Humanities, University of Southampton

The Profession of Music aims to give second year Music students an accurate, up to date and (above all) an empowering overview of the world of work in which professional musicians operate.

Module Co-ordinator: Dr Andrew Pinnock

The Profession of Music aims to give second year Music students an accurate, up to date and (above all) an empowering overview of the world of work in which professional musicians operate.  You will learn:

• What sorts of job are open to music graduates
• What terms and conditions of employment apply in different parts of the music business
• What skill sets and attitudes are necessary for success in different sectors
• What practical steps you can take to launch a career.

Worlds of self-employment and salaried employment will be carefully distinguished; areas of overlap between them will be identified.  You will be encouraged to think about portfolio career possibilities (some teaching, some performance or composition say), about career trajectories and about social and technological trends with significant implications for professional musicians.  How is demand for professionally produced music likely to change in future?  How are suppliers likely to react?

The UK state education system is this country's largest single employer of professionally qualified musicians.  Nearly all professional musicians do paid education work at least some of the time.  So The Profession of Music gives special attention to music education.  The module introduces you to some of the main concepts in music education, equipping you to review a range of music education practices from different critical perspectives (including practices of which you have personal experience).  You will learn:

• Some key theories of music education
• How music education happens in schools in England
• How music education happens outside school, in wider community contexts
• About major trends and issues in present-day UK music education.

The module's main learning outcome is a realistic vision of your own future should you choose to enter the music profession.  This will help you make career choices that are right for you, and help you avoid mistakes.  You will know how different parts of the profession are organised, know how available work is parcelled out, know how new entrants are recruited, know about postgraduate training opportunities in music and know where they lead, allowing you to plan ahead.  In the music education area specifically, you will be able to argue a case for music as part of formal education, able to analyse written material addressing a professional readership (curriculum documents, e.g.) and able to relate theories of music education to your own experience.  Having successfully completed this module you will be able to:

• Assess the accuracy of information about the music profession, obtainable from a range of sources (mostly non-academic), and judge its potential relevance when making personal career decisions
• Contextualize careers advice given to you by others
• Apply simple social-scientific terminology and method when debating the future of the music profession and your own place within it
• Engage in career-focused critical reflection on your own musical experiences
• Prepare and deliver a short music lesson to a group of fellow students
• Evaluate the success of music lessons in a structured way
• Talk knowledgably and confidently about music education in PGCE selection and other high-stakes interview situations.

The Profession of Music covers a range of music business topics.  It explores the basic organisation of the music business, distinguishes between a profession and an occupation (looking at theories of professionalization, and some of the motives for it) and clarifies the legal framework within which professional musicians operate (copyright law, partnership law, etc.).  As well as systems of supply it considers demand for music, tracking past and trying to predict future trends on the production and on the consumption side.  Approaches to music marketing are considered briefly.  The music education lectures cover key concepts in music education, primary school singing teaching and secondary school composition teaching, music education out of school, and trends and issues in music education.  

•  Career relevance. The module supplies information which those considering their career options will find useful and empowering.
• Guest speakers (non-academic) provide potential employer perspectives.

 Teaching methods include:

• Lectures and workshops
• Individual reading
• Group work
• Presentations by guest speakers.

Learning activities include:

• Participation in lectures and workshops
• Preparing and delivering a music education presentation with others
• Individual research.

Music business:

Alexander, V. (2003) Sociology of the Arts: Exploring Fine and Popular Forms. Oxford: Blackwell.

Allen, P. (2007) Artist Management for the Music Business. Amsterdam: Focal Press [Elsevier].

Becker, H. (1982) Art Worlds. Berkeley, CA: University of California Press.

Beckman, G. (ed.) (2010 - forthcoming) Disciplining the Arts: Teaching Entrepreneurship in Context. Lanham, MD: Rowman & Littlefield Education.

Caves, R. (2000) Creative Industries: Contracts Between Art and Commerce. Cambridge, MA: Harvard UP.

Frith, S. & Marshall, L. (ed.) (2004) Music and Copyright. 2nd ed. Edinburgh: Edinburgh UP.

Parker, S. (2004) The Economics of Self-Employment and Entrepreneurship. Cambridge: Cambridge UP.

Talbot, M. (ed.) (2002) The Business of Music. Liverpool: Liverpool UP.

Towse, R. (ed.) (2003) A Handbook of Cultural Economics. Cheltenham: Edward Elgar.

Music education:

Glover, J. (2000) Children Composing 4 - 14. London: Falmer Press

Green, L. (2008) Music, Informal Learning and School. Farnham: Ashgate.

Hallam, S. (1998) Instrumental Teaching. Oxford: Heinemann.

Mills, J. (2005), Music in the School. Oxford: Oxford University Press.

Philpott, C. & Plummeridge, C. (ed.) (2001) Issues in Music Teaching. London: Routledge/Falmer.

Swanwick, K. (1979) A Basis for Music Education. London: Routledge.

Swanwick, K. (1999) Teaching Music Musically. London: Routledge.

 Formative feedback includes:

• Informal discussion during teaching, to check your understanding of concepts and refine it as necessary
• Feedback delivered during workshops will clarify tutors' expectations and help you complete written assignments to the standard required (these assignments will be handed in later).

Formal assessments: