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Singing/music

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The reason for my choice in singing and music is because although I enjoy all areas of musical theatre (dance, acting and singing), singing is a skill I’ve been developing for the longest and, despite massive challenges at the most time, I’ve maintained resilient and passionate for. During my time studying for musical theatre, these challenges have involved solo performances for auditions and showcases. It’s unlikely for me to receive a solo when dancing and acting, which results in singing feeling like a bigger pressure to myself and my peers. However, the reason I have yet to give up is due to the accomplishing feeling of finishing solo performances and reflecting on the diligence I had going into it to finally move on to the next challenge. Listening back to videos of my singing and realizing how much I have improved is addicting to be able to further push myself and feel excited to learn and perform.

I have also chosen singing and music as my specialism as I would like to be more educated in the industry as I always believe there’s more you can do (then just physically improving) to improve a skill. I have previously attempted this by researching the science behind singing which has majorly helped with my singing placement such as the importance of open vowels and enacting the diaphragm, which I hold partly responsible for my development vocally.

Despite this, I have also researched into the remaining areas of musical theatre to consider as my specialism to keep open minded and receptive so this knowledge I gain from this task will most benefit me in my musical theatre career. After careful consideration, I opted against the two as I feel more passionately connected to singing, combined with the knowledge most of my musical theatre targets (set individually and by my lecturers) involve pushing myself vocally due to confidence. However, while acting and performance is still a huge component in singing performance, I am confident that what I learn will benefit me toward my triple threat goal in musical theatre.

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(if the link does not work I am able to email you this task)

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Live performances used to consist of performances at local venues or on television. An example show is 'Top of The Pops' (1964) that would host bands and have them perform live on the show. I believe that these shows not only brought a visual aspect to music at the time, but also launched several careers within the music industry we have today. Artists like 'The Beatles' would also pre-recorded footage of their shows as a visual accompaniment to their music. These programs were considered the first form of a music video and continued to be the main version up until, I believe, the first official music video in the last 70s: 'Video Killed The Radio Star' The Buggles.

The vision of music transformed dramatically because 'music videos' developed into high budget and choreographed media products. This emphasised its new status and importance to the industry as a business, as well as how music would be consumed forever. My research tells me that big artists like Michael Jackson and Queen spent hundreds of thousands of dollars to produce some of the most iconic music videos of our time. These began to follow more of a narrative progression, with protagonists and villains to entice audiences. The music video became so popular it was quickly expected of artists to release high quality visuals along with their songs. A key event that illustrates my point is the first music video awards, presented by MTV (1984). I think this emphasises the development of music videos because it is evident that they had became standardised products and had a big enough hype for the industry to trust the creation of an awards ceremony by top music channel at the time. Big star Madonna also performed at the awards show, also emphasising its evolution and development further.

Another key influence which I believe shows the technical impacts on development was the introduction of video on DVS (2002). My research tells me that due to this, music videos saw a 33% growth and changed how they were consumed became they were accessible to everybody, only growing its fandom. Sociologically, it's clear to me that DVD's made audiences create a stronger association with music and artists themselves. This impacted the industry because, again, artists were expected to release high quality visuals along with their songs; although this is costing them more money when releasing music, if successful, music videos have proven to create great revueue. Micheal Jackson's 'Thriller' music video cost $900,000 and made him $2.5 million in 1985 (https://www.forbes.com/sites/zackomalleygreenburg/2014/05/28/michael-jacksons-multibillion-dollar-career-earnings-listed-year-by-year/). In the same year, we saw the creation of 'iTunes' , another technical development from DVD's, making music videos even more attainable through downloads and (you guessed it) making them even more popular, generating more revenue into the industry. However, technology didn't stop there...

On the other hand, 'My Space' and 'YouTube' I argue are the biggest technical advances and game changers for music videos and music in general. They are video streaming sites, however now considered social media sites, that stream all their content for free on any device. These sites show developed in the industry because not only can anybody make their own music and music videos and post them, but any celebrity artist you can think of uses these sites as a source of their music and music videos for their fans. Statistically we are using YouTube 85% of time for our music desires because YouTube is the biggest change in the way we consume music and music videos because it is the easiest and cheapest (free of charge) way of watching music videos. This efficiency is drawing more people into the music industry, and music videos alike and in my opinion, are the most evolved and developed music videos are going to get; in terms of distribution.

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My argument is that both roles aquire the same routine of work and are very similar career wise, however the expectation to get to that position of succession and the level of devotion is what divides them as singers and celebrities. In regards to actual singing technique, it is to my knowledge that women opera singers are not classes as opera singers until the age of 30 because of voice development. In my opinion, this is a lot more work than pop singers who simply require talent, perseverance and skill, something seen as more important than formal training; especially in an age of the internet when anybody's music can become viral over social media and streaming services (declining the traditional way pop singers become successful in the industry). However, we could relate the roles together in terms of their contact type; both are considered freelance careers. However, while pop singers can have an agent to take care of this and rely on performing to make end meet, opera singers can have short term contact with opera companies or theatre groups.  Similarly, this is a very competitive area with little job security, and very few permanent jobs with salaries. In conclusion, the roles impact each others success because they belong to a competitive industry, meaning that they are in completion with each other; in terms of genre and individual artist.

The rise in pop music could cause a decline for opera music, vice vera, and I believe this has become the case through the last century when opera was at it peak. When the term 'pop song' was first used in 1926 was arguably the start of an evolution for the modern pop music industry. Moving forward, in 2018 it was reported that 17.4% of people listen to classical and opera music, whereas 56.1% of people listen to pop music; becoming the 'dominant' genre of music. It correlates that the introduction of pop music was at the cost of the opera, and many more, genres. This may impact the amount of gigs and work opportunities available to opera singers today as most concerts and festivals attract their customers through the pop music industry.

In spite of this, pop singers have also known to collaborate with and help opera singers. Ed Sheeran (best British male solo artist) collaborated with Andrea Bocelli (winner of the 44th Sanremo Music Festival) on one of his most popular songs 'Perfect', which was viewed on YouTube 250 million times. I believe this is evidence that pop music and opera music has become a keen combination and, due to this, more pop artists are impacting smaller opera artist in the sake of interdependence. Another example of a pop artists collaborating with a opera artist is Celine Dion and Placid Domingo and Gary Barlow and Katherine Jenkins. I believe this has brought more recognition and popularity to this genre of music, as well as the individual artists, while also bringing opera fans back to pop music and the artists.

Another factor that shows how both roles relate and impact each other is the fact that both roles are considered freelance. Despite working in different genres of the industry, the competition against each other is tough. Especially for artists just starting off by scraping every performance or gig they can  when this becomes limited due to the amount of aspiring performers today. This may lead to the performer having to seek a different route to have a break in their career. For pop singers this could be getting a degree or formal training to make them possibly more employable, at the cost of debt and time. Opera singers could gain experience through amateur musical productions, again costing more time and money.

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https://www.planitplus.net/JobProfiles/View/712/98

Getting in:
It is no doubt that the pop singers that we know and love have a high level of musical skill and talent. To develop these skills, aspiring pop singers could get a degree or postgraduate award in popular music, music performance or popular and commercial music. However, some argue that talent, perseverance and skill is more important than formal training.

Aspiring pop singers send demo CDs of their work to local venues and check adverts in local recording studios. One successful pop singers, Madison Beer, gained her popularity through showcasing her talents on social media platforms, like YouTube and TikTok. Another way pop singers have gained status is by auditioning for organised talent competitions, such as The X factor and Britain's Got Talent. One direction, the most famous boy band globally, entered the seventh series of 'The X factor' and I think their succession proved the authenticity of talent competitions, encouraging also aspiring artists to do the same.

But also, opportunities in holiday resorts and in cruise ships helped Jane McDonald in her rise succession in music. Her self-titled debut album hit number one in the charts. She has also appeared in musicals and with her one-women show and is still growing today. Even established singers often supplement their income with work as session singers or backup singers for film soundtracks, studio recordings or the advertising industry. Marisha Wallace, currently Becky in 'Waitress', was also auditioning for roles in movies while performing on the West End. She can be seen for singing for a few seconds in Disney's live action remake of 'Aladdin'. This would have pushed her name further out into the industry, arguably giving her the opportunity to tour as a singer.

However, if unsuccessful in their intentions, some artists will settle with being social media ‘influencers’, as a way of making a living and still being able to do what they love, performing. Anthony Gargiula is an example artist. Anthony has a 112k following on Instagram and posts covers of recent pop songs, while also still working at local events (like seasonally at Disney Land) to pass by as a smaller influencer who hasn’t necessarily ‘made it’ with his music career yet; despite a few viral Instagram videos, and also TikTok videos. In conclusion, Anthony still has to resort to the traditional ways of promoting his music and finding work, despite the technical advancements for marketing.

Required skills:

Excellent singing talent, with the ability to sing melody, harmony and backing vocals.

Creativity.

Self-discipline and determination.

Physical energy and stamina.

Portraying the emotion appropriate to the song.

Taking criticism and rejection.

Team work.

The work:

Performing live in front of an audience.

Possibly accompanying themselves on an instrument such as guitar or piano.

Writing the lyrics and music for their own songs.

Recording music to be broadcast on TV, radio or to sell as a CD or digital download.

Releasing recorded songs, making music videos, doing interviews, performing live and using social media.

Spending time doing vocal exercises, practising songs and rehearsing for performances.

Employment conditions:
Famous pop singers usually negotiating their own contracts, as they can be considered freelance; unless they have an agent, who would be in charge of this under the stars supervision and say. However,  the vast majority of pop singers must combine performing multiple job to make ends meet.

Pay rates vary, depending on the venue (a club, London theatre, regional theatre, a pub, on television or in a recording studio etc.) and type of performance (live or recorded). Usually a singer is paid per gig although some might have a regular spot in a pub or club.
On the down side, there are still expenses and fees to pay, such as manager’s fee, publicity and transport costs.

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section.https://www.planitplus.net/JobProfiles/View/711/98

Getting in:
Almost all opera singers have trained their voices for years, and most will have studied at a university or a music school. However, entry for degree courses can be competitive. As well as required academic qualifications, aspiring opera singers usually need qualifications in music. For example, for a degree courses in Scotland you normally need music, english, one or two foreign languages and Grade 7 or 8 on a main instrument (Associated Board of the Royal Schools of Music).

Opera singers can get experience by being involved in amateur musical productions and entering competitions. Some opera singers will send sample recordings of their work to opera and theatre directors.

Required skill:

Singing and musical talent.

Motivation and discipline to practise regularly.

Self-confidence.

Being versatile to different music styles.

A wide vocal range (generally a mezzo-soprano- G below middle C to the A two octaves above).

The ability to network.

Business skills, if working freelance.

The work:

Singing live to an audience or recording music.

Singing different styles of music — opera and oratorio.

Using characterisation skills to play a character in a production.

Spending a lot of time doing vocal exercises, practising, learning new music and rehearsing for performances.

Going on tour.

Singing in other languages, such as German or Italian.

Promoting themselves to agents and attending auditions.

Employment conditions:
Most opera singers work freelance or have a short term contract with opera companies, choirs or musical theatre groups. Unfortunately, this is a very competitive area with little job security, and very few permanent jobs with salaries.

Earnings depends on an individual's experience. Opera singers tend to be paid for each concert or recital they give, or for a particular length of performance run, maybe 8 or 12 weeks. There are many pay rates listed, which depend on the venue (such as opera house or concert hall) and the type of performance (live, recorded or broadcast).

Real life examples:
Andrea Bocelli is an example of a successful opera singer, with a long successful career in music spanning over 37 years. Bocelli is the most-selling artist in the history of classical music and is well known for his beautiful voice, famous for songs such as 'Time to Say Goodbye', duet with Sarah Brightman and more recently working with Ed Sheeran on hit single 'Perfect'. After performing evenings in piano bars and competing in local singing contests, Bocelli signed his first recording contract with the Sugar Music label. He rose to fame in 1994, winning the preliminary round of the 44th Sanremo Music Festival  performing "Miserere", with the highest marks ever recorded in the newcomers.

An unsuccessful example could be those entering talent competitions like 'Britain's Got Talent' and 'The X Factor'. Jonathan Antoine is a classically trained English tenor and rose to fame after appearing on the sixth series of 'Britain's Got Talent' in 2012 as one half of the classical duo Jonathan and Charlotte. Jonathan trained at the Royal Academy of Music. Although releasing a debut album and follow-up album between 2014-2016, I don't think they were classed industrially successful and since then he has not released any new music. Jonathan is an example that although modern platforms, like singing competitions, are helping individual artists in their performing arts career, some do not pan out in the long run or in the same way.

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Traditional industry structures that once divided our industries artists, instrumentalists, publishers, record companies, distributors, retail (etc.) have become blurred and erased. Why? I believe the primary answer is technology. As briefly discussed, one way typical industry structures have evolved and developed is the fact that artists are now able to record at home by simply using a laptop and new digital recording programs. As all technical enhancements, I argue that this development is more convenient (especially for celebrity artists and their busy schedules) and saves the cost of an expensive studio recording sessions and without the involvement of a record company and contract.

Another product of technology is the development of promotion and marketing methods. Artists are able to do this themselves using free online video sharing services such as YouTube or social media sites, bypassing traditional promotion and marketing by record companies. This is a cheaper alternative, giving more niche artists a chance at succession and recognition, and I think the most effective source in reaching more people (since 45% of the population  use social media-https://www.statista.com/statistics/278414/number-of-worldwide-social-network-users/). However, despite all of these great benefits to individual artists, and even the industry itself in terms of revenue, I also think that jobs involved in the production and distribution section of the performing arts industry are becoming meaningless and less popular with aspiring artists. In the future, I think that artists may only have the one route of social media fame to become successful; without the consideration of how difficult this is statistically. Moreover, marketers, promoters and publishers are going out of business meaning that less money is being restored into the industries business. On the other hand, the fact more indie artists are growing and becoming successful, due to the technical advances of the media, is also drawing fans/money back into the industry.

My research also tells me that the market for theatre appears to be growing, as well as the the demand for individual performances. In terms of industry structures, they have been able to fortunately adjust with this by increasing ticket sales prices asit appears that the price the public is willing to pay has increased and, due to this, income recorded at UK Theatre venues grew by 18 per cent. I think one reason that theatre industries are making more revenue is because of our societies development of musical films, talent shows and genres (etc. jukebox musicals appeal to a wide range of people who may not normally have considered themselves musical fans); all in which is actively encouraging a love for musical theatre. Moreover, workshops, special events and sponsorships are also becoming more of a demand, with the beaming help of social media to efficiently promote  to the current generation of performing arts customers and consumers.

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Movie Musicals have been a huge part of our culture for decades, more so than ever before. During the silent era of the late 19th century to the early 20th century, music was performed live and in a later case, a pianist would improvise to the film or a small ensemble of musicians performs a classical piece. However the genre was able to develop when synchronising music and sound to celluloid becomes possible in 1929. I believe it was from here that music could quickly become an essential aspect of storytelling. It was also in these times that composers were commissioned by Hollywood to write new material for their movies.

I think that this direction was pioneered with Warner Brothers release of 'The Jazz Singer' 1927. Although this only featured seven songs and a few lines of screen dialogue, after realising the effect of the technical advances of sound/music through its succession, other major film studios followed and release their own musicals, which typically also ended up as a start of the amazing development and enhancement of film musicals today. This was due to technical limitations in the film industry generally at the time. On the other hand, with the release of the first full length film musical 'The Broadway Melody' 1930, which ended up winning an Academy Award for Best Picture (the first musical and sound film to do so), I think that the musical film proved its worth to the history of cinema and was here on able to evolve the way it has.

My research tells me that the 1930s was the golden age of film musicals evidently when Hollywood released over one hundred musical films in 1930 alone. However my research also tells me that the 'over saturation' of musical films from the 1930s reportedly tired viewers, especially since this era coincided with the height of the Great Depression. Given viewers lack of interest for the musical film, the genre began to experience a commercial decline over the next few years. Moreover, since the public had come to associate the early use of colour with musicals, the popularity of colour productions likewise declined. It is clear that the industry still had some technical developments and sway-able thinking in film to await the 'second global age' of musical films in the 21st century.

Some argue that the 21st century is the second global age for musical films and that movie musicals were 'reborn' with darker musicals, musical biopics, epic drama musicals and comedy-drama musicals such as Chicago,  Dream girls, Les Miserables and La La Land; all of which won the Golden Globe Award for Best Motion Picture. This is because technical enhancements in film-making (such as CGI affects) made now 'crucial' consumption aspects of film and film musicals possible and more successful at conveying a musical narrative; resulting in higher ratings for the industry.

On the other hand, the film musicals of 'Cats' 2019 argues against my point. Cats uses extensive visual effects throughout to convert the live-action actors to computer-animated cats. However, the film received generally unfavourable reviews from critics, who criticised the, plot, and tone, with many calling it one of the worst films of 2019. The film also became a 'box-office bomb', grossing $76 million on a budget as high as $100 million (https://en.wikipedia.org/wiki/Cats_(2019_film). My point is that although 'Cats' show the development and growth in popularity of film musicals (being produced by big film conglomerate and celebrity cast) primarily through technical advancements, there is still some improvements to be put in the place for the future of the genre and performing arts industry; 'Cats' lesson being of CGI. In my opinion, despite the great evolution of our 'futuristic' society through the internet and technology etc, these remaining ways of progress are good for leaving room for more discovery and development to make film musicals even more successful; creating more revenue for the industry in the future.

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Throughout the history of the theatre technology has helped convey the story to the audience and, at times, make theatrical performances even possible. Over the years we have seen the growth of staging, costumes, scenery, and lighting and it can be argued that theatre performances have always employed the latest technologies of that time. It was only the 1980's, computer-generated effects and digitalised sound began to appear and develop until present day.

3D printing is an example of a technology that's changed set designs, and therefore, stage performances forever. Stage designs and props can now be created using this technology, saving both time and money for the industry. Previously, models of sets needed to be built as part of the planning process, using piles of foam core and hot glue, however, with 3D printing this process has been simplified considerably. 'Into the Woods' 1986 props and costumes were 3d-printed: for the creation of the magic bean, but was also used to make some accessories for the witch's costume. This would have changed the way we consume musicals because by the props and costumes appearing more realistic, the easier the audience can 'escape' and allow the entertainment process of storytelling; creating further recommendation to the industry and musicals.

Whilst the stage design, actors, costumes, props, and lighting are obvious parts of any production, sound design is one of the subtlest (but important) parts of the entire experience. Previously, sound effects would take days to produce but today production teams can simply look up sound effects and download them. Microphones are also much smaller and easier to use than ever before. Again, the production aspect mandatory for musicals has become the cheapest and least time consuming it has ever been. This means the industry can reserve its money, while also making more through the finer quality of everything through the development of technology.

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I believe that modern concerts came into being in the 1960s through the popularity of rock and roll music. However, there were concerts before this, but they tended to be more casual and based in religious activities. As rock and roll became more popular and musicians like 'The Beatles', 'The Rolling Stones' and 'Elvis Presley' rose to fame, demand for live shows increased. It is evident to me why many artists saw live concerts as an opportunity to make a profit and draw in more fans and fame...

Furthermore, through the 1980s concerts continued to grow in popularity. I believe this was due to the advances to the technical roles of a concert, because performers began to experiment with lighting, sound and even fashion. However, it was arguably technological advances in the 90s that changed the consumption of music/concerts by making concerts (visually) more impressive and giving people more for what they were paying. During this time, artists could even bring screens and special effects on tour with them, 'Madonna' and 'U2' being among the first to incorporate video walls into their performances. I think that milestone as such helped the industry develop because it heightened the viewing experience (through adding narrative to their shows) and the way in which the society started to consume music; live.

In the 2000s, concerts have continued to grow in size and are even now often assorted with large events. An example is that every year the 'Super Bowl' feature a huge artist to perform live. The imagine below shows Katy Perry performing 'Roar' at the Super Bowl in 2015. The lighting and special effects (even the use of colour) in the image prove how significant and high advanced the production value of live performances has been developed to be. The fact Katy Perry is performing on a moving stage, manually crafted in the shape of a tiger, also shows me development in even how props are made and used for concerts. I argue that invanced technical equipment is changing the way our society consumes music and concerts because we are 'harder to please' and expect a more premier  experience from the industry; especially if linked to the second-busiest music arena behind the 02 Arena. Moreover, the sociological impact this has on the industry is that nowadays the industry needs to concentrate more money into not just the music itself but performance, lighting, props, costume, stage functions and movements, confetti etc. I think this has become mandatory for individual artists and the music industry for meeting those high expectations and pleasing their customers so they will come back.

Multi-day, outdoor concerts and festivals like Coachella (starting in 2000), WayHome (starting in 2016), have become huge a social events/platform for even non-music lovers to enjoy, drawing even more customers and revenue to the industry. Moreover, I think this is because peoples perceptions of music have also changed over the decades, with concerts seeming more social and for people/friends to participate in together through stronger audience engagement (as discussed).

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Areas of employment in the performing arts industry can be very small-scale. This primarily involves the on stage workers, like actors and dancers of musicals, because there are a limited spaces of jobs in the west end; not to mention the difficulty of casting and gaining a successful career in. This is similar for just professional singers, like pop singers/stars. Despite skill and diligence, if their songs and they themselves are not popular to a mass audience, they will not sell records. Although these type of roles in the performing arts industry are ambitions to most, it is not always plausable due to these factors.

However, the performing arts industry branches off into may different paths of work and responsibility. This commonly includes off stage and production roles, like stage manager/ crew and music/stage producers and designers. These careers are typically easier to be successful in and are still involved in the creation of the arts.

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Examples of employment within my chosen specialism:

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Examples of employment within my chosen specialism:

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Rappers
Pop singers
Opera singers
Theatre performers
Singing/music teachers
Music producer