Creative entrepreneurship: steps and approaches

Authors Ana Simona NEGOMIREANU
Simona HERCZEG
Project SoundBeatsTime
soundbeatstime@gmail.com
soundbeatstime.com
Partners Yellow Shirts – Romania
Institutul Român de Educație a Adulților – Romania
Giovani senza Frontiere – Italy
Disclaimer This project has been funded with support from the European Commission.
This publication reflects the views only of the author, and the Commission
cannot be held responsible for any use which may be made of the
information contained therein.
This manual has been elaborated during the project “SoundBeatsTime”
(with the ref. no. 2020-1-RO01-KA227-YOU-095777), funded by the
European Union through the Romanian National Agency, in the context of
the Erasmus+ KA2 – Cooperation for innovation and the exchange of good
practices action, Partnership for Creativity sub-action.

CONTENTS
PART I – CULTURAL ENTREPRENEURHIP
Definition of cultural entrepreneurship ......................................................................... 5
Live music production: how to prepare a live/online event ................................ 14
The management during the event .............................................................................. 19
Music marketing: creating your own brand ............................................................... 24
Cooperation in the field of music: how to interact with other musicians from
your country and/or abroad ............................................................................................ 29
Developing professional skills ......................................................................................... 35
Overcoming challenges: young musicians and the role of virtual reality in the
COVID-19 era ......................................................................................................................... 38
Audience development for young musicians in the digital age ........................ 42
How to make money from music as a young musician ......................................... 45

Intellectual property and copyright management ................................................. 51
The needs of young musicians and benefits of music to young people ........ 56
Online solutions for cultural entrepreneurship ........................................................ 59
Conclusion .............................................................................................................................. 65
PART II – ELECTRONIC MUSIC
Career guide for electronic music producers ............................................................ 67
How to become an entrepreneur as an electronic music artist ......................... 79
Best ways to promote yourself as an electronic music artist using digital tools
.......................................................................................................................................................89
Financial tips to earn money as an electronic music artist ................................. 100
Bibliography ......................................................................................................................... 108

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PART I – CULTURAL ENTREPRENEURHIP
The research conducted for the second part of entrepreneurship, dedicated to cultural
entrepreneurship, has led to a structure focused on topics of great interest to young
musicians or young people who want to start a career in the music field. We have
organized the subjects as follows:
DEFINITION OF CULTURAL ENTREPRENEURSHIP
Cultural entrepreneurship is characterized as a continuously changing field situated at the
intersection of art, culture, and business.
Considering the complexity of this field, those who work in this area are often individuals
with vision, capable of taking risks, as well as mediating, managing, and interpreting a
range of complex and contradictory processes.
From generating ideas, realizing or implementing them, to commercializing these cultural
products or developing specific mechanisms to make them profitable, cultural
entrepreneurs are usually involved in all the processes mentioned above.
The process of generating cultural businesses involves several factors related to
generating creative and relevant ideas and content, as well as a good understanding of
societal contexts that can provide perspectives for the success of cultural proposals.
Without understanding socio-economic realities, cultural entrepreneurs cannot generate
usable ideas.
The context or contexts in which cultural businesses operate usually dictate how this type
of business functions. Although we talk about creative entrepreneurship, this type of
business cannot operate without being closely tied to immediate social realities.
Since there are no special rules for entrepreneurs to follow in creating cultural products,
their value can only be confirmed or negated once they are placed on the market. As
mentioned above, their validation is closely linked to the social contexts in which they
take place or unfold.
In terms of risks associated with this type of activity, it should be noted that cultural
entrepreneurship carries a high degree of risk precisely due to the lack of classic business
recipes. The better entrepreneurs understand the specificities in which they operate, the
greater their chances of success. Cultural entrepreneurship can be conceptualized as the
process of creating, managing, and promoting cultural products, services, or initiatives

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with an entrepreneurial mindset. It involves applying entrepreneurial principles and
strategies in cultural and creative industries to generate cultural and economic value.
Cultural entrepreneurship encompasses the fusion of creativity, innovation, and business
acumen to leverage artistic and cultural resources for the development of sustainable
businesses. It involves identifying cultural opportunities, conducting research, planning,
and implementing ideas that address cultural gaps or needs within a specific community
or industry.
A cultural entrepreneur acts as a catalyst for cultural and social change, bridging the
worlds of art, culture, and business. They are individuals or organizations that take risks,
think creatively, and apply entrepreneurial thinking in their cultural endeavours. Cultural
entrepreneurs are motivated by a passion for cultural expression and seek to create
businesses that not only generate economic profitability but also contribute to the
cultural fabric of society.
These individuals or organizations can work in various fields such as visual arts, performing
arts, heritage preservation, cultural tourism, creative industries, social entrepreneurship, or
community development. Their initiatives can range from creating and promoting
artworks, festivals, and cultural events, preserving cultural heritage, cultural tourism
projects, creative start-ups, or cultural efforts with social impact.

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Therefore, cultural entrepreneurship involves the exploration, development, and
entrepreneurial management of cultural initiatives, combining artistic vision with business
strategies to create sustainable businesses that generate both cultural and economic
value.
Cultural entrepreneurship is rooted in recognizing and appreciating culture as a valuable
resource that can stimulate economic growth, social cohesion, and individual
empowerment. It goes beyond the traditional view of culture as solely artistic or aesthetic
expression and adopts a broader perspective that encompasses cultural heritage,
diversity, creativity, and innovation.
One key aspect of cultural entrepreneurship is the ability to identify and capitalize on
cultural opportunities. Cultural entrepreneurs have a keen insight for identifying gaps or
underserved areas within the cultural landscape and seek to fill these gaps with innovative
cultural products, services, or experiences. They often engage in market research,
audience analysis, and trend monitoring to understand the needs and preferences of their
target audience.
Cultural entrepreneurship involves applying business principles to cultural initiatives.
Cultural entrepreneurs develop business models, create marketing strategies, manage
budgets and finances, establish partnerships, and navigate legal frameworks and

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regulations. They leverage entrepreneurial skills such as risk-taking, networking, creativity,
and adaptability to ensure the viability and sustainability of their cultural businesses.
Additionally, cultural entrepreneurship often involves collaboration and community
engagement. Cultural entrepreneurs actively seek partnerships with artists, cultural
organizations, community groups, and other stakeholders to leverage resources,
expertise, and networks. They connect with the community to ensure that their initiatives
align with local values, aspirations, and needs, promoting a sense of ownership,
belonging, and participation. The impact of cultural entrepreneurship extends beyond
economic gains.
Cultural entrepreneurs contribute to the preservation and promotion of cultural heritage,
the revitalization of traditional arts and crafts, the promotion of cultural diversity, and the
empowerment of marginalized communities. They create platforms for cultural exchange,
dialogue, and understanding, promoting social cohesion and improving the quality of life
in communities.
In conclusion, cultural entrepreneurship is a dynamic and multidimensional process that
combines creativity, innovation, and insight to create sustainable cultural businesses. It
involves identifying cultural opportunities, applying entrepreneurial strategies,
collaborating with stakeholders, and making a positive impact on cultural, social, and
economic development.

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Cultural entrepreneurs play a vital role in shaping and enriching the cultural landscape of
societies. When addressing young musicians, particularly in the context of cultural
entrepreneurship, there are several key considerations and strategies that can be
beneficial:
• Education and skill development: young musicians should focus on honing their
musical skills and knowledge through formal education, music lessons, workshops,
and mentorship programs. It is essential to continuously seek growth
opportunities, explore different genres, and develop a diverse musical repertoire.
• Entrepreneurial mindset: encourage young musicians to adopt an
entrepreneurial mindset from the outset. This involves cultivating a strong work
ethic, embracing innovation, taking calculated risks, and being open to exploring
new avenues for their music beyond traditional performance settings.
• Networking and collaboration: building a network of connections in the music
industry is crucial for young musicians. Encourage them to participate in music
events, conferences, and festivals, where they can meet industry professionals,
fellow musicians, and potential collaborators. Collaborations with artists from
different genres or art forms can lead to unique and innovative projects.
• Branding and promotion: developing a strong personal brand is essential for
young musicians. Encourage them to create a compelling artistic identity,
including a professional website, social media presence, and high-quality
promotional materials. Leveraging digital platforms and social networks can help
young musicians reach a broader audience and build a dedicated fan base.
• Entrepreneurial opportunities: encourage young musicians to explore diverse
entrepreneurial opportunities in the music industry. This could include organizing
their own concerts or music events, forming a band or ensemble, composing and
recording original music, offering music lessons, or collaborating with brands for
sponsorships or donations. Encourage them to think outside the box and find
innovative ways to monetize their talent and passion.
• Business and financial management: young musicians should familiarize
themselves with basic business and financial management concepts. They should
learn about budgeting, contracts, copyright, licensing, taxes, and other legal and
financial aspects of the music industry. This knowledge will help them make
informed decisions and protect their rights as musicians.
• Continued learning and adaptation: the music industry is constantly evolving, so
encourage young musicians to stay updated on industry trends, technological
advancements, and changes in audience preferences. Emphasize the importance
of adaptability and willingness to embrace new opportunities and challenges.
• Mentorship and guidance: access to mentorship and guidance from experienced
professionals can be highly beneficial for young musicians. Encourage them to
seek mentorship from established musicians, music educators, or cultural
entrepreneurs who can provide valuable perspectives, advice, and support
throughout their entrepreneurial journey.

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By addressing these aspects and adopting a cultural entrepreneurial vision, young
musicians can navigate the music industry with a strategic mindset, create unique
opportunities for themselves, and contribute to the cultural and artistic landscape while
pursuing their passion for music.
Therefore, cultural entrepreneurship refers to the process of creating, managing, and
promoting cultural products, services, or initiatives with an entrepreneurial mindset. It
involves combining creativity, innovation, and business strategies to generate both
cultural and economic value within the cultural and creative industries.
Cultural entrepreneurs aim to leverage artistic and cultural resources to develop
sustainable enterprises and contribute to the cultural and social fabric of a society. Here
are a few steps and approaches commonly associated with cultural entrepreneurship:
• Identifying cultural opportunities: cultural entrepreneurs begin by identifying
gaps, needs, or cultural opportunities within a specific community or industry. They
explore potential areas where cultural products, services, or experiences can be
developed to address these gaps.
• Research and planning: once an opportunity is identified, cultural entrepreneurs
conduct thorough research to understand the target audience, market trends.
• Creating value: cultural entrepreneurs focus on creating value through their
cultural offerings. They develop unique and innovative ideas that resonate with
their target audience, whether it's a new art form, an immersive cultural
experience, a cultural tourism initiative, or a socially impactful project.

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• Building partnerships and networks: collaboration is essential in cultural
entrepreneurship. Cultural entrepreneurs actively seek partnerships and
collaborations with artists, cultural organizations, community groups, businesses,
and other stakeholders. These partnerships help leverage resources, expertise, and
networks, promoting a supportive ecosystem.
• Securing funding: cultural enterprises often require financial support to start or
sustain their operations. Cultural entrepreneurs explore various funding sources
such as grants, sponsorships, crowdfunding, investments, or earned revenue
streams. They develop compelling proposals and presentations to secure funding
from both public and private sources.
• Implementation and operation: cultural entrepreneurs bring their ideas to life by
implementing plans and managing the day-to-day operations of their enterprises.
This involves hiring talent, managing budgets, marketing and promoting cultural
products or services, and ensuring high-quality execution.
• Evaluation and adaptation: continuous evaluation is crucial for cultural
entrepreneurs to assess the impact and effectiveness of their initiatives. They
collect feedback, measure results, and make necessary adjustments to improve
their offerings, business models, or strategies based on obtained information.
Approaches to cultural entrepreneurship
• Preserving cultural heritage: cultural entrepreneurs can focus on preserving and
revitalizing traditional arts, crafts, rituals, or heritage sites. They create sustainable
business models that generate income for local communities while safeguarding
cultural practices.
• Cultural tourism: cultural entrepreneurs develop tourism initiatives that highlight
the unique cultural attributes of a region or community. This approach promotes
cultural exchange, generates economic benefits, and raises awareness of local
traditions and customs.
• Social entrepreneurship: cultural entrepreneurs combine their cultural initiatives
with a social mission, addressing social or environmental challenges. They aim to
create a positive social impact alongside economic sustainability, using culture as a
tool for community development and empowerment.
• Creative industries and start-ups: cultural entrepreneurs can establish creative
businesses in sectors such as film, music, publishing, fashion, design, or gaming.
They apply entrepreneurial strategies to develop commercially viable cultural
products or services, often incorporating technology and innovation.
• Community engagement and collaboration: cultural entrepreneurs promote
community engagement and participation in cultural initiatives. They involve local
communities in decision-making processes, co-creation, and knowledge-sharing,
ensuring that cultural projects reflect the values and needs of the community.

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These steps and approaches provide a general framework for cultural entrepreneurship,
but it's important to adapt them to specific contexts and individual enterprises. Cultural
entrepreneurship requires a combination of artistic vision, business acumen, strategic
thinking, and a deep understanding of the cultural landscape.
Who qualifies as a cultural entrepreneur?
A cultural entrepreneur can be an individual or an organization involved in creating and
managing cultural products and services. These encompass various fields, including art,
heritage, media, and entertainment, serving either commercial or social purposes. A vital
attribute for cultural entrepreneurs is the ability to identify opportunities for transforming
cultural resources into profitable products or services.
According to EU regulations, cultural and creative sectors include activities such as the
development, creation, production, dissemination, and preservation of goods and services
that incorporate cultural, artistic, or creative expressions.
Therefore, anything within this domain can serve as an example of cultural
entrepreneurship. Cultural entrepreneurs play a crucial role in promoting creativity,
innovation, and cultural diversity within their communities. However, their work is often

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demanding, requiring a delicate balance between artistic integrity and commercial
viability.
What skills are crucial for cultural entrepreneurs?
• Creativity and ideation: generating fresh and innovative ideas for products,
services, and enterprises is essential for cultural entrepreneurs. Cultures are
constantly evolving, requiring cultural enterprises to stay updated with changes to
remain relevant.
• Storytelling: effective and persuasive communication is crucial for cultural
entrepreneurs to attract clients, partners, and investors. Cultural enterprises derive
from real stories, traditions, and places, requiring compelling messages to
captivate their target audiences.
• Pitching: the ability to convincingly present ideas and persuade others to provide
support is vital for cultural entrepreneurs, especially when seeking capital. Strong
pitching skills can significantly influence the success of their efforts.
• Cultural awareness and understanding: cultural entrepreneurs require a deep
understanding of the cultural sector, including emerging trends and technologies.
Culture is a dynamic entity, and the expectations and needs of target groups
continuously evolve. Developing cultural awareness is an indispensable skill for
anyone operating in the cultural sector.
• Flexibility and adaptability: given the ever-changing nature of the creative
sector, adaptability is the key to achieving success as a cultural entrepreneur. The
ability to pivot and adjust strategies in response to changing circumstances is
essential.
• Networking: culture inherently involves social interactions as it is collectively
formed. Therefore, cultivating relationships with others is particularly important for
cultural entrepreneurs. Building a strong network can provide valuable support
and collaboration opportunities. Developing a robust business plan is crucial for
cultural enterprises, as ideas themselves hold little value without proper execution.
• Commitment and resilience: the cultural sector often faces financial constraints
and instability by its very nature. Therefore, cultural entrepreneurs must
demonstrate unwavering commitment to their projects in order to succeed.
In summary, the four main domains of skill sets for cultural entrepreneurs are effective
communication (both external and internal), visionary thinking (creativity and innovation),
determination (tenacity and strategic planning), and research skills (curiosity and
analytical thinking).

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LIVE MUSIC PRODUCTION: How to prepare a live/online event
Whether you're an up-and-coming artist, an event organizer, or simply a music enthusiast,
this topic will provide practical tips and guidelines to help you create memorable music
experiences.
Live or online music events present an extraordinary opportunity to bring artists and
audiences together, create strong connections, and convey unique emotions through
music. However, organizing such an event requires careful planning, coordination, and
adequate preparation.
In the following, we will explore various aspects of live and online music production. We
will begin by guiding you through the process of planning and preparing for the event,
considering aspects such as venue selection, budgeting, artist selection, and effective
promotion.
We will provide valuable tips on securing sponsorships and partnerships, creating a
cohesive and engaging program, and ensuring smooth logistics for the successful
execution of the event.
Additionally, we will delve into the technical aspects of live and online music production,
such as sound, lighting, stage design, and visual elements. We will provide information on
the necessary equipment, audio mixing techniques, lighting design, and online streaming
aspects to create an impressive sonic and visual experience for the audience.
In addition to the technical aspects, we will discuss event management, team
coordination, and ensuring effective communication among all involved parties. We will
also address aspects related to audience safety and compliance with regulations and
standards.
Whether you are considering organizing a live concert in a concert hall, an outdoor venue,
or an online event, this information will provide you with the tools and knowledge to
adequately prepare and succeed in live music production.
So let's embark on this exciting journey into the world of live and online music production!
How to manage the necessary resources for organization
If you are a cultural entrepreneur, event organizer, or event producer, you should know
that organizing a physical concert involves varying levels of coordination and logistics,
depending on the event.

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Preparing artists for the event
Preparing artists for events is similar for both physical and online events, with respect and
dedication to the audience being essential in both situations. Regardless of the type of
music being performed, the artist, whether performing individually or as part of a band,
needs to prepare for the concert. This involves rehearsals prior to the concert and
preparing choreography where applicable.
For example, in the case of classical music instrumentalists who do not perform their own
repertoire, they need to study the selected works for the concert. The number of
rehearsals varies depending on the type of event, but a final rehearsal before the concert
is essential for all young musicians, often on the stage where the concert will take place.
Additionally, in the process of preparing for the concert, it is important for the musician to
be aware of the needs and expectations of the audience they are performing in front of,
both physically and online, in order to adjust their artistic presentation (whether they are
performing at a festival, a more formal event, a party, etc).

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The technical setup and sound-check
In addition to rehearsals, a crucial part of preparing for a live concert is the technical setup
and sound check. This is the moment when the audio equipment is tested and adjusted to
ensure the best sound quality for the performance. In a live venue, this would involve
setting up the stage, placing microphones, tuning instruments, and adjusting sound levels
on the mixer.
For an online concert, sound check is equally important. Musicians need to test their audio
equipment, such as microphones and headphones, to ensure the best sound quality for
the online audience. They may also need to check their internet connection to avoid any
streaming issues during the concert.
Marketing and promotion
Another crucial aspect of organizing a concert is marketing and promotion. This involves
creating awareness about the concert and encouraging people to attend. For a physical
concert, this could involve distributing flyers, displaying posters, or advertising in local
media.
For an online event, marketing could involve promoting the concert on social media
platforms, sending out informative newsletters via email, or creating an event page on
platforms like Facebook or Eventbrite. Artists can also use platforms like Instagram Live or
YouTube Live to engage with their audience and promote their event.
Ticket sales and audience management
For a physical concert, ticket sales and audience management are an important part of the
process. This involves setting ticket prices, selling tickets, and managing the audience on
the day of the event.
For an online concert, ticket sales can be managed through platforms like Zoom,
Eventbrite, or even social media platforms that offer live streaming features. Audience
management may also involve moderating comments during the live stream and
engaging with the audience through question and answer sessions or interactive features.
Legal considerations
There are legal considerations involved in organizing a concert. These may include
obtaining the necessary permits for a live event, ensuring compliance with noise
regulations, and obtaining copyright permissions for any songs that will be performed.
Online concerts also have legal considerations, primarily related to copyright. Musicians
need to ensure they have the rights to perform all the music they intend to play during the
concert, as platforms may mute or remove streams that violate copyright laws.

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Accessibility
Whether the event is live or online, organizers should consider accessibility. For live
events, this could involve providing ramps for wheelchair users or sign language
interpreters for those who are hearing impaired. For online events, ensuring the platform
used is accessible to all and considering options for subtitles or sign language interpreters
can be beneficial.
By considering these additional aspects when organizing a live or online concert,
musicians can ensure a successful and well-managed event.
Last but not least, in addition to the technical preparation of musicians and other technical
and organizational aspects, it is important to consider the mental health aspect of
musicians, their ability to feel comfortable on stage and connect with the audience, both
in a physical and online concert.
As long as the musician feels comfortable and is in a state of emotional balance, they will
achieve better results in terms of artistic performance. The pandemic has highlighted the
fact that musicians face many mental health issues that have been even more significant
due to isolation and professional uncertainty.
For the well-being of musicians, we recommend a few resources:
• www.musichealth.com – The Musicians GO-TO guide for health, wellness and
injury prevention;
• music.depaul.edu/resources/career-services/Documents/The%20Healthy%20
Musician.pdf – THE HEALTHY MUSICIAN: Taking Care of your Mind and Body;

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• www.rcm.ac.uk/upbeat/articles/healthymusician.aspx – Being a healthy Musician;
• artists.spotify.com/en/blog/a-psychologists-take-on-mental-health-for-musicians –
Spotify for Artist – A Psychologist’s Take on Mental Health for Musicians;
• www.helpmusicians.org.uk/get-advice/health-wellbeing/musicians-
health/musicians-health – Musicians Help – health for musicians/
The institutions/organizations and collaborators that have to be
involved
When a young musician wants to hold a concert and there is no organizer, they need to
handle the interaction and coordination with an entire production and logistics team. The
young musician needs to identify the venue for the concert (either indoors or outdoors)
and establish the terms of collaboration with the venue owners.
They must enter into a contract that stipulates the terms of collaboration between the
musician, as the organizer, and the concert hosts. The musician also needs to ensure that
the space is safe, not only for themselves and the other band members but also for the
audience.
When the concert is organized online, the young musician has fewer elements to consider.
No other institution is involved online; it is a much more free environment, where the
musician only needs to comply with copyright policies (to avoid copyright infringement).

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THE MANAGEMENT DURING THE EVENT
Choosing the venue for a show or concert
Once the target audience is defined, it is important to find the right setting for the event.
There are many options available: multipurpose halls, concert halls, public spaces, streets..
Therefore, the young musician needs to ensure they choose a location that is suitable for
the nature of the event. In fact, an outdoor space may be more appropriate than a room,
and vice versa, considering different contexts.
Similarly, you should opt for a venue based on the purpose of the presence and the size of
the event. In all cases, it is important to verify if the venue for the show or concert
complies with the applicable regulations, especially regarding accessibility, safety, and
hosting the audience.
Should the artists involved be volunteer or paid artists?
The young musician will choose the artists or bands that will participate in the event,
alongside their own band. The young musician organizing a show or concert thus has two
options: either involve volunteer artists or seek the services of paid artists.
On the one hand, if they involve volunteer artists, it becomes an amateur show. In this
case, they need to comply with the provisions of the laws regulating this type of cultural
event (each musician has the obligation to check the current legislation in the country
where the concert is being prepared).
On the other hand, they can manage with paid artists if there is a budget or the prospect
of ticket sales. In any case, as the organizer, the musician must sign a contract with all the
other musicians involved in the concert. It is a mandatory activity that facilitates the legal
implementation of the concert.
Setting the budget for the association event
Certainly, the young organizer/musician should not forget to establish the budget for their
association event. From acquiring or renting audiovisual equipment to booking the
auditorium, to potentially hiring intermediaries, compensating artists, and paying fees and
taxes, nothing should be overlooked, not even the smallest details. It is also strongly
recommended to allocate a margin for unforeseen expenses.
Regarding funding the preparations for their artistic event, the musician/organizer can rely
on their overall budget. However, there is nothing preventing them from exploring
alternatives to finance their show or concert. Sponsorships or patronage options can be
sought.

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Mandatory administrative formalities to be completed
Organizing a show or concert is subject to certain legal obligations. The young musician
usually needs to create a company or an association that initiates the project, and this
organization is responsible for several administrative procedures.
Completion of the required declaration formalities:
• The nature, number, duration and date of the event;
• The number of employees hired;
• Logo, name (trade name), address (registered office), and legal form of the venue
operator and the producer (promoter).
Note that for certain shows (e.g., in Romania, for outdoor shows or shows that exceed a
certain capacity), organizers are required to make a declaration to the municipality or
prefecture. This declaration typically needs to include the following information and
details:
• Identity of the organizer;
• Venue and event date, as well as start and end time;
• Attendance;
• Venue capacity;
• Description of planned security measures and public order service.

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Apply for the necessary permits from the appropriate authority
Depending on the situation, young musicians utilizing the company or association need
to obtain permission from the municipality or prefecture to organize an artistic event, a
concert. This application should include:
• Names, addresses, and contact information of the members of the event
organizing committee
• Purpose of the concert
• Venue, date, and time of the show or concert
• Signature of the association's president or an authorized representative
Other required permits
Additional permits may also be necessary for organizing an artistic event.
Here are a few examples:
• Setting up a bar: Requesting a liquor license at least 15 days before the show or
concert;
• Installing a tent: Declaration specifying the location, date of the event, seating
capacity, and technical characteristics of the tent;
• Broadcasting music and public use of copyrighted works (specific composer's
music): Requesting permission and paying the necessary fees;
• Using a sound system in public space: Prior application to the municipality must
be made by the organizer.
From the assembly to the dismantling of facilities, it is crucial to insure individuals,
property, and spaces against any potential harm that may occur before, during, and after
the show or concert. The insurance policy should include:
• Public liability insurance to cover the organizer in case of damage to a third party
or a member of the association;
• Personal accident coverage to compensate members, leaders, and volunteers of
the organisation who suffer personal injuries;
• All-risk material insurance;
• Cancellation guarantee in case of the artistic event being cancelled due to a strike
or unfavourable weather conditions.
Certainly, for a young musician, such insurance may not be affordable in terms of budget
but they are truly necessary considering that unforeseen events and tragic incidents can
occur when least expected.

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The role of event staff
In addition to artists and musicians, a successful event requires a team of staff and
volunteers to manage various aspects of the event.
This team could include security personnel, stage managers, sound engineers, lighting
technicians, and front-of-house staff. These individuals are crucial to the smooth running
of the event, ensuring that all technical aspects are in order, the event runs on time, and
any issues are quickly resolved.

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Provide a security and emergency service
Indeed, the organizing association must take all necessary measures to ensure the security
of the event they are organizing, especially if it gathers more than 500 people. Therefore,
the young musician needs to arrange for a security service, the implementation of which
should be declared to the municipality or prefecture well in advance of the show or
concert date.
The declaration should include the following information:
• Identity and contact details of the organizer;
• Nature of the artistic event;
• Date and time;
• Venue and its capacity;
• Number of people participating (members, volunteers, suppliers, etc.);
• Expected number of spectators.
Detailed security measures and order of service
As for emergency services, it may not be mandatory for small-scale events. However, it is
highly recommended to have a first aid kit on hand and also a list of emergency numbers.
On the other hand, for large-scale shows and concerts, it is imperative to have paramedics,
fire-fighters, or the local Red Cross branch present. This is to ensure the safety of visitors
and staff members.
Health and safety are crucial considerations in managing an event. This includes ensuring
that the venue is secure and that all equipment is properly installed to prevent accidents.
Additionally, there should be procedures in place to handle emergency situations, such as
providing first aid and evacuation plans.
For online events, although physical safety is less of a concern, it is important to ensure
that the event takes place in a respectful and inclusive environment. This may involve
having a code of conduct for participants and moderators to manage any inappropriate
behaviour.

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MUSIC MARKETING: Creating your own brand
How to select and target your audience
Discussions about audiences and the public are highly relevant today, especially in the
post-Covid period. Culture and artists contribute to the quality of our lives, making each
day better and more significant.
Culture is not a trend or an extravagance; it is a necessity. The context caused by the
COVID-19 pandemic has profoundly affected the activities of the creative sector, both
institutional and independent.
In this context, young musicians, as representatives of the music cultural sector, are
exploring different approaches designed to revitalize it and foster better cooperation
among its stakeholders, as well as establish an authentic reconnection with the audience.
After the pandemic, musicians need to find solutions to reconnect with the audience,
which has lost the habit of attending live concerts. Therefore, a frequently accessed
solution is organizing events in public spaces to guarantee access to a greater diversity of
audiences, including regular ones, new ones, and occasional ones who wouldn't otherwise
attend those concerts.
For young musicians who may not work with a manager and who don't rely on the
experience of an event organizer, it is crucial to understand the audiences in front of them.
Each invitation should be well-studied, and each appearance should be analyzed in
relation to the present audience.
Solutions for audience identification and developing audience relationships:
• Why is audience development a vital part of the marketing mix? – this article
discusses the importance of audience development in the marketing mix and
provides useful information on how to attract and maintain a loyal audience. You
can find more details here:
www.plusmusicpr.com/post/guest-post-why-is-audience-development-a-vital-
part-of-the-marketing-mix
• A guide to developing audiences for classical music – this guide focuses on
audience development for classical music, offering strategies and practical advice
for attracting and engaging new audiences. You can refer to the guide here:
www.culturehive.co.uk/resources/a-guide-to-developing-audiences-for-classical-
music
• What influences audience experience with music? – this resource examines the
factors that influence the audience's experience with music and provides insights

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on how to improve the connection with your audience. You can find more
information here:
www.newaud.org/working-communities/experiencing-music
• Online with your audience – this article discusses online streaming of concerts
and the use of social media platforms like Facebook and Twitter as excellent ways
to create interaction between the audience and artists. You can find more
information here:
www.newaud.org/working-communities/online-with-your-audience
• 4 steps to find your target audience or niche as a musician to grow a fanbase –
this article provides four steps to help you find your target audience or niche as a
musician and grow a strong fan base. You can access the guide here:
d4musicmarketing.com/find-target-audience-niche
• Musician's guide to finding a target market – this resource offers a step-by-step
guide to finding a target market and identifying the appropriate audience for your
music. You can find more information here:
www.cyberprmusic.com/find-your-niche
• How to find a target audience for your music – this comprehensive guide
provides information and strategies to find your target audience and develop a fan
base. You can access the guide here:
bestfriendsclub.ca/how-to-find-a-target-audience-for-your-music
Useful tools for online promotion
Our world today is a digital world, where a significant part of our lives has shifted online.
Therefore, most professions require online exposure, and this is especially true for the
music industry. The COVID-19 period has highlighted that musicians can still remain
relevant by using online resources to connect with their audience.
Here are some examples of resources that can be useful for effective promotion for young
musicians:
• Digital release and promotion strategies for musicians – this LinkedIn Learning
course provides insights into digital release and promotion strategies specifically
tailored for musicians. You can find more information here:
www.linkedin.com/learning/digital-release-and-promotion-strategies-for-
musicians.
• How to promote music in 2021 – this article offers tips and strategies on
promoting music in 2021. It covers various aspects of online promotion and
marketing. You can read it here:

26
www.mi.edu/in-the-know/promote-music-2021.
• Musicians' union – promoting yourself and your music online – the Musicians'
Union provides a guide on promoting yourself and your music online. It offers
practical advice and tips for effective online promotion. You can access the guide
here:
musiciansunion.org.uk/career-development/career-guides/marketing-and-
promotion/promoting-yourself-and-your-music-online.
• How to promote your music independently in 2022 – this article from Ditto
Music provides insights and strategies for independent musicians on promoting
their music effectively. You can find more information here:
dittomusic.com/en/blog/how-to-promote-your-music-independently.
Marketing tools
● Spotify for artists;
● Soundcharts;
● ReverbNation;
● Hubspot (CRM);
● Show.co;

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● ToneDen;
● Amplify;
● Buzzstream;
● Facebook Bots.
Types of Music Marketing Platforms:
● Social Media;
● Advertising;
● CRM: Direct-to-Fan Communication;
● Digital Service Providers;
● Media and Publications.
Platforms for the promotion and sale of music products
• YouTube;
• Twitter, Facebook, and Instagram;
• Spotify;
• TikTok;
• Spotify Audio Ads and Pandora AMP;
• Radio.
How to craft your unique brand image and story
A fundamental part of music marketing is creating your own brand, which essentially
represents your personality as a musician or band. It's about creating a narrative and
image that resonates with your target audience, one that is authentic and distinct.
Identify your unique selling proposition: the first step in building your personal brand is
understanding what sets you apart from other musicians. This could be your unique
sound, story, aesthetics, or even your values. It's vital to identify this unique selling
proposition and integrate it into your brand.
Develop your visual identity: your visual identity, including your logo, album covers,
website design, and social media aesthetics, plays a significant role in establishing your

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brand's image. This visual identity should be consistent across all platforms to ensure
instant recognition.
Craft your story: your story is a powerful tool in connecting with your audience on an
emotional level. It should articulate who you are, where you come from, what inspires you,
and what your music represents. Incorporating this narrative into your marketing
strategies can make your brand more relatable and captivating.
Align your brand with your music: your brand image and your music should be in
harmony with each other. The emotions and messages conveyed through your music
should be reflected in your brand image, and vice versa.
Consistency is the key: whether it's your social media posts, music videos, or live
performances, consistency in presenting your brand is essential. Consistent branding
strengthens your image and makes you more memorable.
Additional reading on creating a unique brand in the music industry:
• blog.landr.com;
• www.synchtank.com/blog/5-essential-branding-tips;
• bandzoogle.com/blog.

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COOPERATION IN THE FIELD OF MUSIC: How to interact with
other musicians from your country and/or abroad
How can cooperation enhance the prospects of achieving better results
in the music industry?
The pandemic period has shown the vulnerability of the music sector, demonstrating that
cooperative activities are essential in challenging times. Musicians have found it very
challenging to continue their musical activities, even online, and collaborative projects
have proven their functionality in this crisis period.
Musicians from all over Europe have gathered on various platforms through which they
have presented concerts and created various musical events, which had an impact and
garnered views in the early stages of the pandemic, suffering a decline in popularity
shortly after.
Additionally, due to the fact that during the pandemic, most musicians have lost their
previous financial commitments, they have been put in a position to seek alternative
financial solutions. Some musicians have transitioned and taken up jobs in other fields to
survive financially in this difficult period.
Lastly, musicians have organized themselves during this time to obtain support from the
government through grants and financial assistance. Governments in Romania, Italy,
Spain, France, Germany, and other European countries have provided support to
musicians and cultural operators in general through monthly grants and support
programs.
For example, in Romania, the government came to the aid of artists by offering tax
facilities similar to furlough (allowance for copyright contracts), funding lines were opened
to support the independent sector (Ministry of Culture through the Access Online
program or BRD through funding via the Scena 9 Foundation).
Unfortunately, only 20 cultural entities and 20 independent projects were supported by
these initiatives, and the artists' allowances supported some artists during the state of
emergency and state of alert with amounts too small to ensure a decent standard of living.
Too little for a severely affected cultural sector.
The nearly two-year period in which we have fought the pandemic has been a time when
many musicians and music industry workers have had to change the profile of their
professional activities, making it very difficult for some of them to return to the music
industry now. However, concerted efforts and joint projects are a solution for increasing
cooperation and achieving better results in the music field.
For example, the European Music Council, the largest music association in Europe,
launched a support program for musicians' initiatives called MusicAire, which has
supported over 100 initiatives since the beginning of the pandemic. The European

30
Commission has also created the Music Moves Europe program, through which
organizations and musicians are supported in implementing their project ideas.
The power of networking and collaborations
Another aspect of music marketing that cannot be ignored is creating networks and
collaborations. By collaborating with other artists, you can gain exposure to their audience
and vice versa. Building contacts within the industry can also open doors to opportunities
that can boost your career.
Collaborations: collaborating with artists who have a similar audience can be a win-win
situation. It allows both artists to reach a larger audience and create something unique
together.
Networking: interacting with industry professionals, attending events, and joining online
communities can help you build connections that can be beneficial to your career.
Cross-promotion: cross-promoting with other artists or even brands can help you reach a
wider audience. This can be as simple as sharing each other's music on social media or as
complex as touring together or releasing a collaborative album.

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Additional reading on the power of networking and collaborations in the music industry:
• Networking in the Music Industry:
www.musicindustryhowto.com/category/networking-for-musicians
• Essential Networking Tips for the Music Industry:
dittomusic.com/en/blog/the-music-industry-networking-tips-you-need-to-know
• Cross-Promotion Strategies for Musicians:
bandzoogle.com/blog/category/music-marketing-and-promotion
Podcasts, blogs, and music influencers
Do not underestimate the power of podcasts, blogs, and music influencers in promoting
your music. These platforms can provide valuable exposure and help you connect with the
audience on a deeper level.
Podcasts: appearing on music-related podcasts or even starting your own can help you
reach a dedicated audience. Podcasts provide a more intimate way to share your story,
discuss music, and connect with fans.
Blogs: being featured on influential music blogs can significantly increase your visibility.
Similarly, starting a blog on your own website can help you engage with your audience
and keep them updated on your journey.
Music influencers: collaborating with music influencers on platforms like YouTube,
Instagram, and TikTok can help you reach a larger audience. These influencers have a loyal
following that trusts their music recommendations.
Further reading on utilizing podcasts, blogs, and influencers:
• A guide to getting featured on music blogs:
soundcharts.com/blog
• Want to promote your album? Start a podcast about it:
www.vulture.com/2020/02/musicians-starting-podcasts-spotify.html
• How to work with music influencers:
www.synchtank.com/?s=influencers

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Email marketing and fan clubs
Email marketing and fan clubs are two powerful tools in the arsenal of an artist, band, or
music industry company. Let's explore how these strategies are implemented and why
they are important in promoting music and building a strong fan base.
Email marketing is a technique that involves sending personalized emails to a database
of subscribers interested in the artist's or company's music and activities. These emails can
contain news, updates, new music releases, concert information, or any other relevant
information. It is important to build and maintain a database of subscribers who have
voluntarily opted to receive these messages and have explicitly given permission to be
contacted via email.
Email marketing is important because it provides a direct and personal way to
communicate with fans. Through these messages, the artist or company can maintain a
constant connection with fans and keep their interest alive. It can also be used to promote
music releases, tours, merchandise products, or invite fans to special events such as artist
meet-ups or autograph sessions. Through email marketing, a community of loyal and
engaged fans can be built and strengthened.
Fan clubs are online communities dedicated to fans of an artist or band. These can be
managed on social platforms, the artist's own website, or through dedicated applications.
Fan clubs provide opportunities for direct interaction between the artist and fans, as well
as between fans themselves. These communities can benefit from exclusive access to
special content, contests, ticket discounts, or other privileges.

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Fan clubs are important because they offer a dedicated space for loyal fans to connect
with each other and with their favorite artist or band. These communities are a place
where common passions can be shared, memories can be created, and strong emotional
connections can be established. Additionally, fan clubs provide the artist or band with a
platform to listen directly to their fans, receive feedback, answer questions, and actively
engage with their supporter community.
Both email marketing and fan clubs play a role in strengthening the relationship between
the artist and their fans, maintaining a high level of engagement, and building a solid base
of loyal supporters. These strategies offer a range of advantages and benefits in
promoting music and developing a sustainable career:
• Direct communication: both email marketing and fan clubs provide a direct
communication channel between the artist and the audience. This means that
messages or updates reach interested fans directly, without being filtered by
algorithms or distribution restrictions. The artist can convey important information,
news, and exclusive content, thus creating a personal and authentic connection
with their fans.
• Building a loyal fan base: email marketing and fan clubs allow the artist to build a
base of loyal and engaged supporters. By offering exclusive content and special
privileges such as discounted tickets, artist meet-ups, or special events, the artist
can reward fan loyalty and motivate them to remain involved and continue
supporting their music.
• Efficient promotion of releases and tours: email marketing is a powerful tool for
promoting new song releases, albums, music videos, as well as upcoming tours or
concerts. Through personalized messages, the artist can create a sense of
anticipation and excitement among fans, encouraging them to participate and
purchase tickets or associated products.
• Direct feedback and continuous improvement: through fan clubs and email
marketing, the artist can receive direct feedback from the public. This provides an
opportunity to understand fan preferences and needs and continuously improve
their music, performances, or experiences offered. Listening to feedback and
actively engaging with the fan community contributes to the artist's long-term
relevance and success.
• Generating additional revenue: both email marketing and fan clubs can be used
to generate additional revenue through the sale of merchandise, tickets to
exclusive events, or through streaming and music distribution platforms. A solid
base of engaged and loyal fans is an important factor in obtaining financial support
and developing a sustainable music career.
In conclusion, email marketing and fan clubs are essential tools in promoting music and
building a strong relationship between an artist and their fans. These strategies provide
opportunities for direct communication, building a base of loyal supporters, promoting
releases and tours, receiving direct feedback, and generating additional revenue.

34
Through email marketing, artists can maintain a constant connection with fans and
provide them with updated information and exclusive content. Fan clubs create a
dedicated community where fans can interact with each other and the artist, serving as a
source of energy and mutual support.
Furthermore, both email marketing and fan clubs offer a platform for testing and
continuous improvement. Artists can use the feedback received to better understand their
audience and adapt their promotion strategies and messages. This allows them to build a
consistent and authentic image in the eyes of their fans.
In the digital era, email marketing and fan clubs are essential for establishing a strong
presence in the music industry. These strategies enable artists to develop a base of loyal
fans and promote their music in a personal and direct manner. They also provide
opportunities to generate additional revenue and increase success and impact in their
music career.
Therefore, email marketing and fan clubs are powerful and necessary tools in promoting
music and building an authentic relationship with fans. These strategies can contribute to
increasing an artist's visibility, consolidating a base of loyal fans, and achieving success in
the music industry.

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DEVELOPING PROFESSIONAL SKILLS
The lifelong learning process is also fundamental for the music industry. A young person
who is starting a career in music must be aware that what he knows today is not enough
and that developments in the field of music require him to be always up to date with what
is happening and to try to constantly improve his musical skills. Take the classical music
industry as an example, where musicians have to practice on a daily basis in order to attain
good performances.
Developing professional skills is available through a series of activities:
• Lifelong learning study programmes in universities;
• Physical and online masteclasses;
• One to one sessions with reputed music professors;
• Working in collective project with more experienced musicians;
• Attending conferences and workshops;
• Reading the publications that tackle topics from the music sector;
• Being connected with the most recent evolution in the sector.
Developing personal skills
The mental health of musicians has always been a topic of interest, because of its
importance to the overall progress of the sector. Already in 2017 a study commissioned by
Help Musicians UK found that 71.1% of the participants in the survey admitted having
suffered from panic attacks or anxiety and more than 68% struggled with depression.
The instability of job offers, unpredictable pay and future uncertainty negatively
contributes to the fragile state of mind of the musicians. In 2020 in the study “The impact
of the COVID-19 pandemic on suicide rates” published by Oxford University Press,
emphasizes the factor that lead to the development of exacerbation of stress-related
disorders and suicidal rate in vulnerable populations, especially those with pre-existing
issues (as mentioned above).
The COVID-19 pandemic has not been brutal on musicians, but also on the whole
population of the EU, who suffered from isolation, exacerbating the need for mental
health approaches.
In Romania, the elderly people, isolated in the residential facilities, with minimum care for
their mental well-being, were more marginalized than ever before. So, for young

36
musicians it is essential to get together, communicate with each other and attend mental
health training activities, either online or physical.
So it is important for young musicians to set a long term objective of being aware of the
importance of mental health (as an essential component of the recovery of the musical
ecosystem) as well as of the value of music as a social cohesion catalyst and support of the
well-being of the individuals.
We would like to propose an idea of a project that could be of great support to young
musicians as well as to musicians of all ages. It should develop both a physical experience
and a digital opportunity for musicians. The project outcomes and impact revolve around
the connection between music and mental health and well-being.
Through the project young musicians gain access to a training for mental health as well as
to digital resources – through the a platform that we would like to call MusiCure and the
online therapy sessions and the adults across the EU as well as social workers from
European countries have access to a European platform rich in contents and
methodologies that can be used either in individual activities and group activities
(facilitated by social workers, educators and youth workers).
The therapy activities should focus on musicians and should be developed on four
therapeutic dimensions that will have an important impact on the participants in the
activities and the users of the platform:
• Self-development and group exercises based on positive psychology and its three
levels: subjective, individual and group.
• Encouraging character strengths, optimistic emotions and happiness promotion
based on both emotional and mental factors.
• Awareness and strengthening of positive experiences (happiness, joy, inspiration
and love).
• Gratitude, resilience and compassion as unconditional self-producing skills.

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The outcomes and impact of such project:
• Musicians have access to intensive training on mental health;
• Musicians have access to free online therapy sessions;
• European platform for therapy for musicians and music therapy is created –
MusiCure;
• The project gives impetus to the development of the music therapy sector as well
as to the health of the musicians.
Digital skills: adapting to technological changes
In today's digital age, it's crucial for musicians to keep pace with the latest technological
advancements in the music industry. Technology not only changes how music is
produced, but also how it's distributed, marketed, and consumed.
Music production software: understanding and mastering music production software
like Ableton Live, Logic Pro, and Pro Tools can significantly enhance your music
production skills.
Digital audio workstations (DAWs): DAWs have revolutionized music production by
making it accessible to anyone with a computer. Learning to navigate a DAW can be a
game-changer for a musician. We have a free full video course and free manual about
music production where you can learn more about this topic.
Social media platforms: social media has become a powerful tool for promoting music
and engaging with fans. Musicians need to understand how to leverage different social
media platforms effectively.
Music Streaming Services: Music streaming services like Spotify, Apple Music, and Tidal
have changed the way people consume music. Musicians should be familiar with these
platforms and understand how they can use them to their advantage.
Developing business and entrepreneurship skills
In addition to their musical abilities, musicians need to cultivate business and
entrepreneurship skills. This includes understanding the business side of the music
industry, such as contracts, royalties, and marketing, as well as developing entrepreneurial
skills like networking, resource management, and strategic planning.
If you want to learn more about the topic of entrepreneurship, check out our free
materials about this topic by following this link: www.soundbeatstime.com/resources.

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OVERCOMING CHALLENGES: Young musicians and the role of
virtual reality in the COVID-19 era
The COVID-19 pandemic has posed significant challenges to the music industry, affecting
both seasoned and aspiring musicians. In particular, young musicians starting their careers
faced unique obstacles such as limited performance opportunities and lack of support.
However, in response to these challenges, many young musicians have adapted by
adopting online platforms and exploring innovative solutions. This part looks at the
evolving landscape of music during the pandemic and highlights the role of virtual reality
(VR) technology as a possible avenue for immersive music experiences.
• The shift to online platforms: with concert halls closed and live events cancelled,
young musicians quickly recognized the need to adapt and connect with
audiences online.
Initially, online concerts gained ground as people sought solace and entertainment
from home. Musicians, including emerging talent, have begun offering virtual
performances and experiences through live streaming platforms. These digital
efforts have helped alleviate stress and anxiety by providing a sense of connection
between musicians and their audiences.
• Limitations of online performances: despite the initial success of online concerts,
a noticeable decline in audience engagement emerged about six months into the
pandemic. Audiences began to yearn for the unique experience that only physical
concert halls could provide. Recognizing this limitation, young musicians sought
alternative solutions to recreate the immersive and interactive nature of live
performances.
• The Emergence of Virtual Reality (VR) in Music: virtual reality, a technology that
promises unprecedented experiences, has captured the attention of musicians and
concert organizers. VR has provided an opportunity to deliver immersive and
interactive experiences to audiences at home. For classical music concerts, VR has
proven to be particularly promising, as it has enabled orchestras to engage with
new audiences and remain relevant in today's socio-economic context.
• Enhancing Music Experiences with VR: through VR, musicians can create an
immersive environment that brings audiences closer to the performance than ever
before. VR technology enables 3D viewing and binaural sound playback, allowing
users to experience the concert from various perspectives, whether seated next to
the conductor or surrounded by individual members of the orchestra. This level of
intimacy and detail is unparalleled, even for those with the best seats in a physical
concert hall.
• Pioneers in VR for orchestras: the Los Angeles Philharmonic was one of the first
to use VR for orchestral performances. In 2015, they launched the VAN Beethoven

39
project, which featured a specially equipped truck that offered a virtual reality
experience that simulated the atmosphere of the famous Walt Disney Concert Hall.
Other orchestras, such as the Philharmonic Orchestra in the United Kingdom and
the Berlin Philharmonic in Germany (through their Digital Concert Hall), have also
adopted VR technology to enhance audience experiences.
So, as young musicians navigate the challenges brought on by the COVID-19 pandemic,
embracing virtual reality technology offers a compelling avenue for innovation and
audience engagement.
By using VR, young musicians can overcome the limitations of online performances and
deliver immersive and interactive musical experiences to a global audience. The
integration of VR technology into the music industry has the potential to reshape the way
musicians connect with their listeners, ensuring continued artistic growth and
development even in the face of adversity.
Although virtual reality (VR) technology holds huge potential for the music industry,
including classical music, there are still some considerations and challenges to address. As
VR integration continues to evolve, musicians and orchestras must explore ways to
optimize the technology's capabilities and overcome obstacles.
A challenge is also the accessibility of VR equipment. Although the cost of VR devices has
come down over time, it remains an obstacle for many people, including musicians and
audiences. However, as the technology becomes more widely adopted and demand

40
grows, prices are expected to continue to drop, making VR more affordable for musicians
and fans alike.
In addition, there is a need for continuous technical development to ensure the highest
qualities of VR experiences. Musicians must work closely with developers and technology
experts to optimize the visual and auditory aspects of VR performances. This includes
capturing high-resolution immersive images and using binaural audio techniques to
recreate the spatial sound environment of a concert hall.
Moreover, VR experiences should be designed with user comfort in mind. Dizziness and
discomfort can be a problem for some people when using VR headsets for long periods.
Musicians and VR developers should consider these factors and explore ways to mitigate
any potential adverse effects to ensure a smooth and enjoyable experience for audiences.
As VR technology advances, it is important for musicians to find a balance between virtual
and physical performances. While VR can provide an engaging and immersive experience,
it should not replace the irreplaceable atmosphere and social connection that live
performances provide. Therefore, young musicians should continue to aspire to a
combination of virtual and physical performance, using VR to complement and enhance
the traditional concert experience, rather than replace it entirely.
In conclusion, virtual reality holds immense promise for young musicians navigating the
challenges posed by the COVID-19 pandemic. By embracing VR technology, musicians can
create immersive and interactive musical experiences, giving audiences a unique way to
connect with their art.
While there are challenges to be addressed, continued advancements in VR technology,
along with a careful integration of virtual and physical performances, can pave the way for
an exciting future in the music industry. Young musicians should remain open-minded in
exploring these opportunities and adapt to changes in event organization in order to
carve out successful careers in music.
Here are some practical examples of using virtual reality (VR) in the music industry:
• Virtual concert experiences: musicians and bands have started using VR to
provide virtual concert experiences. For example, the band Gorillaz created a VR
app called "Gorillaz – Saturnz Barz" that allowed fans to enter their virtual world
and experience a live performance in a unique and immersive way.
• VR music videos: VR technology has been used to create innovative and
interactive music videos. Artists such as Björk and The Chemical Brothers have
released VR music videos that allow viewers to explore virtual environments and
interact with the music video's visuals.
• VR concert halls: some orchestras and concert halls have adopted VR to recreate
the concert hall experience. The Los Angeles Philharmonic launched the VAN
Beethoven project, which used VR technology to simulate sitting in the famous
Walt Disney Concert Hall, providing an immersive and intimate experience for
virtual attendees.

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• VR music education and training: VR has been used as a tool for music education
and training. It allows aspiring musicians to have virtual lessons, practice with
virtual bandmates or even simulate performing in front of an audience. Technology
provides a safe and controlled environment for learning and skill development.
• VR music festivals and events: virtual reality has been used to create virtual music
festivals and events, especially during the COVID-19 pandemic. Platforms like
WaveXR and Sansar have hosted virtual music festivals where attendees can
navigate virtual environments, interact with other attendees, and watch live
performances in real time.
• Immersive music experiences: VR has been used to create immersive experiences
that go beyond traditional performances. For example, the VR experience
"TheWaveVR" allows users to create and manipulate music in a virtual
environment, turning them into DJs and performers in their own virtual worlds.
These practical examples demonstrate the versatility and potential of virtual reality in the
music industry. By using VR technology, musicians can deliver unique and immersive
experiences to their audiences, reaching global audiences and pushing the boundaries of
creativity and performance. As technology continues to advance, we can expect even
more innovative applications of VR in the world of music.

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AUDIENCE DEVELOPMENT FOR YOUNG MUSICIANS IN THE
DIGITAL AGE
Consolidating and keeping current audience
Building and maintaining an existing audience are topics of interest for musicians, and the
online environment offers many answers for this aspect of a musician's business.
Artists cannot exist without an audience, so the relationship with the audience is a
fundamental one, which must be constantly maintained through appropriate
communication strategies. Thus, the already formed audience, which the musician
considers loyal, must be rewarded for its loyalty.
There are several ways to do this, and many bands use these solutions:
• Free provisioning for loyal audience;
• Organizing contests for loyalty;
• Frequent online postings that make the audience feel valued because they know
what their favorite musician is up to. The public is kept up to date with the latest
musical productions, with concerts, but also, very importantly, with certain events
in the musicians' private lives, which inform and show what they do in their daily
lives, showing their human side;
• Giving gifts to loyal fans (free recordings, meeting the musicians);
• Q&A sessions on musicians' social media pages.
Discussing the options of developing new audiences
Given the fact that a young musician relies on a limited audience, considering that he
started his activity recently. Therefore, it must also focus on developing new audiences
while strengthening the ones it already has. Again, to develop new audiences, the online
environment is the right place to do this, because there you can identify different
audiences that can be targeted.
Social networks as well as Google Analytics allow you to choose the desired audience, so if
the young musician has financial resources to invest in promotion, he can indirectly
develop new audiences.
This is a fundamental step in a changing world, because audiences are volatile and
audiences interested today may lose interest in the future, so your audience growth
strategy needs to be versatile and smart. If the young musician has to deal with these

43
issues on his own, it will certainly be a challenge for him to identify the most appropriate
ways in which he can reach new audiences.
In terms of direct interaction with the public, the young musician can explore different
places to present his artistic act, trying to identify where and in what contexts a new
audience can appear, to which he can be addressed.
Collaborations and networking in the music industry
One of the often overlooked strategies for audience development involves collaborations
and networking in the music industry. By collaborating with other musicians, young artists
can expose their music to different fan bases and potentially attract a larger audience. This
could involve appearing on another artist's track, co-producing songs, or even just
promoting each other's music.
Networking also plays a crucial role in audience development. Building relationships with
other musicians, producers and industry professionals can open up opportunities for live
performances, radio airplay and other forms of exposure. Attending industry events and
joining professional organizations can be effective ways to build these relationships.

44
Involvement in community outreach and education
Another effective strategy for developing new audiences involves engaging in community
outreach and education. By giving back to the community and educating the public about
their music, young musicians can appeal to a wider and more diverse audience.
This could involve performing at community events, offering music workshops or
masterclasses, or partnering with local schools or community centres. Such activities not
only help build a positive image for the artist, but also provide an opportunity to connect
with potential fans on a more personal level.
Exploring non-traditional performance venues
While traditional music venues such as concert halls and music festivals are important,
exploring non-traditional performance venues can be a valuable strategy for attracting
new audiences. This could include performances in art galleries, coffee shops, public parks
or even online gaming platforms.
Performing in these less conventional spaces can help musicians reach people who might
not normally attend a traditional concert. Additionally, these venues often offer a more
intimate and relaxed atmosphere that can foster a stronger connection between artist and
audience.
Creating unique and engaging live performances
The quality of a musician's live performance can have a significant impact on their ability
to attract and retain an audience. By creating unique and engaging live performances,
young musicians can stand out from the crowd and leave a lasting impression on their
audience.
This could involve incorporating elements of theatre or dance into their performances,
using innovative staging or lighting techniques, or simply delivering a passionate and
authentic performance. By providing an unforgettable live music experience, musicians
can not only attract new fans, but also ensure existing fans keep coming back for more.

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HOW TO MAKE MONEY FROM MUSIC AS A YOUNG MUSICIAN
Young musicians find it difficult to make money from music, so we'll discuss cooperation,
agency affiliation, union representation, marketing approaches, etc. A young musician, at
the beginning of the journey, especially in the post-pandemic period, faces multiple
difficulties related to securing the necessary income from music.
What options does a young musician have?
• Register on collaboration platforms with other musicians, but also on platforms
where producers or event organizers can select them for different projects.
• Be inspired by the experience of musicians in the same niche, to observe successful
and less successful stories, to follow one path or another.
• Become your own manager and thus start a creative entrepreneurial foray, where
you have to plan, manage resources, interact with different categories of people,
etc.
• Get involved in various existing projects for which funding is secured, such as
festivals or other recurring events.
• Develop their own projects for which they can access grants or certain
sponsorships, which can really launch a musical career.
How to be your own manager as a young musician?
• You have to know music – any young music lover can become a good musician,
but it doesn't happen overnight, it takes effort. Today, it's easier than ever to learn
music and make music. There are tons of apps that help musicians in all fields get
better or sometimes even start (to give a few examples).
In addition to applications that require self-taught skills, young people who want
to become musicians can participate in online masterclasses, which are becoming
more and more numerous, but also of better quality, which is also an effect of the
pandemic. Thus, nowadays, it is not necessary to be a graduate of a music school,
to come from a family of musicians, or to have played music since childhood.
The learning process is much more accessible, more open, and for example for
music where mixes are important, there are many applications that significantly
simplify the work of musicians. We can also give examples of festivals in Romania,
such as Electric Castle or Vest Fest, where young bands are invited to open the
series of concerts, offering young musicians with less experience good exposure
platforms.

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In addition to musical knowledge itself, a young musician must also have the
ability to produce music, to create music, with or without the help of technology.
The good news is that there are plenty of courses out there, one of which was
developed as part of the Sound Beats Time project.
• You need to know as much as possible about the market and the audience –
any young person starting out in music has high aspirations and a desire to prove
that they can make music history. Unfortunately, in more than 95% of cases, this
does not happen and the musical journey becomes more of an amateur
experience. However, 5% of those who try and succeed build bands, or are
instrumental musicians or performing soloists. These are primarily graduates of
music schools, those with well-established skills, but also those who really want a
career in music and those who enjoy making music.
Besides these qualities, it is the market that tells whether certain genres of music
are desired at a certain time or less relevant. For example, if today French young
people are big fans of rap, in Romania young people are more attracted to drum &
bass and trap, genres that are not radically different, but which show two different
musical markets. Thus, you must know which market you are entering, know its
characteristics and analyze very well the preferences of the public, from a certain
region, country or even at an international level.

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• You need to have minimal knowledge of music business and event planning –
it is very difficult for a young musician to have such knowledge, he is just starting
out. However, young musicians can learn from more experienced musicians and
bands, taking examples of good practice from them. Additionally, there are many
sources of information on how to start your own online music business.
Here are some examples:
o How to be your own tour manager:
blog.sonicbids.com/how-to-be-your-own-tour-manager
o 8 Keys to Becoming a Successful Tour Manager:
tourcollective.co/how-to-go-on-tour/8-keys
o How to Manage Your Own Band:
makingmusicmag.com/manage-your-own-band
o How to become a great band manager:
www.thebalancecareers.com/skills-band-managers-need-2460644
o Top tips for self-managing your band:
waterbear.org.uk/top-tips-for-self-managing-your-band
• Know the law – a young musician, who does not have an extended team to
support him, needs to know a lot of information, including the legal provisions that
need to be taken into account: rules related to the organization of concerts, legal
provisions related to property rights intellectual, etc. Therefore, a young person
who becomes a professional musician must be well informed, use whenever he
thinks necessary the advice of a lawyer or a jurist, in order not to take unwanted
risks.
• Marketing knowledge – a young musician starting a solo or band career without a
marketing team needs to have minimal online marketing knowledge. Thus, the
young musician must create professional profiles on social networks, through
which he can promote his professional activity, make recurring posts from the
studio, from rehearsals, during the concert, so that the existing and potential
audience is aware of what do what. Of course, before starting an online marketing
campaign, it would be advisable for the young musician to consult with an expert
in marketing and communication, to have a minimum of guidance in his online
activity. In addition, offline marketing campaigns can be initiated, but now they
work less than online ones, requiring a greater financial and time investment.
• Have financial resources – a young musician starting out is usually in a not very
prosperous financial situation. Even so, owning one is still beyond the reach of the
average person. In training (courses, webinars, masterclasses and the purchase of
applications and software that can facilitate music production, on the one hand.
On the other hand in marketing and promotion which are essential today,

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especially in the online environment. But what what happens is that a lot of online
content is no longer viewed by a large number of people due to algorithms that do
not encourage original and authentic content, so the young musician must be
aware of this and find ways to counteract these effects.
These are some tips for young musicians who want to make money from music. Of course,
to be successful in this career, it is not enough to know and love music, you also need to
be a good businessman, know the music market, have marketing knowledge, have a team
to support and most importantly persevere in your work because success does not come
overnight.
Monetizing skills and talent beyond performance
Although live performances are a significant source of income for many musicians, young
artists in the digital age have other ways to monetize their skills and talent. One of these
opportunities is music lessons. Young musicians, especially those proficient on an
instrument or in vocal technique, can give lessons to aspiring musicians. This can be done
either in person or online, with the latter option offering the opportunity to reach a global
audience.
Music composition and songwriting are also potential sources of income. Many film,
television and game producers, as well as other musicians, are willing to pay for original
music. Some musicians even manage to make a living just by composing music for these
industries.
Production and mixing services are another possible income stream for musicians with the
necessary skills and equipment. With the rise of home recording, many musicians need
professional mixing and mastering services to make their recordings sound as good as
possible.
Merchandising
Merchandising can be a lucrative source of income for musicians. This can include
anything from t-shirts and posters to more unique items that reflect the artist's brand. The
key is to create products that will appeal to your fans and reflect the personality and
aesthetic of the artist or band. Musicians can sell merchandise at their shows, through
their websites, or on various online platforms dedicated to artist merchandise.
Grants and funding opportunities
Many countries and institutions offer grants and funding opportunities for musicians.
These can be especially helpful for young musicians just starting out who may not have
the financial resources to fully pursue their artistic vision. Grants can be used for a variety
of purposes, including registration, touring and marketing.

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Music licensing and copyright
Music licensing can be a significant source of income for musicians. Whenever a musician's
song is played on the radio, used in a movie or TV series, or streamed online, they are
entitled to royalties. There are various organizations that collect and distribute these
royalties to musicians. It is important that young musicians understand their rights and
ensure that they are registered with the relevant organizations in order to receive the
royalties they are entitled to.
Crowdfunding and fan support
In recent years, many musicians have turned to crowdfunding platforms to finance their
projects. This can be an effective way to raise money for recording, touring and other
expenses. Some platforms even allow musicians to receive ongoing support from fans in
exchange for exclusive content and experiences.
Similarly, fan support can be used through membership or subscription models, where
fans pay a regular amount to receive exclusive content, early access to new music, or other
perks. This not only provides a regular income stream for the artist, but also helps build a
closer relationship between the artist and their most dedicated fans.

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Live session performances
Live session shows are a great way for young musicians to gain exposure and money.
These can be either physically staged performances or online performances, often in an
intimate setting. The musician may charge an entry fee for these shows, or use them as an
opportunity to sell merchandise or promote their music. In an online context, live sessions
can be streamed on various platforms where fans can donate or pay a ticket fee.
With the rise of platforms like YouTube, Twitch and even Zoom, musicians can now
organize live concerts and performances online. Some artists have even started holding
online meet-ups, Q&A sessions, and other interactive experiences for their fans. These
platforms also allow for additional income through fan donations and subscriptions.
Using other internet platforms
The digital age has transformed the music industry, offering new avenues of income for
musicians. In this section, we'll discuss how musicians can use internet platforms,
streaming services, and even blockchain technology like NFTs to make money.
Music streaming services: platforms like Spotify, Apple Music and Tidal have become the
main way people listen to music. By distributing music through these platforms, musicians
can earn royalties every time their song is streamed. However, it is important to note that
the pay per stream is generally quite low, so substantial streaming income usually comes
from a large number of streams. Some artists release content exclusively on certain
platforms for a premium, leveraging fan loyalty to increase revenue. Bandcamp is an
online platform that allows artists to sell their music and products directly to their fans.
Artists set their own prices and Bandcamp keeps 10-15% revenue. This platform is
especially popular with independent artists as it gives them considerable control and
transparency.
Patreon and fan subscriptions: Patreon and other subscription-based platforms allow
fans to support their favorite musicians directly. Artists can set different levels of monthly
support, each offering unique perks such as early access to new songs, exclusive
merchandise or personal interactions. This model provides a steady stream of revenue and
helps build a strong community of fans.
Non-Fungible Tokens (NFTs): NFTs are a type of digital asset that represents ownership
of a unique object or content using blockchain technology. Musicians can create NFTs of
their work, whether it's a full album, a single song, or even a unique piece of art related to
their music. This allows artists to sell their work directly to fans, who then own a unique
piece of the musician's output. NFTs have the potential to revolutionize the music industry
by providing more power and income to artists.

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INTELLECTUAL PROPERTY AND COPYRIGHT MANAGEMENT
The use of music for a certain economic purpose involves the capitalization of copyright /
related rights. Copyright and related rights thus represent the legal system that provides
legal mechanisms for protecting musical works and phonograms (especially
contemporary musical work that is covered by these legal provisions).
This protection subsequently allows control over the capitalization of the author's or rights
holder's rights. Major entertainment companies, record companies, music publishers, as
well as independent artists and authors are involved in the capitalization of copyright /
related rights.
Here are just a few examples of classic capitalization of copyright / related rights specific
to the music industry:
• Performing concerts involves the capitalization of the right to interpret the musical
work by the performer;
• The organization of public parties with music involves the public communication
of musical works and phonograms;
• The production of music albums involves the reproduction of the musical work and
the phonogram, as well as their subsequent distribution to buyers;
• The recording of the phonogram implies obtaining the agreement for the
capitalization of the copyright (musical work and arrangement) and the
performance right by the producer.
The music industry began to form as a distinct economic branch in the 19th century, when
musical works performed in public halls and at private events began to be reproduced on
paper and later performed by others. This led to the emergence of the first music
publishers, a seed for the further development of the international music industry, which
today has annual revenue of tens of billions of dollars.
The capitalization of related rights in the international music industry generates more than
17 billion dollars annually. Thus, in the natural evolution of the structure of capitalization
and related rights, recording companies are the holders of related rights as long as they
deal with the recording of phonograms and their subsequent commercialization, and
music publishers are the ones who deal with the capitalization of copyrights.
There is no final rule on how and when owners own copyright / related rights in the music
industry. It should be noted at the outset that intellectual property is a private form of
property and that rights holders are free to negotiate and make their own decisions about
the use of their rights.
In the music industry, a practice has emerged that has many exceptions. The classic rule is
that major labels tend to:

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• Obtain all related rights to the printed phonogram and performance;
• Obtain copyright through affiliated music publishers;
• Reward the authors / producers / performers by returning a remuneration
stipulated as a percentage (royalty) of the revenues obtained or by fixed amounts
established in the author's contract;
• Offer a financial advance to rights holders at the time of signing copyright
contracts.
Smaller companies in the field, which typically do not have the same financial resources
and opportunities to provide a cash advance or invest in the production of music material,
tend to grant more rights to rights holders.
According to a study by Music Business World Wide, Universal Music Group has a market
share of approx. 29.06%, Sony Music Entertainment – 22.79% and Warner Music Group –
17.48%, and independents (both independent companies and independent artists) own
approx. 29.88% of the market share.

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Music licensing and sync deals
An additional aspect of capitalizing on intellectual property rights in music involves music
licensing and sync contracts. These agreements cover the use of music in connection with
visual media such as television shows, movies, commercials, video games and more (more
details here: blog.songtrust.com/guide-to-sync- deals-and-licensing).
In a sync agreement, a music rights holder (which can be the artist, but is often a record
label or publisher) gives permission for their music to be used in a particular project. This
can be a single song, part of a song, or even a specific recording. The rights holder is paid a
fee for this use, which can vary widely depending on the project and the prominence of
the song or recording in it.
Sync deals can be lucrative for rights holders, especially if the song is used in a popular
movie or television series. However, obtaining these agreements can be challenging and
often requires a good understanding of the market and strong networking skills. Some
artists and rights holders work with sync agencies to help them obtain these agreements.
Copyright management organizations
An important element of copyright management is the role of copyright management
organisations, also known as performing rights organizations or PROs. These organizations
exist to ensure that when music is performed publicly – whether it's on radio, television, in
a concert or even in a mall – rights holders receive the copyrights they are owed.
Examples of these organizations include ASCAP and BMI in the United States, PRS for
Music in the UK, and SACEM in France. These organizations collect royalties from
businesses that use the music, and then distribute those royalties to their members, which
include composers, lyricists and music publishers.
Digital rights management
With the advent of digital technology and the Internet, protecting and capitalizing on
intellectual property rights in music has become more complex. Digital Rights
Management (DRM) is a broad term for the strategies and technologies used to control
access to copyrighted digital material, including music.
DRM technologies can prevent unauthorized copying or sharing of digital music files, limit
the devices on which they can be played, and track their usage. While these technologies
can help protect intellectual property rights, they can also be controversial because they
can limit the ways in which consumers can use the music they've purchased.

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Music in the public domain
After a certain period of time, intellectual property rights in music expire and the music
enters the public domain. This means that it can be used freely without the need for
permission or payment of copyright. In the US, for example, music generally enters the
public domain 70 years after the death of the last surviving author.
Understanding how copyright and intellectual property law applies to music in the public
domain is important for musicians and rights holders. It can allow them to use existing
music in their own work without infringing anyone's rights, and it can also impact their
own rights if their music eventually becomes part of the public domain.
In the European Union, copyright law is governed by the EU Copyright Directive, which
each member state is required to implement in its own legislation. However, although this
directive establishes a common framework, there may still be some differences in how
copyright law is applied in each country.

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Copyright and intellectual property in the EU
Under EU law, copyright protection generally lasts for the life of the author plus 70 years.
This applies to works of music, literature and art, among others. For musical compositions
with lyrics, the duration of copyright protection is calculated based on the lifetime of the
last surviving author, whether the composer or the lyricist.
In terms of related rights, performers and producers of phonograms are protected for 50
years from the date of performance or publication of the recording. However, the EU
recently extended this term to 70 years for musical and audiovisual performances and
phonograms.
EU law also provides for moral rights, which are separate from economic rights. Moral
rights include the right of attribution (the right to be identified as the author of the work)
and the right to integrity (the right to oppose disparaging treatment of the work). These
rights cannot be transferred or sold and, in some EU countries, they do not expire.
Public Domain in the EU
Once the term of copyright protection has expired, a work enters the public domain and
can be used freely without the need for permission or the payment of royalties. However,
determining when a work has entered the public domain can be complex, particularly for
musical works.
For example, a piece of music may consist of a separate composition and recording, each
with its own copyright term. Even if the composition is in the public domain, the recording
can still be protected.
Furthermore, while the term of copyright protection in the EU is generally life plus 70
years, there may be exceptions. For example, in some countries, there are extended terms
of protection for works that were not published during the lifetime of the author or for
authors who died in active military service.

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