The Music Industry

1. The Music Industry BTEC Year 10 Unit 1 L6 (Learning Aim (B)

2. Unit Overview • To gain a good understanding of the scope of the music industry • Investigate music organizations to find out about the work they do and how they relate to and rely on each other

3. Unit Overview Continued • Find out about the people who work in these organizations, from performers to people who work in technical, productions and administrative roles. • To understand business practices and job opportunities that exist in the industry • To understand how the industry operates for the individual entrepreneurs, sole traders, partnerships and small organizations that predominate

4. Learning Aims of Unit • Understand different types of organizations that make up the music industry • Understand job roles in the music industry

5. Lesson 6: Starter Activity • List the personnel within the music industry • What are their areas of interest? • Why do these organisations exist? • When might they be needed by others in the music industry?

6. Starter Check Continued How do promoters and musicians evaluate the advantages and disadvantages of hiring and buying equipment? How do promoters and musicians find and select suppliers and installers of equipment?

7. Starter Answers: Handouts (Highlight (CW) and annotate (HW)) 1. MPG, APRS,PRS, PLASA (Learners feedback from HW research on points 2-4) 1. Refer to Revision Guide for all definitions and services of provided 2-4 General responsibilities of wider personnel within the music industry looking at: ●Who are they?● What is their area of interest? ● Why does their organisation exists? ● When may they be needed by others in the industry?● Consider the links between organisations and the support each organisation can help provide.

8. Lesson 6: Learning Objectives • To understand job roles from different areas of the music industry and the responsibilities of each role. • Who is responsible for what activity, why and how are things done? • What are the advantages and disadvantages of relying on individuals for individual services in relation to the key stages of the production timeline.

9. Lesson 6: Introduction To consider the skills and responsibilities of each performer or creative role in terms of who does what and why it is important. Think about the linksbetween performers and creative roles and how the industry is built upon the relationships between skilled practitioners across the disciplines.

10. Lesson 6: Relationships ●Relationshipsbetween skilled practitioners across the disciplines: ● musician - instrumentalist, vocalist, accompanist, DJ • auditioning, attending rehearsals (including technical and dress rehearsals), taking part in performances and workshops, marketing and promoting own work ● composer/songwriter/producer • writing music, arranging, orchestrating, creative input • responding to briefs, pitching ideas to clients, producing scores and parts, marketing and promoting own work, composing to a brief, producing • producing, sequencing music, using technology to realise music, creative and artistic direction

11. Relationships Continued ● musical director • conducting, arranging and leading rehearsals • hiring musicians, liaison within projects, problem solving ● live sound technician • stage planning, rigging, de-rigging, supervision of crew • sound checking, ensuring mike and lines work correctly, adjusting levels, on stage mix, front of house (FOH) and monitor mixing

12. Relationships Continued ● roadie (backline technical support) • assisting with get-in, rigging, de-rigging, get-out • specialist instrumental support, logistics, driving ● instrumental support, guitar tech, drum tech.