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The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included. |
Relevant personnel may include: | artists and performers artist managers publishers advertising agencies public relations companies media personnel, such as: broadcasters critics journalists digital distributors/aggregators. |
Aspects of creative acts may include: | artists' culture, image and stage name artwork associated with performances and recordings characteristics of artists' live and recorded sound current and predicted popularity, professionalism, status and standard of artists past, current and predicted collaborations with other artists popularity of artists' style, genre and repertoire with intended audience demographic, including: age artistic preferences competing interests cultural affiliations disposable income loyalty predicted spending patterns projected personality of artists, e.g. media or stage recent successes of artists, including: radio television online live performances recordings. |
Artists may include: | arrangers composers songwriters performers: musicians singers dancers actors circus performers writers visual artists craftspeople designers. |
Risk analysis may involve: | balancing artistic returns with promotional costs balancing average bar tab per head of audience from recent performances with anticipated audience numbers for future performances balancing expectations and preferences of audience to style, genre and repertoire of artist balancing market appeal of artist with anticipated audience loyalty balancing ticket prices with predicted spending patterns of intended audience demographic mitigating non-attendance of audience, artists and/or promotional staff. |
Activities may include: | advertisements attention-seeking gimmicks competitions industry functions internet broadcasts live performances: auditions festival appearances headline acts supporting acts media announcements and interviews podcasts product launches, e.g. artist websites radio broadcasts television appearances. |
Strategies may be for: | live events print media online: artists' own websites social networking sites digital distribution agents radio television. |
Media outlets may include: | print television radio internet: artists' websites broadcast email lists YouTube Facebook MySpace blogs digital communication devices, e.g. mobile phones. |
Promotional materials may include: | artist profiles, e.g. biographical and professional artist websites print, such as: banners brochures business cards flyers handbills pamphlets posters stickers demonstration recordings: digital downloads filmed performances interactive media products, e.g. podcast music recording and/or videos, e.g. CD and DVD media kits novelty giveaways photographs portfolios presentations press releases prototypes publicity shots reviews scores T-shirts. |
Design principles may include: | accuracy brevity conciseness amusing attractive and well presented clearly reflective of genre and musical culture of artist convincing creative easy to read media readiness, such as: clarity of photographs quality of recordings resolution of digital images visually interesting. |
Capturing publicity opportunities may include: | filming audio recording photographing. |
Sources may include: | discussions with industry personnel and promotional consultants music charts, including: internet radio television print music downloads, websites and blogs industry associations media, including: articles bulletins directories information sheets journals magazines newsletters reviews subscriptions trade papers industry productions and events, including: awards competitions conferences conventions exhibitions festivals functions performances trade fairs suppliers of products and services. |
Industry knowledge may relate to: | business trends: 360 degree business model all rights under one deal passive rights deal distributed patronage new and emerging distribution systems new forms of marketing, branding and product placement alliances with allied technologies and businesses revenue structures opportunities for increased airplay of music through: digital radio digital television mobile phones internet advances in software applications new terminology social, political and environmental developments changing nature of work, including: occupations that are disappearing and how they are being replaced changes to the mix of skills and knowledge required in different areas of the industry. |
Industry contacts may include: | artist and repertoire (A&R) managers artist managers artists booking agents education and training organisations entrepreneurs legal counsel and accountants digital distributors/aggregators industry associations journalists producers promoters publishers wholesalers and retailers radio presenters record producers recording engineers studio/venue managers production personnel, such as: front-of-house lighting sound staging vision systems tour managers. |
Dealing effectively with the media may involve: | ensuring that the message conveyed in media interviews promotes the artists' image maximising media opportunities for artists techniques for responding to and prompting different types of questions, such as: clarifying basic questions of the 'what', 'who', 'where', 'why' and 'how' variety closed or open-ended hypothetical leading. |