This article deals with music career.

What is music? The music is a kind of art form, the application of sound as a means of expression. The development of music among our ancestors may have been animal interactions, a strong and creative expressions derived from observation of natural sounds like birdsong.

Common musical terms are covered pitch, dynamics, rhythm and tone quality and texture of wood. The tone isthe melody and harmony.

The following are some music and songs related careers.

Singer. A singer is also known as a singer. Singer uses his voice like an instrument. There can be many types of singer.

Musician. A musician is a person who writes or plays music. There are different types of musicians. Instrumentalist plays a musical instrument. Some types of musicians including guitarist, bassist, percussionist, harpist, clarinetist, composer (alsoknown as the keyboardist).

Composer and songwriter. They create music and songs.

Conductor. A conductor leads a musical ensemble. A conductor can simultaneously play the role of musicians as well.

Music therapist. A music therapist treated individual physical, mental and social, cognitive problems the healing power of music.

Disc Jockey. A disc jockey plays music from the radio. He orI usually work in the studio, the radio station air conditioned and soundproofed.

Well, that's all for the article on the musical career. This is certainly not an exhaustive list of musical career. Hope it's helpful. Thanks for reading.

Born out of a religious devotion to one of the greatest exponents of all that was ever Metal; Metallica, Alien Ant Farm housed a quartet of cheeky, wholesome Californian nerds. Perhaps, four of the most unpredictable and unimaginable rock stars ever to grace the U.S, these ordinary looking kids off the block blazed into teenage vulnerability around 1996.

In strange and extreme arrogance, their first album was titled ?Greatest Hits,? released in the U.S in November 1999. In America, it managed to con the teens into submissiveness and an award was promptly handed out to the band the same year at the L.A Music Awards. The Brits, on the other hand, were having none of that and the LP failed to create even the slightest dent over here. After all, we invented Metal. We already knew what it was like to feel our ear drums bleed – we had Ozzy?

Thunderous, thrashy and somewhat Alice In Chains tinted, the band, visually, can only be described as The Beastie Boys meets the Myth busters, or perhaps even Adam Sandlers lost cousins, yet there is something disturbingly appealing about these guys with their shaved heads and Scooby Doo tee shirts. They reflect a certain mood within all teenagers, but perhaps mostly towards kids in the U.S. Sniggering still at their farts and whistling at girls, it is not difficult to imagine that these fellas, loaded and famous as they are, still ring old ladies door bells in the middle of the night and run away laughing.

Their contribution to the rock industry is merely down to taste. If you like your rock heavy on the bass and minus any real noticeable guitar riffs yet you prefer the lead vocal to actually sing in key, then AAF is certainly the band for you. If you ever become fortunate to see them live, then please don?t be put off by the fact that they are not famous for putting on a show. The all-American named Dryden Mitchell does nothing to promote a form of eye candy. His hunched over stance with mouth busy tonguing the microphone is almost an imitation of Grindcore Gods, Napalm Death. Despite their visual effect and their ability to perform good, and surprisingly tuneful Metal music, they have, unlike a lot of their hero?s, stayed far away from making any social comment. Choosing, I believe, to distance themselves from anything too political and topical, they have, in previous years, met only criticism from the media on how they were a bad influence on the youngsters of the Nineties generation. Although the critics were harsh, it was how the band unitedly stood their ground with great maturity that was perhaps, more shocking.

AAF gave us another shock in September of 2001 by releasing their own take on Michael Jackson?s ?Smooth Criminal.? This shaky, club classic dance number filled with all the glitz and styled glamour that was Jackson in his element, was probably one of the very last pieces of cover that any rock band would ever dare to take on, let alone endanger their already growing respect from other long haired rock giants already masterful. This daring take on such a record was tarnished with all the right amount of bass, heavy drums and chain saw styled guitars that was needed and leapt, peculiarly to number three in the singles charts in the U.K. The British kids were buying it at last. As a ?make sure? marketing ploy, the song was released again in February 2002 as the B side to the single, ?Movies,? which, again had enjoyed such huge success that it was released twice and instead of it?s humble number 55, it sat readily at number five the second time around.

For a group of four young lads, all born between 1971 and 1977, it is surprising that in the years of Alien Ant Farm being around, they have only managed to release five singles. Four of which were two songs released twice, and only two chart positioning albums to 2003. At a glance, one could argue that they are the laziest rock band in existence, failing to produce a decent single and record a fairly passable album, but a closer look shows us that these musicians (and isn?t it a blessing from God that we see a band that can actually play instruments? This is the only reason why I think Ben should win the X Factor?) we can see that apart from the obvious single, these fellas have written everything. Like their counterparts of today and the giant Metal bands of the past, they are proud to say that they have not once leaned on others for their musical contribution to teenage album collections. They are humorous, thoughtful and, most of the time, polite. They are melodic, play in time and are good to their mothers. In my book, they posses all the makings of a fairly decent heavy rock band.

Their music can?t always be described as custom built heavy metal. In fact, many of you out their will be disagreeing with their title of Metal band as it is. For example, the jolliness of the backbone of ?Glow,? from the album ?TruANT,? (2003) is more Manic Street Preachers than Anthrax. Yet, ?These Days,? taken from the same album has a more grinding feel to its theme, hanging in the air with the heaviest of cobweb guitar riffs, the density of some of their work would have even Miss Havisham reaching for the duster. They had even tried their hands at deliberately mixing Spanish guitar with a darkly forcible bass line yet keeping the vocals strained and cutting. Working these layered Latin themes, this band takes on a whole knew meaning and far from the Metal legends they are supposed to be. Although they still appear to be a bunch of guys fresh out on vacation from high school, they seem friendly, alluring, shy and very attractive to English speaking teens across the world.

However geeky and freak loving, these giggling, immature youths on a Blair Witch Project trip shouldn?t be regarded as what they appear to be. Frighteningly in 2001, the band came close to a major loss. Dryden Mitchell suffered a severe broken neck when the band?s tour bus crashed after colliding with a big truck on route from Spain to Portugal at two o?clock one morning. After the initial shock and then being shown the devastating pictures of the remains of their twisted coach, the band took the incident as a true near death experience for all of them. Their work has since taken a more serious turn. Passing fans, probably won?t notice anything different about this heavy metal band, but for Alien Ant Farm, their next album, ?TruANT,? released in August 2003, certainly lent towards a more definitive and reflective key. Though the bands style and lack of responsibility will pretty much, always shine through, it is their inner most souls that had been tarnished with the freak accident two years before. Due to extensive surgery to Mitchell following the smash, the band took time out whilst Mitchell lived for months in a halo brace around his head, holding it in place with screws and wires.

The band now take on a whole new meaning yet again, yet this time, matured, edged and introspective, we wonder where the band go from here. After the release for the long awaited ?TruANT,? they seemed to have died a death as far as the Brits are concerned. Even though it had been noted that they are one of those rare bands that genuinely appreciate their fans, nothing seems to have come from the AAF camp for quite sometime. It is a shame as I do believe that we haven?t, in many ways, not seen the best of Alien Ant Farm yet?

Dryden Mitchell – vocals
Terry Corso – guitar
Tye Zamora – bass/vocals
Mike Cosgrove – drums
DreamWorks records

Album releases;

Greatest Hits – November 1999 (cd)
ANTology – March 2001 (cd)
TruANT – August 2003 (cd)

?michelle duffy 2006 Also on ciao and dooyoo (sam1942). 2006.

Michelle is a freelance writer in the South of England and owner of the websites, www.generationsounds.co.uk, nevermindthebloggers.bravehost.com and their successful sister, ?Never Mind The Bloggers? at paperback-writer29.tripod.com. She has been writing over the last year, for five major consumer websites across the world and is one of the only two music category advisors for one website in the U.K. Her websites promote young, amateur and professional bands/artists and their fan clubs whilst also reviewing them for local and world wide promotion. She has also recently launched the blogs; ‘The Ramblings Of An Old Rocker,’ ‘Bohemian Waffle,’ ?The Rhythm Rock And Blues Machine? and ?The Moped?s Musings? and ?Generation Sound Suite.? She is currently working on two shops selling her music styled artwork and now sells on Ebay.

I’ve overheard teenage musicians mention casually they are considering teaching music to make extra money. I am compelled to butt in, “Do you enjoy teaching?” the answer I interrupt with “Are you patient?” Their response: “Like, I play wicked, teaching will be an easy gig.”

My response: maniacal laughter.

Teens, let us hear the wise old violin teacher preaching a holy sermon from atop a glorious mountain of experience: Teaching music isn’t a luxurious life of sleeping in late, illuminating the unquestioning minds of flocking prodigies through 30-minute jam sessions and writing off all your music gear and fast food meals come tax time. Lord have mercy on our souls.

Simply put, teaching music is weekly customer service, with occasional late night support calls when the instrument falls out of tune or the player is struggling. A teacher is dealing with customers who are exploring new ground, hence requiring lessons in the first place, and is responsible for helping advance them into musicians who no longer require our services.

Sounds easy, except that the most trying aspect of customer service is, oddly enough, the customer. The human collective is a random grab-bag of mixed egos and inhibitions, fears and potential, attitudes and limitations. Even the ideal customer, who listens closely, asks exactly the right questions and retains everything they have ever been taught, cannot master music in an afternoon. (At least we teachers have a semblance of job security).

Music, a vast system of pitch, velocity and rhythm that can take a lifetime to understand, has been further complicated with pedagogy. There are more styles to teach violin than there are ways to cook an egg. Each method claims theirs is the most effective way to master the instrument, they have countless scientific studies to prove it and please enter your credit card number here.

A teacher has to weed through the dogmatic hype and come out with a cohesive teaching concept that jives with their own approach to playing and learning. They also have to understand their instrument inside and out, keeping in mind a clear idea how and when to introduce new concepts as to not overwhelm the student. After carefully formulating a perfect lesson plan, the teacher will then scrap it all and reinvent their method when it inevitably doesn’t fit the student’s learning style.

A good teacher is not locked into one method or way of explaining ideas. Instead they receive feedback from the player and interpret it into a lesson that will make an impact.

What makes the most impact, you ask? Repetition. Repetition. Then you do it again. Detach yourself from how many times you’ve played “Fur Elise” or corrected that particular eighth note. There are pin-sized holes in my eardrums from “Twinkle Twinkle” and I develop an itchy rash prior to our annual Christmas recital, but I’ve found a Zen peace in accepting my fate.

I see each lesson as a new chapter in the life of a musician I am helping along. With experience, lessons have developed their own rhythm and my teaching days swoop past me.

The repetition can get to some people, like the crusty old piano teacher, the one everyone seems to have had as a child, who wielded a nasty ruler for discipling unwanted notes. I knew a guy in high school who whacked his violin students on the head with his bow whenever he, the teacher, became frustrated.

A teacher cannot crack when the student plays the wrong note for the hundredth time, so impatient musicians must carefully consider their suitability as teachers. “Penny whistle teacher needed: Psychopaths with Intermittent Explosive Disorder need not apply.”

Instead of whopping students with a pernambuco stick with hair, my aforementioned colleague could have channeled his infinite aggression into another enjoyable branch in the music industry, such as fending off broken beer bottles at the country bar or smashing double-neck guitars for screaming mobs at GM Place. Last I heard he’s still teaching at the music store, but has invested in a heavy carbon bow and a cocktail of barbiturates.

Once a player has established that teaching is a good direction to take and they have passed all the inkblot exams without incident, he or she needs to lay down a teaching foundation. Selecting a method book to use is one thing, but the teacher needs to develop a mission statement and their goals in teaching.

My mission focuses on two words: Inspiration and Encouragement. My goals include “music as a life experience” and sharing my love for violin among friends. The mission statement and goals serve as a guide whenever I am faced with a decision or problem in my work, it’s sort of an operations manual for my business. And that’s what teaching music really is: a business.

I urge all musicians who plan to make their music more than a hobby to take business classes on marketing and promotion, finances and taxes, and business plans. Learn to promote yourself because no one will know who you are if you just sit at home chatting on MSN. Keep good financial records so you are prepared for tax season. There are far too many exceptional musicians, performers and teachers who are stuck on the dole or playing for the coming and going liquor store clientèle due to poor business practices.

You don’t have to be a marketing whiz or a lawyer, though your mother would prefer such a career change so she can have her basement back. Just learn enough to keep yourself out of trouble with the tax man and to maintain a full compliment of paying, regular students. For more guidance I suggest the book “Making Money Teaching Music” by David and Barbara Newsam, available for a free read through the Okanagan Library system.

It seems to be an oxymoron, but it is possible to make money teaching music! So teenage musicians, nod your head, say “yes Rhiannon,” and do exactly everything I have ordained in the article above, then watch the money pour into your bank account.

Hallelujah!

And try not to spend it all at the music store filling the blank slots in your gear rack.

Amen.

**Rhiannon Schmitt (nee Nachbaur) is a professional violinist and music teacher who has enjoyed creative writing for years. She currently writes columns for two Canadian publications and has been featured in Australia’s Music Teacher Magazine.

Rhiannon (age 29, she’s not really old) has worn the hats of businesswoman, performer, events promoter, classical music radio host, school orchestra music arranger and music columnist in rural British Columbia, Canada.

Her business, Fiddleheads Violin School & Shop, has won several distinguished young entrepreneur business awards for her comittment to excellence. Her shop offers beginner to professional level instruments, accessories and supplies. http://www.fiddleheads.ca provides a rich resource of information on her school, violin, products for sale and more.

Rhiannon is also Founding President of the Shuswap Violin Society. http://www.violinsociety.ca She dedicates much of her time to community music projects and helping young musicians.

No wonder we all seek to express ourselves in some way. To achieve success in music we need a band, as a solo career is no longer popular. And now you are between decisions how to choose the band members to share you dazzling ups.

Well, there are two ways out:
1.To involve professional musicians into the project and to divide obligations in advance. The only thing acquired is your own professional skills.
2.To surround yourself with deer friends and start following the path of studying altogether.

No matter which way you will go, just don?t haste. It may happen the guitarist will tear a strip off or the drummer will misfit a drum set. It?s no use shouting on them. We all make mistakes every now and then. First of all try studying few easy songs, like My Girl by Nirvana. But don?t jump into mastering jazz or grind core, as the Suicidal Tendencies, the Red Hot Chili Peppers or the Slipknot represent.

For joint work to be fruitful enough, you should organize rehearsals into two parts, the way, one will be devoted to revising already studied songs and the other one will be used for improvisation, which is of a great value, as the band members study to predict every next step of each other. Its? you feeling every sense of music in the result. You can feel it?s aliveness by letting it through your mind. But the main thing is not to feel down in case everything is not as excellent as you have imagined. It?s much worse to loose pleasure in playing and creating music.

What concerns recommendations of experienced musicians, they are worth listen to, however, keep it in mind, it?s up to you, which of them to choose to follow.

Article source:

Art of Band Creation. Music Babylon is a site with lyrics, discographies, artists’ biographies, music forum and some articles for those who’s interested.