Management...

Music management comes with a lot of important roles, especially when managing an artist.  Authors Paul Allen, H. Lee Hetherington, and Walt F. J. Goodridge go in depth by breaking down the different responsibilities in managing a successful music artist.  There are no specific rules on how to go about getting into this business, it’s more of how much you know and if you can handle huge tasks, loosing lots of sleep and selling a person, other than an object.  “Managers direct all aspects of an artist's career, including record company issues, publishing, touring, marketing, publicity, business management, film and sound track work, sponsorships,

endorsements, and other opportunities. Some managers secure recording and/or publishing contracts and are involved in the negotiations, either handling it themselves or, in most cases, working with the artist's attorney” (Carter).

            There’s no specific level of education required to get into this business.  Usually when artist are beginning to make their first appearance on the music scene, its usually a friend or family member doing the management.  Sometimes this may not be a good thing; this is said because, not all the time, family members or friends have the right and sufficient amount of knowledge to carry out this task.  Sometimes there are those exceptions when people just have a God given talent and know what to do in certain situations dealing with career choices.  There are also those artist who look for the managers with the experience, drive and knowledge to carry out such huge responsibilities.  When the opportunity presents itself, there may be music conferences, panels and award shows in which artist, labels, managers and other prominent music people will attend where one can network and build relationships to hold on to for future references.   

Though there’s no specific level of education needed to begin a career in artist management, to succeed you should have “a well-rounded understanding of how the entire music industry works, and allies within its ranks. Generally, managers have one or two particular strengths, such as touring, publicity, publishing, recording, or legal backgrounds, and they then surround themselves with a team that has strengths where their own knowledge is weakest” (Carter).

            “As we consider principles of management it is important to understand that the goals of artist management are different from those of other segments of the music business” (Allen, 2007, p. 1).  According to Paul Allen in his book Artist Management for the Music Business he points out ten things that will help managers in the career of managing an artist.  These ten things are principle of management for the artist, preparing to manage, the artist: preparing to be managed, the artist management contract, planning, the artist as business, income, conducting business for the artist, the artist career plan, and finally coaching, leadership and financial advice.  Now within these ten categories there are quite a few sub-categories within them.  These are quite a few things to talk about dealing with management, but to sum it all up Allen says to be creative, informed and connected.  “Today’s artist manager must be willing to encourage their artist to take calculated risks and to support their clients when they do.  This doesn’t mean take chances with an artist career.  Rather they involve the artist in promotional ideas that get the artist outside of their comfort zone and open up opportunities to help them reach their goals” (Allen, 2007, p. 5).