In ‘Creating virtual internships in the music business’, Channell and Anderson (2010: 173) indicate that “Mozart was one of the first to leave the patronage system [working as servants to powerful noblemen] to play music for the masses” and that “Beethoven was able to make a living as a musician by playing for audiences and not solely relying on the aristocracy for total financial support”. The challenges Mozart and Beethoven faced, remain challenges facing musicians, who “rely upon the general public to not only provide income, but also to provide a venue to touch the lives of others through their music”.
“Music is made accessible to the populace through the work and dedication of the people in the music industry. The music industry seeks talent and then brings that artist to the masses through recording contracts and concert tours” indicate Channell and Anderson (2010: 173). Historically, musicians “were expected to ‘pay their dues’ to get to the point where an [artist and repertoire] A&R professional [the division of a record label that is responsible for talent scouting] would consider listening to an untested, unrecorded performer. The system expected artists to go through the trials of night clubs, becoming warm-up acts for regional bands, and finally becoming regional acts themselves. Eventually, artists might be heard by an A&R professional who might sign them to a recording contract or give advice on how to improve the act. This system eradicated less popular performers, and only those with audience appeal or fortitude prevailed and were rewarded with a contract.” (Channell & Anderson, 2010: 178). However, “Sometimes, being signed by a major label requires being in the right place at the right time and knowing the right people. Many talented individuals and performing groups have not been discovered because their timing has not aligned with the schedules of A&R professionals. This does not make the performers less talented, it is merely the fact that they have not yet been in that right place, or have not networked appropriately.” (p. 177)
https://www.musicgateway.com/blog/how-to/what-is-ar-and-how-does-it-work
Aspiring musicians were often required to relocate to musical hubs, which could be cost prohibitive because internship programmes historically do not pay well. Many promising musicians are further restricted due to family or other reasons. The digital age impacted the above significantly. Channell and Anderson (2010: 178) indicate that “With the advent of digital recording, MP3 technology, and social networking, music sharing is only a click away. Many performers are now opting to build a fan base through social networking sites by allowing streaming audio of their latest releases, podcasts of interviews, blogs, and other interactive technologies to build fan support with the hopes it will translate into online sales of recordings.” Through virtual internships and the use of technology, the process of talent discovery is expedited. Aspiring musicians no longer “have to wait to be signed by a major label to be able to present his or her music to the masses.”
The Radford University ‘music business program’ and RM64, ‘a boutique artist management company’, developed a partnership with the aim of reaching out to a broader audience outside of the local area, through a real-world virtual environment. “Using virtual interns, record labels and management firms will have an increased number of trained A&R professionals out in the field searching for new talent” say Channell and Anderson (2010: 177).
Fuelled “by improving technology and the growth of social media”, says Channell and Anderson (2010: 176), virtual internships “are becoming more common”; providing “students with an opportunity to work on projects” and obtain relevant learning experience through the use of technology. They differentiate different types of internships, namely (a) “project-based internships require students to maintain a blog of their progress throughout the project term”; and (b) internships that “go beyond basic blogging to include typical business communications with the provider”, such as teleconferencing and “written reports about the internship experience”. Virtual internship programmes allow students to complete their prerequisite experiential learning by “finishing assignments and participating in hands-on activities that can be implemented from anywhere with Internet access”. The host “company will ask the intern to complete assigned tasks through a virtual environment just as it would if the student were physically in the office”. Students stay “in touch with facilitators, who assist and monitor their progress and performance, and subject mentors, who are experts in the specific field of study”.
Channell and Anderson (2010: 174) indicate that “a good internship should adhere to a set of standards”, which “should be consistent for all internships”. They present “eight principles of good practice are listed for all experiential learning activities as outlined by the National Society for Experiential Learning”, which are (p. 175):
- Intention – Both the student and the internship provider must be clear on expected outcomes as well as set goals and objectives for projects.
- Preparedness and Planning – There must be clear plans for the internship. Both the intern and the provider must understand the expectations, start, and end dates.
- Authenticity – The internship must provide real world experience. Applicable skills learned for the intern’s individual growth in the field.
- Reflection – An opportunity must exist for both the intern to reflect on what they are and have learned as well as the provider to reflect on the work attempted throughout the process.
- Orientation and Training – The intern must be given a background of the company, expectations as well as how projects are to be completed. This may include various training activities that will help the intern learn the culture of the provider as well as the basics used in the industry.
- Monitoring and Continuous Improvement – The intern is entitled to have consistent feedback on their progress. It is important in the learning process to have feedback to work toward improvement.
- Assessment and Evaluation – At the end of a task, and the internship as a whole, the provider bears the responsibility of providing clear assessment of skills learned and an evaluation of the interns work.
- Acknowledgement – It is vital for all parties to acknowledge the accomplishments that were achieved through the time period of the learning experience.
Channell, T.L., & Anderson, D.M. 2010. Creating virtual internships in the music business. Journal of the Music and Entertainment Industry Educators Association, 10(1), 173-183. Electronically accessible from https://doi.org/10.25101/10.9