“You don’t have to be a singer to have a classical music career”
That’s what classical music professionals have to say to music students. Although performance and education are the most obvious routes in the classical music industry, there are many more careers one can pursue. We look at 7 different careers that have been taken up by individuals with previous exposure to music education, and get a closer look at the day-to-day activities of each:
Managing director
Abigail Pogson is the managing director of Sage Gateshead, and her main role is to oversee the organization’s strategic direction and ensuring it makes the right moves as it pursues its mission. Although she read languages at University, most of her time was spent producing music and theatre.
My first job was as English National Opera’s assistant company manager… Since then I’ve had quite general roles, which has allowed me to build up lots of different skills across producing, finance, fundraising, marketing and more.
…My advice? Search out opportunities to build your skills and experience. This can be very hard and as a sector we need to make it much easier, but if you spot an opportunity, grab it. Via The Guardian
Nicki Wenham works alongside artists and helps them carve out their careers. She’s responsible for managing the careers of 20 international classical artists. A typical day for her will involve talking to promoters, opera houses, orchestras, festivals and venues, as well as publishers, record labels and even PR companies.
I graduated from the University of Birmingham with a bachelor’s degree in music. After a six-month internship with the Orchestra of the Age of Enlightenment, I got my first job as an assistant artist manager for Sulivan Sweetland, a small boutique artist management company.
…A background in music isn’t essential, but knowledge of it is a must, especially for managing singers and talking about repertoire, and knowing what they should and (more importantly) shouldn’t do. Via The Guardian
Orchestral manager
Chris Lewis managers orchestra players on a daily basis, ensuring the right number are booked for every piece and facilitating communication among them. He also handles the payroll sheet and oversees the audition process.
‘You should have a background in music, so you can understand the demands put on players,’ says orchestral manager Chris Lewis. Photograph: The Hallé Orchestra
I studied double bass at the Royal Welsh College of Music and Drama.
My first job was at college, where I worked with the operations team. I then worked for the Welsh National Opera as the pit/platform manager and assistant librarian and Birmingham Royal Ballet as the assistant orchestra manager. Before Hallé I was orchestra manager of the Sydney Symphony Orchestra.
For this job I feel you should have a background in music, so you can understand some of the demands put on the players in their working life. Via The Guardian
Tours and concerts manager
Helen Lewis is responsible for leading worldwide tours and managing concert logistics for three ensembles. She works in close collaboration with Sir John Eliot Gardiner, founder and music director of Monteverdi Choir and Orchestras. She liases with concert venues, promoters and agents globally, ensuring the technical and logistical arrangements are in place.
My first job was as an administrator for a small London-based opera company. I then moved into recorded music at Universal Music, where I coordinated recordings and product releases for a new classical label.
…To aspiring undergraduates, I would recommend seeking out as much experience as possible in busy arts administration environments and getting involved in concert planning for university societies. Via The Guardian
Suzanne Doyle is pretty much an agent for orchestras that perform overseas. She sets up tours. Works on securing dates and ensures the finances are in place months before the tour begins.
I studied music at the University of Birmingham, where I took on a part-time job as an usher at the city’s Symphony Hall. After graduating I was offered a six-month internship with a classical music agency, Hazard Chase. Following that I moved to London and worked for The King’s Consort and then The Sixteen, followed by the agency, International Classical Artists. Via The Guardian
Communications manager
Fabienne Morris coordinates internal and external communicatios at the London Symphony Orchestra. She’s responsible for publicizing the organization and demonstrating its value to individuals as well as communities. A typical day would involve liaising with leaders in the political and business scene to get them to attend a concert or education event.
A thorough knowledge of orchestral repertoire is helpful and will help you be taken seriously,’ says Fabienne Morris, now head of communications and marketing at Intermusica. Photograph: Chris Gloag
Before this role I did work experience with BBC Classical Music TV while at university (studying music at Oxford). I then worked with the Philharmonia and Royal Philharmonic orchestras as an intern and assistant respectively. Via The Guardian
Responsible for how music is presented on the page, Daniel Rollison refines what the composer has written to make it as clear as possible. He could be working on several pieces at the same time, scheduling projects and working with a number of composers and freelancers.
A detailed appreciation of music notation is essential, as is having experience of a wide range of repertoire and the characteristics of standard musical
instruments.
Competition for jobs is strong, so prospective editors should try to gain freelance experience working with performers and composers, or enrol in a related postgraduate course… Via The Guardian
Brandee Younger, a Harpist Finding Her Way to Jazz
Brandee Younger was a teenager — an aspiring classical harpist, growing up on Long Island — when she came across an eye-opening issue of Harp Column magazine. A trade bimonthly with a loyal constituency (motto: “practical news, for practical harpists”) had published a readers poll celebrating the instrument’s most influential figures of the 20th century.
“There were all these teeny squares,” Ms. Younger said recently, recalling the cover illustration, a yearbook-style photo mosaic. “I saw one dark square. So I flipped through the pages to see who it was, and it was Dorothy Ashby.” Via NY Times
The Best (On and Off Campus) Music Jobs for College Students
If you’re in college, you probably know a few people who don’t work so they have more time to focus on their studies. Maybe this sounds like a good idea—after all, a good GPA can open the door to awesome academic opportunities, plus you don’t have to spend six hours on your Saturday night serving drunk jerks at a sports bar. In a fast-paced industry like the music business, however, you need to always be one step ahead of the competition. If you already have relevant music industry job experience on your resume while you’re still in school, you have an advantage. Plus you’re putting yourself in a good position to meet people who can help you grow in your career, mentor you, or just become really great friends. You’ll also get a little bit of extra cash in your bank account…and some pretty sweet perks. Via Careers In Music
In The Podcast World, Some Music Students Seek A Career Gateway
Podcasts would sound pretty bland without music. When done well, the medium’s music cues are evocative and tone-setting. In rare cases, they can become iconic (think of the plinking chords that let you know you’re listening to Serial). But for the most part, the music is meant to be invisible: You wouldn’t sit down to listen to it or put it on in your car, and you’re unlikely to ever know who composed it. So where does podcast music come from?
To find out, Aaron Schachter of WGBH paid a visit to the Berklee College of Music in Boston, where some students are learning to make a living from music they’ll likely never get famous for — but that could become a gateway to big business. Hear his full report at the audio link. Via NPR
Brandee Younger was a teenager — an aspiring classical harpist, growing up on Long Island — when she came across an eye-opening issue of Harp Column magazine. A trade bimonthly with a loyal constituency (motto: “practical news, for practical harpists”) had published a readers poll celebrating the instrument’s most influential figures of the 20th century.
If you’re in college, you probably know a few people who don’t work so they have more time to focus on their studies. Maybe this sounds like a good idea—after all, a good GPA can open the door to awesome academic opportunities, plus you don’t have to spend six hours on your Saturday night serving drunk jerks at a sports bar. In a fast-paced industry like the music business, however, you need to always be one step ahead of the competition. If you already have relevant music industry job experience on your resume while you’re still in school, you have an advantage. Plus you’re putting yourself in a good position to meet people who can help you grow in your career, mentor you, or just become really great friends. You’ll also get a little bit of extra cash in your bank account…and some pretty sweet perks. Via Careers In Music
Podcasts would sound pretty bland without music. When done well, the medium’s music cues are evocative and tone-setting. In rare cases, they can become iconic (think of the plinking chords that let you know you’re listening to Serial). But for the most part, the music is meant to be invisible: You wouldn’t sit down to listen to it or put it on in your car, and you’re unlikely to ever know who composed it. So where does podcast music come from?
