Tag: music careers
How does location impact musicians and composers? Do ‘music cities’ – loosely defined as places where there is a higher concentration of commercial record labels, studios, publishers, or other important commercial industry players – such as Los Angeles, Nashville, or New York offer greater opportunities for artists?
While the over 5,300 respondents of the Money from Music survey lived in all 50 states and also outside the USA, approximately 11% of respondents reported living in the metro areas of Nashville, New York City, or Los Angeles – all cities that have a higher concentration of creative workers [Note 1] compared to the national average.
What is so special about these cities? Do opportunities attributed to location favor artists who play certain roles or are at a certain point in their careers? With the internet making it easy to communicate directly with … Read More »
This data memo presents a snapshot of nearly 900 jazz musicians who participated in the Money from Music Survey in 2011, the first comprehensive assessment of jazz musicians in the US since “Changing the Beat.” After presenting basic demographic information, this memo provides data about jazz musician’s experience, income, and feelings about technology, and also compares the jazz population to survey takers from other genres. This memo also takes a closer look at the differences between jazz musicians who are members of the American Federation of Musicians (AFM) and those who are not, and the relationship that AFM membership has with income.
Drawing from 4-12 years of accounting data provided by the artists, each case study graphs and explains the musician-based sources of income over time. The reports also include annual revenue pies, and a look at income versus expenses and net profit over time. Some case studies also include more detailed breakdowns, such as PRO royalties by territory, or session work by bandleader. The second release of case studies will be around May 2012 and is expected to include an urban recording artist, a background musician who does television work, a band that gets radio airplay, and a composer/songwriter who does not perform.
When looking at the Artist’s gross revenue, we note 72.3% of his income is tied to live performance, whether it’s live performance fees or CD sales at shows. He is completely dependent on touring for his income.
We look at the Artist’s income by band and see that while he is an active member of four bands in addition to his solo work, 94% of his gross income comes from one Main Band and his own solo work.
Unlike the Professional Orchestra Player, who is also a salaried musician, the Artist also writes for the group that pays him a salary, and that provides 21% of his income in addition to his salary.
When examining income versus expenses, we note certain roles, like salaried, sideman or teaching work (approximately 31% of his income from 2008-2011) have few expenses. The Artist is able to use that income to invest in his own solo work, in lieu of being beholden to a label, publisher, or tour sponsor.
Like many entrepreneurial small businesses, his net income fluctuates widely from year to year. Anecdotally, his gross income appears to roughly track with the growth of his reputation during this period.
When looking at his gross income, we see that live performance as a leader makes up 77.8% of his income. In addition to his work as a leader, he also earns a steady income each year as a composer, sideman, and teacher.
When looking at his net v gross, Jazz Bandleader’s expenses are high – 80% of his income goes to pay touring expenses, sidemen, managers fees and other expenses. But he is still profits from touring. His net recording income fluctuates from year to year. Some years he loses money on recording. From 2006-2011 he nets a modest recording income.
Examining the artist’s gross income by role reinforces that his recording money fluctuates depending on what years he receives record advances. We also see that roughly 8% of his income is initiated by someone other than the Jazz Bandleader or his team.
Looking at gross income by territory, we see that he is dependent on non US markets for about 44% of his performance income.
We see a similar trend in his PRO Royalties breakdown by territory, that non-US royalties are a significant portion of his PRO royalty income. When looking at his income by album, we see that his compositions continue to earn money for years after the records are released.
Looking at the gross income, we see that 95.4% of the Ensemble’s gross income comes from live performance fees. They retain a professional manager in 2004, and their touring income more than doubles by 2005.
When taking expenses into account, we learn that though their gross income fluctuates from year to year, their net profit is steadily increasing. We also see that while their records are doing very well for classical music and have recouped, the Ensemble does not rely in this income at all (0.1% of their 2002-2010 income is from record royalties paid by a label) and instead treats recordings as marketing for the ensemble.
We reflect on the classical music marketplace, which is distinct from other markets. Their situation is similar to Professional Orchestra Player’s in that they are highly skilled musicians that are usually paid a relatively high wage in an extremely competitive marketplace.
After years of training and competing, the Artist has won a coveted seat as a salaried player in a major symphony orchestra – a position that includes health insurance and a pension. His income fluctuates until he wins the seat in the symphony. At that point, his income will be stable as long as he is with the orchestra.
Classically-trained professional musicians have only a few expenses – education and instruments being one of the top ones – but these expenses can be significant and usually cannot be avoided. They function in an unusual economy where musical instruments can sometimes be a significant investment and are often loaned or bequeathed because of their extreme cost.
Professional Orchestra Players are often not composers, and do not participate in a significant way in many copyright-related income streams. They rely on the unions to help them collect the few and various “background musician” royalties they are entitled to.
We also reflect on the extremely competitive nature of this line of work. Mentorship can sometimes play a large role in helping a young player navigate this competitive terrain.
In addition to his sideman work, his income also comes from his work as a bandleader, composer, administrator, and teacher. Like many freelancers, his income fluctuates from year to year. Anecdotally, his gross income appears to roughly track with the growth of his reputation during this period.
We look at the income and expenses for this individual, where we learn that his teaching, admin work and sideman work makes up 70% of his income from 2004-2010, effectively subsidize his work as a bandleader as he establishes himself.
We look at his relationships as a sideman with different bandleaders over time and see 55% of his income and activity comes from two bandleaders, but he also takes on work with 81 different ensembles. He needs all of these gigs to survive. Not just from an economic perspective, but also because these other gigs help him network, keep his skills sharp, and to maintain his position in the competitive marketplace for sidemen.
We examine his per-gig sideman wages by territory and see that there is a marked difference between the income he receives outside the US and in the USA. On average over eight years, Jazz Sideman-Bandleader’s sideman rate when traveling outside the US is approximately three times greater than what he makes in the US.
We analyze his foundation grant income and see that while this money is a large chunk of his gross income, the net take home is very small – 1%. This appears to be typical for bandleaders, that the vast majority of income for recording and touring goes to pay for expenses.
We begin to explore the complex balance he maintains between financial risk, creative fulfillment, and available time.
The FMC team spent some time with the Network of Music Career Development Officers at their annual meeting on Thursday, January 11, 2012 at the Manhattan School of Music in New York City. Here are some slides from our presentation, which look at some of the survey results with respect to conservatory and music school graduates.
In this presentation we looked at the characteristics of the 2,728 musicians and composers who said they graduated from a conservatory of music school. The top regions for this group were New York, Boston, Washington DC, Long Beach/LA, San Francisco, Denver, Chicago, Detroit, Madison, Minneapolis, Nashville, Cincinnati, Atlanta, Dallas/Fort Worth and Rochester.
We found that music school or conservatory graduates were more likely to be earning more, working more, and were more likely to have … Read More »