What types of musical professions are there? Text editor: who is he and what does he do? How did you come into the profession?

Music is “a form of art that reproduces the reality around us in sound artistic images.” There have been many legends about the “invention” of music. For example, the ancient Greeks considered music a great gift of the gods, and the sun god Apollo as the patron of the arts and especially music. The ancient Greek myth about the singer Orpheus says that even wild animals came to listen to his voice and lay peacefully at the feet of the singer. And the Russian epic tells about the guslar singer Sadko, whose art conquered the sea elements. Music has played an important role in people's lives since the dawn of human society. People have always accompanied their activities with music (this is where lullabies, war songs, work songs, and funeral laments came from).

The profession of “music editor” as such appeared with the development of radio and television. In Soviet times, the music editor was responsible not only for monitoring the musical content of the program, but also for the ideological side of the works. The profession of “music editor” in Russia in its current understanding became a reality only in the 90s of the 20th century with the advent of the first music radio stations (Radio “Rox”, “Europe-plus”, “M-radio”, “Radio 101”) and the first music channel ("2x2").

Professionogram "Music editor"

The dominant activities of the profession "Music editor":

• work on radio stations, music channels, music programs:
• listening to new music arrivals;
• compiling playlists (play-list) and a general list of songs for a radio station, music program, channel;
• selection of songs for broadcast;
• correction of the list of songs (removing old compositions, adding new ones);
• determining the category of songs (frequency of their appearance on air);
• arranging the musical broadcast according to the music-information format and the audience of the radio station, music program, channel;
• compiling reports for the Russian Authors' Society on songs used on a radio station, music channel, in a music program;
• taking part in the compilation of music collections of the radio station;
• organization of concerts, performances by artists on a radio station, music program, channel;
• search for new musical works;
• search for new forms of program preparation;
• compiling music ratings of songs;
• creation of a database of musical works and performers;
• work in concert halls, theaters;
• search for a customer (artist);
• preparation of the program together with the artist, director;
• conducting the program;
• studying the artist's repertoire;
• work with repertoire;
• working with artist materials;
• participation in the design of the program;
• Conducting a rehearsal together with the director.

Qualities that ensure the success of the professional activity of a music editor:

Qualities that hinder the effectiveness of professional activity:

• lack of musical abilities (musical hearing, musical memory);
• passivity;
• aggressiveness;
• isolation;
• unclear diction;
• illiterate speech;
• lack of communication and organizational skills;
• lack of initiative.

Areas of application of professional knowledge:

• radio;
• TV;
• concert halls;
• theaters;
• music educational institutions.

Hello to all readers of the blog site! Today I propose to consider another option for working from home.

The editor profession is not easy, but interesting for creative personalities. It is also for those who are purposeful, ambitious, and have organizational skills. In this article we will look at who an editor is, how to become one, what a specialist does and how much a specialist earns. So, let's go!

Let me start with the fact that this is one of the most ancient professions. With the development of printing, the need for text editing arose. There was a need for a person who would monitor the literacy of the printed word, its correct formation into sentences, clarity and interest for the reader.

Over time, editing covered all areas of stylistic activity. Work in the field of literature and the media is not possible without the participation of an editor. Newspapers, magazines, books, articles on websites pass through the hands of this specialist before reaching the reader’s eye.

Editor - who is he and what does he do?

The name of the profession comes from the Latin “redactus”, which means “put in order”. What does the editor put in order? Of course, the text. He is responsible for preparing it for publication.

This process includes:

• selection of exciting and relevant topics,
• tracking thematic content,
• adjusting the content in accordance with the requirements of a particular genre,
• editing and finalization of finished material.

But not only that. The editor combines the skills of a journalist, and even... He is also a manager/manager, since he has to deal with authors, publishing houses and other services.

Types of profession

An editor is a creative and multifaceted profession. It all depends on what profile you want to create in, what kind of editor you want to become:

• literary (editor of a book publishing house) - responsible for the artistic component of the text, its stylistic design, expressiveness of speech;
• artistic (build editor) - engaged in the design of the publication, its aesthetic content;
• scientific – consult and edit popular science and educational works;
• technical - control the correctness of the text, be responsible for the technical process of the route: editorial - printing house;
• The main thing is to manage the publishing department, control the direction of activity, and be responsible for all the work of the publishing house.

The development and popularity of the Internet have made it possible to do all this remotely and have lifted the curtain on another type of profession - electronic publication editor/website editor/content editor.

The functional features of the latter differ only in that all work is carried out online, and publications are presented to a wide readership in electronic form.

What are the responsibilities of an editor?

There is an opinion that the main and only responsibility of an editor is to edit printed text. This is a deep misconception, because without special education, the gift of writing texts and understanding speech styles, without innate or acquired literacy, you will not become a professional.

Editorial work is not an easy creative process and you can’t just get into this position, as they say “from the street,” you need to have certain skills and be able to perform certain duties.

Editor's responsibilities:

• Working with printed material, first of all: meeting its genre and style requirements, correcting speech defects and errors in the text, paraphrasing incorrect phrases/words, etc.
• Creation of the basic concept of the project, which includes determining the general direction of activity, topics, titles of articles, assignments to authors and control over deadlines, analysis of material, quality control, and, if necessary, refinement and editing of edited materials.
• Assistance in solving various kinds of issues: artistic as well as technical design of the material before preparing it for publication.
• Performing management tasks.

This is not the entire range of responsibilities. It can be supplemented, expanded or, conversely, reduced depending on staffing characteristics, the presence or absence of specialists, as well as the concept of the editorial office/organization/site.

Important professional qualities

Who can become an editor? Who is this profession suitable for? What qualities should a person have who wants to become a professional in this business?

Unfortunately, many will have to be upset: not everyone who already sees themselves in the editor’s chair can achieve success. It is necessary to have many personal qualities, on which the result of the work will depend.

• responsible,
• attentive,
• hardy,
• creative,
• sociable,
• literate,
• erudite,
• emotionally balanced and stress-resistant,
• have organizational and public speaking skills,
• have an analytical mind and good memory,
• love to read
• good computer skills

this job is for you. If you don’t have any of the listed qualities, it doesn’t matter, “there is no limit to perfection” - you can develop them in yourself if you wish. Experience in journalism, teaching in the field of philology, and knowledge of languages ​​will be an excellent help. And the main thing is to love what you do.

A purposeful professional who is confident in his abilities, having a solid store of knowledge and skills behind him, will not be unclaimed.

Pros and cons of the profession

Like any other profession, being an editor has its pros and cons.

The positives include:

• Moral component

The publication of the next edition brings joy and satisfaction from the work done. The work itself, be it an article or a book, entails the formation of opinions, attitudes, tastes and preferences of readers. This is largely due to the editor.

• The opportunity to calmly work remotely in privacy with a computer, original material and linguistic splendor, to be first in line for a masterpiece.
• Constant self-development and improvement. Working with educated, intelligent people is a powerful incentive for self-education, knowledge and realization of one’s capabilities.
• “A good increase in pension,” as Lenya Golubkov said from the once sensational MMM advertisement, i.e. your ability to write and edit gives you an excellent opportunity to earn extra money.
• Career prospects.

The disadvantages, first of all, include medical contraindications:

• vision limitations,
• diseases of the musculoskeletal system,
• diseases of the nervous system.

• numerous stresses due to a large amount of work within a tough,
• high responsibility,
• big competition.

The profession is in high demand, as editorial organizations and Internet resources are rapidly developing. More and more new projects appear every day, and the need for competent and timely editing increases significantly.

How much can you earn

A question that is difficult to answer definitively. The editor's fee may depend on many components: education (it must be higher philological or journalistic, in extreme cases, pedagogical), qualifications, place of work (which is very important), your experience, the complexity of the projects being carried out, related skills (knowledge foreign languages, for example) etc.

An important factor influencing the level of income is great competition. It is clear that the prestigious publishing house of a newfangled magazine or the editorial office of a book publishing house are more competitive and the salaries there are many times higher than the editorial office of a regional periodical or electronic publication.

If you are specifically interested in numbers, then World Wide Web they range from $300 to $1,000. How much you will earn depends only on you and your desire.

Employment

How to become a remote editor? As mentioned above, without experience no one will trust you with their project. Usually, a career begins with work, and as the level of professionalism in this field increases, you can already count on the position of editor.

You can get a job just like any other job. remote work, search and respond to vacancies.

Conclusion

I think everyone made their own conclusion. A job that allows you to combine business with pleasure, turning a hobby into a source of income.

If you are seriously thinking about getting into this work, then here are some final tips from established pros in this niche:

• To get better at editing, don’t limit yourself to just one thing, work in different genres, focus on your target audience;
• do not leave facts unverified;
• learn to work with a large amount of information;
• master spelling rules (remember: the editor has no room for error!);
• study the computer (master the programs necessary for editing);
• develop;
• the site editor needs to know;
• Constantly improve yourself by reading educational literature, expanding your horizons.

“Oh, this is not an easy job...” Well, who said it would be easy? But then how nice it will be to boast about your ability to turn even the most boring article into a masterpiece.

That's all, friends. I hope you found the article useful and interesting. Share your opinions and thoughts. I look forward to your comments. See you on the blog pages.

As part of the special project " MediaProfi » Artyom Samoilov, music editor of Radio ROKS, toldMediaBusiness about the technical and creative side of the work, about who decides Beyonce’s fate on air and where people in the profession of music editor on radio come from. Let us remind you that the first cycle of “MediaProfi” is dedicated to the topic of radio and is implemented jointly with the Radio Committee.

There is an opinion that a music editor is exactly the person who decides what will sound in that hour, for example.

Well, this is too loud a statement that I decide Beyonce’s fate on air (laughs). In any case, each radio station has a certain set of music and a set of rules by which it gets on the air, that is, it is rotated. Of course, it is not specifically written anywhere that the Rolling Stones must be on air at ten o’clock. But there is a certain rule according to which 10 songs can be included in this hour and the first in line is the Rolling Stones. So, she ends up on the air. In the next similar situation, the song that is second in line will be broadcast, etc.

- Who creates these rules?

The station's management, including the music editor. We define our goals and decide what we need to achieve them. But even if the same rules are followed, as I said, different people will create different sounding stations.

- Where do people in your profession come from? Do they train to be music editors in our country?

Historically, it probably happened that we managed without professional courses And curricula. During the industry's infancy, early music editors operated almost blindly. Now radio stations have gained experience and requirements for the profession and broadcasting. And we are educating ourselves, since it has become easier to find out what people are doing in the same States where they have been engaged in commercial radio broadcasting for thirty to forty years. They come here and share their experiences. And we communicate with each other in Kyiv professionally. It happens that you have a problem that needs to be solved. A colleague encountered it earlier and he has ready-made solution, simple and cool. Or, on the contrary, someone says: we have a problem, we are struggling, but we just can’t do it. And you say - yes, it’s easy, 15 minutes - and you’re done, because you already know how. Of course, a good music editor, technically savvy, will solve any problem. However, if there is a ready-made solution that will save time and effort, then why not use it? It turns out that there is training, but not classical training. And through the exchange of experience within the profession.

- How did you come into the profession?

Like 90% of music editors, I previously worked in radio. First - as a broadcaster, then - in other positions. Once a situation arose when a music editor quit, and it was necessary to look for a replacement. For me, this work was interesting and technically uncomplicated, due to the fact that I am a programmer by education, and I had experience with programming. The management offered to try myself in this direction, and I agreed.

I had a feeling before the interview that a music editor is creative profession, and we are talking about programming...

Creative, of course. It’s just that, on the one hand, programming is a set of clear rules by which the air of a radio station is built: we take this, this and this, and combine them. And, if you approach this globally, it doesn’t make such a big difference whether you program the site with scripts or the broadcast with songs. This is all programming, planning.

But, on the other hand, the process is creative. Just like in cooking, there is a recipe and there is a cook. Two different chefs from the same ingredients can make, if not completely different, then certainly very different dishes from each other. So we have rules, but according to these rules, two different music editors can create two completely different stations.

At that time, programming was not new to me. In addition to developing programs, I also took up on-air programming. This is actually very interesting - you program the broadcast, and then you hear how it all sounds. I won’t say it was easy, but it was very interesting.

- How did you first learn to be a music editor?

I studied in several ways. At that time, I already had colleagues, acquaintances, and friends who had worked as music editors for a long time. And at first I really bothered them. Every job has a standard “rake” that all newcomers have stepped on, are stepping on, and will continue to step on. And which it is better, if possible, to bypass.

- For example?

Mainly some technical issues, rules. And how to do it? How about that? Someone got to this point with their brains, brains and experience over the course of several years. I tried to get through this stage with minimal losses.

- What are these moments, rules?

For example, how often can we play this or that song, what kind of music do we play in the morning, what kind in the evening, and so on.

BBC legend Tony Blackbourn, in an interview to mark his anniversary, lamented that the list of songs for rotation on British broadcasters was very narrow and needed to be expanded. How limited are our radio stations in this matter?

We have it, let’s say, optimal, this set of songs in the playlist. Optimal for both a sense of diversity and, at the same time, for the radio listener’s expectations to be met. Much depends, of course, on the radio station. I, for example, do not welcome “random songs”.

- In what sense – “random”?

This is when a song gets aired according to the criterion “it’s also a good song,” “let it be.” Sometimes you listen to the radio and cannot understand why this song appeared here, in this particular place on this radio station. It seems to be quite good, well sung, well mixed, but the fact is that the listeners of this station somehow don’t really need it – that’s why they need it. And we are trying to balance between making the broadcast recognizable and preventing it from becoming monotonous. It is important to hit the listener’s expectations with each song, no matter whether it is new or old. Of course, you can always force yourself into a framework that will bore you, or, conversely, expand it so much that the station will cease to be recognizable and, ultimately, loved.

What are the requirements for the work of a music editor today? Knowledge of music, knowledge of technology, knowledge of programming basics... What else?

Technical education is, in fact, not at all necessary. It turned out so lucky that I had it and yes, in some moments it turned out to be easier. But there are many examples where people with a humanities education work in this profession and make radio stations that are certainly no worse. You can just learn the technical part.

And yet, if you had to select a person for the vacancy of a music editor, what would your requirements for the candidate be?

I would insist on experience working in radio in the programming department - broadcast presenter, producer, etc. Such a person already has some kind of picture of the airwaves, which in the position of music editor is only expanded and supplemented. Theoretically, you can take a person from the street with with great desire work and teach inside and out. But this requires time, which, as a rule, is not available, because the vacancy opens when the current music editor is about to leave. And we don’t have a year or two for a person on the street to understand. And when a person has worked on the air for a year or two or three, he sees how the songs stand and already understands the system. And all that changes when he becomes a music editor is that he begins to manage this system.

In addition, this work requires some perseverance. It’s one thing you are the host of the show, bright, fiery, you worked for 3 hours on air - and left. Such a person is unlikely to work as a music editor. Here the work needs to be done slowly, very carefully.

- What are the responsibilities of a music director? This is a 24 hour x 7 days a week profession

- How are these new songs usually collected, from what sources?

Depending on the radio station. If it's Radio ROKS, then look at the charts. Let's say we are interested in the music of the 70s and 80s - we look at the charts of those years to see if we have missed any song. So painstaking technical work. There is also Full time job with music edited. For example, after a song you can put one beat “Radio ROKS!”, or you can put a second, third, etc. You can wait until the song ends, or you can cut it off in some interesting way.

- Previously, this was done, it seems, by live broadcasters...

Somewhere DJs still do this, but here we have a music editor. I know of a scheme where the music editor simply uploads a certain number of songs for each hour, and the presenter himself arranges them within every 60 minutes, selects the interruptions himself and decides how to cut the song or not cut it at all. And for each song we have optimal markings made by the music editor - here we cut the song and put such and such a break. But, if the DJ sees that in some case he can do not optimal, but ideally nice option, then he can correct this marking a little, that is, move the interruption and let the song continue to sound, or make it shorter, cut it off.

All of our song connections are good by default. They have been tested and listened to more than once. But it happens that something can be improved one-time at the junction of this and this song right now. This is the beauty of a living person on air, the process is creative.

You're talking about cutting songs, but what about mixing them? People do it, whether you line it up or special program does the mix?

We don't do any mixing because, first of all, our format is rock songs that people want to listen to from start to finish because it's a complete piece. Therefore, our task is to finish the song beautifully, say what is needed or put an interruption with the call signs of the radio station and beautifully go to the next song. Perhaps this makes it easier for us - that we do not need to select a rigid mix. On other radio stations this task may be critical

- How long does it take to compile a playlist?

Maybe an hour. Or maybe the whole working day. Differently. There is a regular broadcast day - night, morning show, line presenters, evening. And there are special broadcasts when all the elements of the day need to be built almost from scratch. For example, an online broadcast of a concert was planned. Or some special morning broadcast. It happens that a special broadcast goes on all day. This was our morning show's birthday. In those days when the software grid changes, this is a concern for everyone, and the task of the music editor is to provide everything technically.

- Do you often listen to the broadcast?

I try to do this as often as possible. It’s one thing to sit at lunch and imagine how the songs will sound in the evening. And another thing is to turn on the radio station in the evening and hear it “from the outside.” I listen critically, analyze - did the songs come together well, for example, or not? If it’s not very good, then I make a note to myself, come to work and look - what if I do it this way or this way, which will be better? You should definitely listen to the broadcast, because you get a completely different impression, and it’s easier to control yourself.

Don’t you get tired of music, is there any burnout or a situation where the musical taste of the music editor fails?

I don't really see the point of working as a music editor if the music can be annoying. In my experience, music editors tend to be people who have a good attitude towards the music they work with. If this is not a random person for a couple of months, of course. You don’t need to be a fan of this music, you don’t need to love it devotedly and passionately, but if you don’t like it and frankly aren’t interesting, it’s difficult to work. And if the work causes discomfort to a person, this will 100% affect the quality.

As for taste, this is a flexible concept. Rather, other professional feelings are developed in the process of work. For example, after several years, you can quickly make a preliminary assessment - whether a song from a given station is suitable or not. I mean by sound, vocals and so on. The radio station has been on the air for four years, now it’s easier for us, but at first, of course, we checked ourselves - double-checked at every step.

- How did you check?

We regularly conduct music testing. This is done by a separate company, to which we give music and from which we receive people’s opinions, on the basis of which we build our music policy.

What place does a music editor occupy in the radio hierarchy? Which colleagues does he come into contact with at work or is this a fairly autonomous profession in the combination of music editor and program director?

We all interact with everyone. It is clear that the music editor creates a schedule, and the presenter adheres to it. In turn, the music editor is given instructions by the program director or station director, depending on the situation, because music editor in terms of stitching together the air is a technical position. Where the program is released is decided by the program director. Where some new elements appear, he too. The task of the music editor is to do it beautifully.

In addition, it is creatively interesting: to make something and then listen to it from the outside. When you do your work, it is an interesting process, because you work with pleasant material.

Natalia Tyutyunenko

Profession name: music editor

Dominant way of thinking: adaptation - coordination
Area of ​​basic knowledge No. 1 and their level: fundamentals of art history, level 3, high (theoretical)

Area of ​​basic knowledge No. 2 and their level: music, arrangement, basics of pop art, English language, computer skills, level 2, intermediate (practical use of knowledge)

Professional field: music

Interpersonal interaction: often of the “opposite” type

Dominant interest: artistic

Additional Interest: Entrepreneurial

Conditions and nature of work: indoors, sedentary

Dominant activities:

• work on radio stations, music channels, music programs: listening to new music arrivals
• compiling playlists and a general list of songs for a radio station, music program, channel
  selection of songs for broadcast
• correction of the list of songs (removing old songs, adding new ones)
• determining the category of songs (frequency of their appearance on air)
• building a musical broadcast according to the music and information format and the audience of the radio station,
• music show, channel
• compiling reports for the Russian Authors' Society about songs used on radio stations, musical
• channel, in a music program
• taking part in the compilation of music collections of the radio station
• organization of concerts, performances by artists on a radio station, music program, channel;
• search for new music
• search for new forms of program preparation
• compiling music ratings of songs
• creation of a database of musical works and performers
• work in concert halls, theaters
• search for a customer (artist)
• preparation of the program together with the artist, director
• carrying out the program
• studying the artist's repertoire
• work with repertoire
• working with artist materials
• participation in the design of the program
• conducting a rehearsal together with the director

Qualities that ensure the success of professional activities:

Capabilities:

• good memory, including musical memory
• musical taste
• ear for music
• clear diction
• grammatically correct speech
• communication skills
• high level of switching, distribution and attention span
• organizational skills
• subtle musical flair
• creativity - creative attitude
• the ability not to transfer one’s own musical tastes to the audience

Personal qualities, interests and inclinations:

• erudition
• resourcefulness
• energy
• sociability
• communication skills
• interest
• interest in everything new
• desire for self-development
• patience
• originality

Qualities that hinder effectiveness professional activity:

• lack of musical abilities: musical ear, musical memory
• passivity
• aggressiveness
• isolation
• unclear diction
• illiterate speech
• lack of communication and organizational skills
• lack of initiative
• Areas of application of professional knowledge:
• radio
• TV
• concert halls
• theaters
• music educational institutions

History of the profession

Music is “a type of art that reproduces the reality around us in sound artistic images” (Soviet Encyclopedic Dictionary, M., 1983).

There have been many legends about the “invention” of music. For example, the ancient Greeks considered music a great gift of the gods, and the sun god Apollo as the patron of the arts and especially music. The ancient Greek myth about the singer Orpheus says that even wild animals came to listen to his voice and lay peacefully at the feet of the singer. And the Russian epic tells about the guslar singer Sadko, whose art conquered the sea elements. Music has played an important role in people's lives since the dawn of human society. People have always accompanied their activities with music (this is where lullabies, war songs, work songs, and funeral laments came from).

The most ancient music was not distinguished by euphony. There was a lot of onomatopoeia in it: in their songs, ancient people tried to convey the sounds of the surrounding world. Gradually, people learned to select musical sounds from a huge number of sounds and noises, learned to recognize their difference in pitch, their relationship, and connection. The further a person’s musical consciousness developed, the more sources of music he found around him (a stretched bowstring, a hollow tree, etc.). This is how the most ancient musical instruments arose - the ancestors of the modern flute, harp, and drum. Scientists attribute their invention to a very distant period of the Stone Age.

Music programs have been around for a long time. Folk singers (troubadours, minnesingers), who walked around cities and villages, had their own concert program. True, they composed it themselves. For high-ranking officials (kings, czars), musical programs were compiled by special courtiers. In theaters of the 18th-19th centuries, as a rule, the director of the theater himself was responsible for compiling musical programs.

Creative professions always seem attractive to people and, as many believe, do not require any effort. But this is fundamentally wrong; specialties of this kind require talent - after all, without it it is difficult to create masterpieces. And professions related to music are no exception. For most, there can only be one musical profession - a singer or musician. Someone else will be able to remember about the composer. In fact, work in music industry is not limited to just these known specializations. What professions are there related to music? There is quite a wide variety of them, which is not limited to just singers and musicians. Below the reader will be presented with a list of professions related to music.

Music performers

These are the ones who convey the meaning of a piece of music to listeners. These include representatives of the following specialties:

• Singer. This is probably one of the most popular professions related to music. A singer is a person who, using his voice, conveys the content of a musical work to listeners. The voice is his working instrument, so he must be able to master it perfectly. It is not enough to simply have good vocal abilities by nature - you need to purposefully work on your vocal cords so that the performance of the composition remains in the hearts of listeners for a long time.
• Musician. If for a singer his instrument is his voice, then for a person of this profession it is absolute pitch and the ability to play any musical instrument, as a result of playing on which people hear music.
• Conductor. This is one of the difficult professions related to music, because the quality of performance of a musical work depends on how he manages a group of musicians or vocalists. After all, his task is not just to manage the performers, but to convey the meaning of the composition. The conductor must have absolute pitch and organizational skills.

Music Makers

In order for performers to have something to perform, they need to create it. And here the musical society cannot do without representatives of these wonderful professions:

• Composer. This is the one who writes music, conveys his emotions through notes. Some people compose while at the instrument. Some people prefer to write with notes. If you cannot live without music and want to communicate with the world through it, then the profession of a composer is for you.
• Arranger. This specialization is remembered less often than the ones listed above. This is the person who processes the sound of the composition. An arranger can turn an uninteresting thing into a real masterpiece, but for this he needs some composer skills. Also, it is this specialist who can give, for example, a rock sound to a classical piece.
• one of the most popular music-related professions among young people. Progress does not stand still, including musical progress. Using special equipment, a DJ mixes, that is, mixes several compositions and creates something new.
• one might say, a combination of skills from the last two specialties. A person involved in sound engineering, using various techniques, creates a new image of sound, which can then be used in films and plays.

Music teachers

Of course, you can’t do without music teachers. After all, for all professions related to music, you need to have the necessary skills and abilities that only a teacher can give. In addition to voice training and learning to play instruments, people in the musical field must be well-educated and understand musical trends. All this knowledge is provided by music teachers.

Specialties with a technical and scientific focus

It is also worth mentioning the following professions:

• Sound engineer. Thanks to him, all the musical equipment that is available on stage and filming sets works, and listeners can enjoy wonderful sound.
• Musicologist. This is a rather rare profession that views the musical field from a scientific point of view. These specialists are engaged in the development of music theory, its systematization and solving various musical issues.

Listed above are 10 music-related careers that you may find most interesting. As in any creative field, you can't create beautiful things without talent. But even a wonderful idea may not be able to be implemented properly due to lack of knowledge. Therefore, you need to study musical professions if you want to connect your professional activities with music.

Where do they teach

Music specialists are trained at conservatories, philharmonic societies, special musical institutions, and faculties. It is necessary to study for all the professions listed above, which will allow you to become a real professional in the music field in the future. The main thing is to remember that creating and performing music is, first of all, an art that should bring spiritual harmony.