catering. Can a security official working ‘stage front’ at the UK’s Glastonbury Festival be classified as a music industry employee? Some may argue not, but service industries such as these can be so closely connected to the music industry that they often provide an invaluable insight into concert event logistics on a grand scale. This scenario highlights the seemingly ‘hidden roles’ that are needed in and around music; these essential support industries can yield unexpected employment opportunities. When investigating occupations, roles and responsibilities, it is worthwhile exploring the ubiquitous essential requirements in order to service and support music, just as the artist or performer is also a servant to their audience. It is far easier to understand the industry when segmented into separate core areas, from the live music industry sector and recorded music sectors, managing and publishing music, through to music media, promotion and public relations. Through this model, it is possible to research what the industry has to offer in its key sectors, clarifying where the different job roles exist, the connections that exist between them and the responsibilities that individuals face.

As the music industry is increasingly reliant on a growing range of digital technologies and the margins of the sector are ever expanding, how far to step outside the core area of music is for the individual to decide, when considering employment opportunities. The music industry resides in the wider entertainment industry, which has even further boundaries; for many, working in the entertainment industry and retaining strong connections with music is preferable to working in an industry not connected with music at all. In forging an industry career, it is helpful if some misconceptions can be addressed at the outset, in consideration of which I offer the following summaries:

• The vast majority of music and entertainment industry roles operate and exist within a self-employed, freelance structure.

• Competition for full- or part-time industry employment is usually high, regardless of any financial incentive – this includes simple unpaid support roles or work experience opportunities.

• It is important to understand the way in which industry roles fit together, how peripheral services to the music industry manifest themselves and exist, in order to trace new employment opportunities.

• Being proactive and developing good personal communication skills are essential attributes.

• Few music industry posts are actually advertised in regional or national press, so researching the work ...