Oshin Hephzibah /
Exploring Diverse Career Paths in Music: Beyond Performance
Exploring Diverse Career Paths in Music: Beyond Performance
Written by Aldred Gomes (Career Counsellor)
Edited by Sohaib Durrani
The music industry focuses primarily on performing musicians, but includes a large, intricate array of professional support functions. This article discusses the many diverse activities that exist apart from the performance, showing how the modern music marketplace is increasingly more complex and specialized. There are several functions ranging from business and artist management to creative activities of content design and technical production that add to the perpetual motion of the music world. In this regard, we look at business and management functions, creative content production, technical production, education and therapy, legal regulation of the music and publishing, marketing, and archiving. Anyone wanting to enter or progress in the vast world of music will need to know about these different career alternatives and understand that numerous opportunities exist besides donning the garb of a performer on stage.
Artist Management
The practice of an artist goes beyond the mere action of producing music. Managers of musicians function as the primary contact point for business activities relating to the day-to-day operations of an artist’s career. They manage a highly diverse portfolio of activities including key areas of responsibilities like public relations and marketing along with scheduling business appointments and managing transactions. Such professionals may be associated with management agencies, record companies, or they may work autonomously as independent managers.
To effectively fulfil these diverse responsibilities, successful artist managers nurture a specific set of attributes. They must genuinely believe in their clients and their artistic work, possess a thorough understanding of the intricacies of the music industry, and exhibit strong interpersonal skills, being both outgoing and professional.
At GMI, we actively collaborate with artist management firms that play a vital role in shaping the careers of musicians across genres. Our partners—UnderTheRadar and REPRESENT—are key players in the Indian music industry, engaging in everything from artist development to navigating emerging trends.
We encourage you to explore their work to get a closer look at what goes into managing artists and what it takes to build a successful career in this field.
For more such industry connections, visit our Career Development Division, designed to bridge the gap between students and real-world opportunities in music.
Music Journalism
The diffusion of news and stories about the music industry, keeping the public informed about their favourite musicians, is the vital role of music journalists. These experts utilize various channels to reach their audience, including print publications, video platforms, and audio formats. Music journalists can be employed by a diverse range of entities, such as online blogs, recognized magazines, podcasts, wide-ranging websites, or even television and online broadcasts. Their responsibilities are comprehensive, surrounding the review of live performances and newly released music, in-depth reporting on developing trends within the music industry, conducting astute interviews with artists and bands, and crafting appealing biographical narratives that provide deeper insight into the lives and journeys of musicians.
We’ve had the opportunity to feature insightful conversations with artists such as The Tapi Project, Advaita, and Dot to name a few, offering a closer look into their creative journeys and musical philosophies. Head over to our Artist Spotlight category to explore more interviews and stories from the heart of the music scene.
Music Therapists
Music therapy is a dedicated and rewarding field that combines a profound passion for music with healing techniques to help individuals overcome a wide range of physical, emotional, and social difficulties. Music therapists plan, shape, direct, and evaluate clinical and evidence-based music therapy interventions with the goal of positively influencing individuals’ physical, psychological, cognitive, or behavioural status. The clients they work with can span all age groups and may have situations ranging from emotional or mental illness and learning or physical disabilities to developmental disorders, life-limiting conditions, neurological conditions, or physical illnesses.
The undergraduate curriculum for music therapy generally includes coursework in music therapy principles and methods, psychology, music theory and history, biological, social and behavioural sciences, an understanding of disabling conditions, and general studies.
Music Producers
The process of transforming a musical idea into a finished recording involves a variety of steps, and at the core of this process lies the music producer. Music producers are finally responsible for handling the entire recording, mixing, and mastering stages of songs and albums. They work in close partnership with artists to help them realize a specific aural vision for their music and often contribute to the inspired process by assisting with song writing and arrangement. The music producer aids as the creative driving force behind numerous iconic albums and songs, and their effect can be felt across almost in every genre of music.
GMI Students at Synergy Audio Productions, one of GMI’s industry partners with state of the art facilities and recording equipment in Gurugram.
Recording Engineers
Recording engineers play a very crucial part where every single original recording of a piece of music is preserved. Recording engineers ensure that every performance note is captured. They are also known as the technical wizards working on the instruments. They make sure that every note is captured with the proper levels and cleanly without any distortion or dilution. Their responsibilities include properly setting up and troubleshooting the recording equipment, capturing the right mics and other pieces of , songwriting equipmen, and finally doing the mixing and editing of the recording.
In-house studio at Global Music Institute
Just like in any occupation, the starting difficulty separating the prospects from the experienced professionals is knowledge and education. In this case, having a complete understanding of the principles in sound phenomena, acoustics, and more is vital, especially along with signal flow is critical. Also, having experience with a multitude of recording and mixing tools and software is crucial.
At GMI, we regularly feature students performing live covers from a diverse selection of songs as part of our GMI Jukebox series. These sessions are recorded in our on-campus studio and mixed by our very own music production students. This hands-on approach gives learners the opportunity to experience the full scope of the professional recording process—from setup to final mix—just like it’s done in the real world.
https://youtube.com/watch?v=HPHfGxkQuWE%3Fsi%3DswlpAMXRzEXd_qwRhttps%3A
This article discloses the extraordinary variety of career paths available within the music industry that goes far beyond the out-of-date image of the performing artist. From the tactical minds in production and management to the healing forces of music therapy, each of these roles is essential to the vibrant and complex world of music. The analysis underscores the dynamic and ever-evolving nature of the music industry, continuously generating new opportunities for individuals equipped with the right skills, knowledge, and, most importantly, a genuine passion for music in all its forms.
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Oshin Hephzibah /
The Drum: A Storyteller and Generator of Life
The Drum: A Storyteller and Generator of Life
Written by Lucas Fixel
In the Afroamerindiginous-Brazilian ancestral traditions, the drum is much more than just a musical instrument – it is a true storyteller and messenger of the cosmogonies that coexist in Brazil. It brings life and rhythm to the vastness of narratives and cultures. However, I suspect that something similar happens in other parts of the world as well. You don’t need to look far to see this: just look around, 100 meters away from where you are, and you’ll likely find something that resonates with this idea.
This reflection leads me to a provocation: if the drum has a voice, why don’t we always hear it? Why do we get so impressed with techniques, able to describe them easily, but when something truly moving happens on stage, it is almost indescribable? Why is the search for the “best instrument” so strong, knowing that sometimes it’s someone tapping on a dinner table that can make us cry?
Just like in the traditions of my land, I teach my drum to speak. I take care of it, I revere the instrument, and I am grateful for the opportunity to share life with it as we tell stories around the world.
You might be thinking, “This is all very beautiful, but how does this work in practice?” Well, nothing I’m going to share here was invented by me, nor is it something recent. These are ancient practices, and perhaps I’m only bringing them to you from my perspective. But they aren’t the only ones. Remember the exercise of the 100 meters? It is the starting point, the first step to integrating music into your daily life.
Exercise 1: Observe What’s Around You
Ask yourself every day: what is happening around me in the 100 meters surrounding me? What pedagogies and methods emerge? To be an artist, it’s essential to observe, feel, and reflect.
Every musical material has a story. Nothing comes from nothing. If you imagine an infinite spiral of events, you’ll see that they don’t collide, but rather intersect, hitting the same angles and forming what we call a cycle. And cycles are everywhere, just like rhythm.
Exercise 2: More Than the Sound
Learn at least one thing beyond the sonic shape (I prefer the word “shape,” instead of “pattern,” to describe music). Ask yourself questions like: Who is playing? What is her name? Where does she come from? What is the place she comes from like? What is the history of that place? How does she produce sound with the instrument? How is the drum tuned?
These questions are endless. You’ll notice that the grooves, which once seemed simple, now gain nuances beyond just the sonic material. I use the term “sonic material” to refer to sound because words like “music,” “rhythm,” and “harmony” carry much more than just sound.
Exercise 3: Teach Your Drum to Speak
Now that you and your drum are connected, it’s time to teach it to speak. Just like we learn our cosmogonies as children through stories told by our family – whether for bedtime or in daily life, through words, gestures, memories, and expressions – your drum also needs narratives to express itself.
One way to do this is:
- Choose a narrative. It could be something from your life, a book you’ve read, an ancestral story, or even a feeling you’re experiencing in the moment. Connect deeply with the story and allow it to affect you. When you’re ready, start playing, but don’t just think of “producing sound.” Play in a broader sense, like you would touch a fruit or a ball – without defined patterns, full of irregularities and instabilities. The idea of “error” disappears in this process, because “error” only inhibits the drum’s learning. You begin to create new ways of playing and explore sounds you’ve never tried, freeing yourself from the pressure of getting it “right” and simply telling a story.
- Now, let’s help the drum name what it feels. If the story begins serenely, for example, what brings you serenity when you’re playing? What does serenity sound like? Try describing that feeling and then apply it to the drum: which part of the drum or cymbals do you find that sound in? Is it dry, velvety, sharp, full of harmonics?
Do this exercise every day for a few minutes, and your drum will begin to learn to express what it feels.
- To tell a story, more layers are needed. Your drum needs to speak! How do you teach it to do that? Just like when we learn to say our first words, you need to teach your drum to speak. Now that you’re connected, you can start copying, observing around you, and imitating what you see and hear. How?
Through friends, shows, workshops, albums, videos, theater, dance, and much more. Start now: choose a groove you want to learn, listen to it enough to be able to sing it, dance it, feel the pulse and subdivision, and keep singing.
Identify the parts of the instrument being played, recognize what each part of your body is doing, how the subdivision is being played, where the accents are placed. Play the parts separately and then add layers without losing the groove.
But be careful: everything we learn in life has meaning, expressiveness, and is connected to our feelings. Teaching only the sonic form to the drum might seem like a shortcut, but it would turn your drum into a soulless imitator, without life.
Final Exercise: The Journey of a Lifetime
The last exercise for a lifetime: with every song you and your drum play, ask everything. Just like when we meet someone new who intrigues us, take a deep interest in the songs. If you’ve been accompanying your drum throughout life, it will bring all these layers into your art, and over time, you’ll discover so much more.
About Lucas:
Lucas is a drummer, composer, and music producer from Rio de Janeiro whose work is rooted in Afro-Indigenous traditions and rich rhythmic storytelling. His musical journey began in the Protestant church, symphonic bands, samba groups, and traditional Brazilian music.
At 17, Lucas moved to Spain to study jazz performance at SPJ, collaborating with global artists like Roman Filiu, Célia Mur, Paco Charlin, and Logan Richardson. After returning to Brazil, he earned a degree in musical arrangement from UNIRIO and joined a jazz and rock exchange program at Örebro University in Sweden.
Currently, Lucas performs with multiple artists, works as a producer and music director, and is celebrated for his original work Entorno(a)—a project showcasing his passion for improvisation and genre-blending creativity. We’re thrilled to have Lucas as faculty at Global Music Institute!
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Oshin Hephzibah /
The World of Breakcore
Written by Mrigank Singh; Edited by Sohaib Durrani
If I were to claim that Herbie Hancock had produced a drum & bass track, I might be met with skepticism, if not outright laughter. But Panepha says otherwise, it’s a track Herbie did with Method of Defiance on their Experimental Electronic album Inamorata.
The LP has a raw intensity. It is chaotic and aggressive, with smooth musical interplay between its production and performative elements. There is fluidity not just in its musical call and response but also the transitions between the different tracks within the album which feature revered artists across various different styles and genres. Karsh Kale on Aether meshing Tabla with drum breaks and Buckedhead on Babylon Decoder and Humanoid to name a few.
This goes to show the potential in DnB and Breakbeat and its versatility, to be able to blend and break genre boundaries to say the least. A common thread throughout the article will be decoding the artist’s intent looking at the synergy between the production, composition and performative work to discover that very potential.
Breakcore however takes things even further, being abbreviated from Breakbeat Hardcore. Andrew Whelan puts it the best,
“Breakcore is a post-rave hybrid musical style privileging percussive intensity and complexity, which draws, among other things, on 8bit or chip tune music, drum & bass, gabber techno, heavy metal, hip-hop, IDM, industrial and jungle”
(Whelan)
Producers can take on varying aesthetics with the genre.
Let’s start off with Christoph de Babalon’s haunting dark ambient soundscape in My Confession, the song starts off with introducing us to the recurring atmospheric theme that sets the tone, followed by constant and intricate drum breaks, with what feels like a secondary motif with the choked hats that catch the listeners attention. Christoph successfully conveys dread and horror, as he set out to do.
“Everybody was raving a little bit back then I guess, but I hated this ‘positive’ bullsh*it at the time. I wanted to express darkness and terror.”
(“Introversion And Terror: Christoph De Babalon Talks – Ransom Note”)
Venetian Snares’ Hajnal seamlessly blends orchestral works with frenetic breakbeats, creating an aesthetic dissonance quite reminiscent of Igor Stravinsky’s work, something that seems to be intended with the choice of sampling, ‘Three Pieces for Solo Clarinet’ (Stravinsky), perhaps used as pastiche. His work on Rossz Csillag Alatt Született highlights the highly sample based nature of breakcore, not just for the drum breaks but for orchestral, harmonic and melodic elements as well, opening up the conversation about the perception of electronic music and musicians by the industry and its stakeholders. This tension mirrors the larger debate about composition in electronic music—how much of it is ‘arranged’ versus ‘produced’?
“producer has rather distant and anonymous qualities: one does not generally speak of ‘bedroom musicians’ or ‘bedroom composers’ ”
(Whelan)
Whelan speaks of how electronic music is considered to be “produced” rather than “arranged” or “composed”, even though all three operate in tandem, especially in today’s day and age. Hopefully this perception shall get blurrier moving forward as genre boundaries get thinner and musicians develop more skills, collaborate and experiment.
This becomes apparent when looking at Igorrr, an artist that fuses breakcore with heavy metal and baroque music. His song Tout petit moineau, is a great example of artist collaboration with other performers to compose new material rather than just sample, as he collaborates with Benjamin Violet and Laure Le Prunenec for strings and guitars respectively. Their operatic vocals and subtle strings add to the song’s aesthetic and texture in an organic fashion, demonstrating how their approach further challenges the traditional distinction between a ‘composer’ and a ‘producer’. However it is important to note that even then, Igorrr doesn’t shy away from sampling completely as the main piano melody is taken from Beethoven’s Piano Trio in E-flat major, Op. 1 No. 1.
A still from ‘Downgrade Desert’ by Igorrr; Image Copyright: Svarta Photography
Sampling as a practice is engrained in Breakcore and DnB’s DNA, and shying away from it would be antithetical to the sound itself which is bolstered by the fact that sampling led to the conception of these genres as we know them. All of the songs in the article have the Amen Break (The Winstons), in fact it is safe to say that it is the signature sound of the genre itself.
Drum Transcription of the Amen Break
“these artists gravitated toward the short drum solo on ‘Amen, Brother,’ a 1969 B-side by a Washington D.C. soul outfit called The Winstons. So essential that it’s almost impossible to conceive of jungle or drum & bass without it, the Amen Break is the percussive backbone of countless tracks and the source of many of the genre’s idiosyncrasies.”
Finally, there’s a new wave of modern breakcore that’s made the genre more synonymous with hyperpop and glitchcore, in many ways differing notably in spirit from what’s come before, in the same way that phonk is now synonymous with dance music rather than trap (Ward et al.). Artists like Goreshit and Sewerslvt take a more textural, lo-fi approach, often incorporating elements of shoegaze and vaporwave into their sound.
This is the sound that may very well be associated with Breakcore by future audiences. It’s a thought that I personally found somewhat disconcerting—not because this new sound is lacking in quality, but because I had hoped for the legacy of older Breakcore and its defining sonic characteristics to be expanded upon and refined, rather than undergoing a fundamental shift. However, I later came to realize that this perspective was both misguided and somewhat immature. I found solace in the understanding that the music I love and admire will always be there for me to revisit, and that resistance to change is a natural human tendency—one that shouldn’t dictate the evolution of musical genres.
This transformation of Breakcore—its evolution from underground experimentalism to new mainstream influences, can be understood through the concept of Genre Synecdoche and Genre Drift. Just as DnB and jungle borrowed from jazz and reggae, modern Breakcore borrows from pop, classical, and internet culture, redefining itself with each generation.
The question of whether electronic musicians are “producers” or “composers” will likely persist, but as genre boundaries blur, so too will these definitions.
Works Cited:
Defiance, Method Of. Panepha. 1 Oct. 2007, https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview125/v4/4b/ee/8f/4bee8fba-c25f-f57a-c4f3-46bb3a4718c3/mzaf_9192422114100256487.plus.aac.p.m4a.
“Introversion And Terror: Christoph De Babalon Talks – Ransom Note.” Ransom Note, https://www.facebook.com/theransomnote, 19 Aug. 2021, https://www.theransomnote.com/music/interviews/introversion-and-terror-christoph-de-babalon-talks/.
Snares, Venetian. Hajnal. 14 Mar. 2005, https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview115/v4/17/9c/a7/179ca7cf-91f1-d7ac-c928-2c89c12092c7/mzaf_3794742425809494626.plus.aac.p.m4a.
Stravinsky, Mats Lofving &. Igor. 3 Pieces for Solo Clarinet. 1 Jan. 1989, https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview211/v4/77/1b/0b/771b0b58-0588-6b6b-28cc-f8235c746e9c/mzaf_10902709133015283480.plus.aac.p.m4a.
Whelan, Andrew. Breakcore. Cambridge Scholars Publishing, 2009.
Tagg, Philip. “Towards a Sign Typology of Music.” (2015).
Ward, Andy, et al. “How a Global Crisis, Drift Racing and Memphis Hip-Hop Gave Us Phonk – the Music of the TikTok Generation | UniSC | University of the Sunshine Coast, Queensland, Australia.” UniSC | University of the Sunshine Coast, Queensland, Australia, https://www.usc.edu.au/about/unisc-news/news-archive/2024/april/how-a-global-crisis-drift-racing-and-memphis-hip-hop-gave-us-phonk-the-music-of-the-tiktok-generation? Accessed 10 Mar. 2025.
Defiance, Method Of. Aether. 1 Oct. 2007, https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview118/v4/b6/b4/1c/b6b41ce2-3751-5e46-56db-ae80360a1db0/mzaf_4705716815127854381.plus.aac.p.m4a.
—. Babylon Decoder. 1 Oct. 2007, https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview128/v4/7c/5b/c1/7c5bc116-dbd5-707a-c0bd-6822c052b42b/mzaf_1756535191421159033.plus.aac.p.m4a.
—. Humanoid. 1 Oct. 2007, https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview125/v4/40/fb/2b/40fb2b5d-bea9-42f2-54a5-65633945e8c8/mzaf_9510449364640363637.plus.aac.p.m4a.
The Winstons. Amen, Brother. 15 Dec. 1969, https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview125/v4/56/71/6f/56716f11-75a4-8f81-7903-ee9e5a7cfae3/mzaf_7127082136266884505.plus.aac.p.m4a.
Rihn, Joe. “Beatport’s Definitive History of Drum & Bass.” A Platform for and by Music Creators | Beatportal, https://www.beatportal.com/articles/4445-beatports-definitive-history-of-drum-bass. Accessed 29 Mar. 2025.
Goreshit. Fine Night. 1 Nov. 2011, https://audio-ssl.itunes.apple.com/itunes-assets/AudioPreview125/v4/5b/18/b3/5b18b337-d5d7-909c-5caf-36c7c34eb5b5/mzaf_4055129869456060747.plus.aac.p.m4a.
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Oshin Hephzibah /
Online Career Summit 2025: Empowering Careers in Music
By Jay Anand, Lead Institutional Growth & Partnerships at GMI
The Global Music Institute (GMI) successfully hosted the second edition of its Online Career Summit (OCS) on March 19, 2025. Designed to connect students and alumni with leading industry professionals, this year’s summit saw remarkable growth and impact, offering exciting opportunities for emerging musicians.
A Growing Platform for Career Advancement
The second edition of OCS welcomed over 60+ participants, including 23 leading companies from various sectors such as licensing, distribution, media, publishing, education, management, and technology. Compared to last year’s inaugural edition, which featured eleven companies, this expansion highlights the increasing industry recognition and trust in GMI’s Career Development Division (CDD).
Among the key participating organizations were industry leaders such as Represent, Believe, Tunecore, IPRS, Compass Box Studio, Groover, Madverse, and Fairplay, with representatives offering valuable insights into career pathways and mentorship in music.
Opportunities Created: Jobs, Internships, and Mentorships
One of the most impactful outcomes of the summit was the sheer number of career opportunities created. This year, more than 40+ roles were offered across various industry verticals, including internships, full-time jobs, and mentorship programs. Additionally, 15+ professionals from different domains, including licensing, production, media, and business development, provided mentorship to students and alumni.
Beyond Performance & Production: Why Business Roles Matter
A significant takeaway from the summit was how students specializing in Performance and Music Production benefited from engaging in the business side of the industry. Many of the offered roles—spanning marketing, A&R, publishing, licensing, and artist management—allowed students to understand how music careers are built and sustained beyond just artistry.
By working in industry-focused roles, students gained:
- A holistic view of the music ecosystem – Understanding how labels, distribution, and licensing work helps artists navigate their own careers effectively.
- Stronger career longevity – Artists who grasp marketing, publishing, and management principles can sustain independent careers while also creating diverse revenue streams.
- Networking advantages – Engaging with industry professionals in business settings opens doors to collaborations, sync deals, and performance opportunities.
- Enhanced creative control – Knowing how music is promoted and monetized empowers artists to make informed decisions about their own work.
Preparing Students for the Industry
Leading up to the event, GMI ensured that students were well-equipped to present themselves professionally. Jay Anand, Lead Institutional Growth & Partnerships at GMI, conducted two preparatory sessions:
- How to Prepare a Resume as a Musician
- Crafting an Effective EPK (Electronic Press Kit)
These workshops helped students refine their presentation skills, ensuring they could make a lasting impression on potential employers and mentors during the summit. Beyond OCS, GMI’s Career Development Division (CDD) hosts industry-related workshops and masterclasses throughout the year, fostering meaningful conversations, networking opportunities, and industry insights. These initiatives ensure that students remain well-prepared and engaged with the evolving music industry landscape, strengthening their readiness for professional success.
Industry Insights and Student Experiences
Throughout the event, industry leaders shared key insights into the evolving music landscape, offering guidance on career growth, industry trends, and best practices for navigating the professional world.
“It was a lot of fun sharing my experiences with the students. Even during the workshop at my Studio Synergy Audio Productions , the students were so enthusiastic. It was makes it a lot more fun to interact.”
— Rohan Solomon, Synergy Audio Productions
“It was a great experience to connect with all the students and industry folks at GMI’s Career Summit session.
We got an opportunity to have one on one session with students which gave us a great insights to what the aspiring talent in the music space is wanting and looking for, they were all very excited to receive our professional opinion.
I look forward to more session like this.”
— Hina Shaikh, Horus Music
Growth at a Glance: OCS 2024 vs 2025
- 2024: 11 participating companies, 94% placement rate, 17 career opportunities
- 2025: 23 participating companies, 42 career opportunities, expanded mentorship programs
The surge in participation and opportunities underscores GMI’s commitment to creating a structured bridge between education and professional success.
The Vision Behind the Career Development Division (CDD)
The Career Development Division (CDD) at GMI is dedicated to empowering the next generation of musicians by providing structured career support, mentorship, and networking opportunities. As a key vertical within GMI—alongside Admissions and Marketing—CDD ensures that students are not only exceptional artists but also industry-ready professionals who can confidently navigate the evolving music landscape.
Looking Ahead
The success of OCS 2025 sets the stage for an even bigger and more impactful summit in the future. As we continue to build strong partnerships and expand career opportunities for our students, GMI remains committed to shaping the future of music education and professional development.
Stay tuned for more updates, student success stories, and insights from our industry partners!
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Oshin Hephzibah /
Messages (Paigam) From The Mystics: A conversation with The Tapi Project
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Oshin Hephzibah /
Storytelling in Songwriting: Two Techniques for Writing Compelling Lyrics
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Know Our Partner: LASALLE College of the Arts
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Advaita: A Journey of Fusion, Friendship, and the Power of Non-Duality
band indian band hindustani classical coke studio Global Music Institute global music Music Diploma delhi music schools indian music fusion advaita music
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Ancient Footprints: A Letter From Leonard Brown
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New Wave: Inspire. Empower. Transform
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