This Professional Programme in Music Management was designed as a means of providing future artistes managers with a real working structure to guide them in this innately formless and rapidly evolving field. The Music Management course has been developed to meet the needs of students who wish to pursue a business and management career in the music industry.
Behind the scenes of any great artist is a great manager working to create a great brand. This course explores the role and importance of an artist manager, what they do, and how they impact the career of the artist and their brand. The course begins with the basics: why an artist needs a manager, the keys to finding the right partner, and a typical management contract. From there, you’ll cover the details of planning an artist’s career, money management, and what to do when things go wrong. You’ll also examine the principles of leadership dynamics and motivation in order to focus and empower current and potential managers.
Other areas will also include most significant aspects of the music business, including contract law, intellectual copyright, artist management and the recording industry. Success in the contemporary world of music is increasingly dependent upon business know-how. Assessment for the programme is usually through a group project and presentation.
Upon successful completion of this course, aspiring managers will have the tools to embark on managing artists’ careers, and artists will better understand the critical importance of choosing the right manager, what they do, and how it will impact their potential and career. This course is designed to help those interested in a career in artist management, current managers attempting to improve and grow their business, self-managed artists who want to take control of their careers, record label owners looking to improve their effectiveness in dealing with their artist managers, and anyone passionate about music seeking to gain entrée into the business.
The course also contains detailed information and first hand accounts and mentorship from managers who have represented artists such as:
Pasuma wonder, Wizkid, Waje, Skales, Dbanj, Tuface, Iyanya, Techno etc
At the end of the course, you will be able to:
- Implement key methods for success in management, whether you are interested in managing other artists or are a self-managed artist
- Create innovative, values-based strategic plans to increase the chances of success for the artists with whom you work
- Understand the important contractual and financial documents required in artist management
- Identify artists at various stages of their careers who are good candidates for your management venture
- Present concrete strategies to your artists in order to help accelerate their growth
- Utilize your strategic core doc
Course Title: Professional Programme in Music Industry Management
- Artists and Repertoire
- Digital Music
- Major Event Management
- E-Business and E-Commerce
*Module may be subject to change
Course Duration: 3-month in class course + minimum 3-month internship (optional)
Mode of Delivery: Each module requires 3 in-class hours per week for a total of 12/15 weekly hours (Monday-Friday)
Language of Instruction: English
Course Assessment: Group, Personal Project and Presentation
A. A Manager is a person or company, who guides, counsels, advises and helps to provide employment.
B. He/she/they are a protector, and “doer”.
C. They take all steps necessary to help you become a success.
D. They make money when you make money; the more you make, the more they make. Their success comes through helping you to achieve your success.
E. They can be an objective person who can look at all aspects of your situation, analyze them, and make a rational plan. They have to be able to look at you and your work differently than you do. Why?
Your work is intensely personal, and you’re probably too emotionally tied to it.
Everyone needs a professional outside opinion, not friends or relatives. It’s hard for them to give an honest, sound opinion.
They’re too close to be honest and objective.
If they’re not professionals, they’re not qualified to give an opinion.
Do not mix up “Manager” with “Agent” – many people do! They are two different animals. Agents are “middle-men/women” who get “gigs” etc, for people. Managers, as you will see in the contract in “Section Two”, may hire Agents for you when needed. Agents need an “Employment Agency License” to legally do their work. Managers, cannot legally “book” Artists, although some will book their Artists here and there, in the beginning.
A. When he/she reached a certain, good level on his/her own, and can’t seem to progress any higher, no matter what he/she do. It could also be from the onset of his/her music career
B. When you may have no idea what you should do, or do next.
C. You may be disorganized, lost, or simply not have the right contacts to get ahead any further. You realize you’re spinning your wheels and going nowhere
A. If you’re solely a Songwriter and not an Artist.
B. You’re happy being a local Band, or Group. Look into getting an “Agent”, instead, if you wish, to help you.
A. “I don’t need a Manager; I can do it all myself.” That’s not a good way of thinking, though you may be able to do it for a while, until you feel you’re ready to really move ahead. Your major time should be focused on your Music, and your Fans!
B. Strong musical, writing or singing talent does not necessarily mean you have good managerial ability.
C. Your time is better spent creatively, constantly improving what you do.
D. Do you really know what the best move is that you can make?
E. Do you actually have an honest evaluation of your own work? Can you be objective about it?
A. Has contacts in the music industry.
Remember: It’s not just whom they know, but more importantly – who knows them!
B. Knows what’s happening in the industry – at the present time.
C. Knows what Booking Agents, Publishers, Record Companies and any other would-be interested people or companies would be looking for.
D. Probably has [should have] experience managing others.
E. Knows the advantages and pitfalls in almost every situation that’s likely to arise.
F. Is “streetwise” in dealing in the industry.
G. Can avoid blind alleys in negotiations, make fewer mistakes, and save you time and money.
H. “Takes the heat off you” from your attorney, Band Members or Group, Club Owners and Managers, Booking Agents, Record Company exec.’s, etc. That is, they play “the bad guy” for you.
Many artists have killed either their recording or performing careers by fighting over assorted issues, either musically or business-oriented. Your Manager, not you, is the one to fight with the company or person! They can be the super tough “bad guy”, or turn around and play “good guy” for you.
I. Is totally up-to-date and knows and understands the “Digital Revolution” including the formats and their uses.
J. Knows a lot about marketing and promotion, including the Web and keeps up with the latest technologies and techniques to stay a step ahead…
They can do so many things for you, if they’re great. If they aren’t, you’ll curse the day you met them. But also keep in mind, no one has every quality you and others might think necessary, but they should be able to make up for any important of weaknesses by associating with others who can fill in the missing pieces.