Choirmaster/choirmistress to musician
A choirmaster/choirmistress already meets 15% of what the musician role asks for. The move turns on 15 required skills not yet in the profile.
85.9/ 100
1 How much of what a musician is expected to do is already part of a choirmaster/choirmistress’s work. Directional: the figure for the reverse move differs, because moving into a speciality is not the same problem as moving out of one. 2 Every skill the musician role is recorded as needing, required and optional together. What these numbers mean.
Why this move works
A musician role treats 1 of its required skills as things a choirmaster/choirmistress already does. You would walk in with these on day one.
- work with composers
What stands in the way is 15 required skills the profile does not yet cover. Table 3 groups them; Table 4 says which to take first.
Table 2 · What you already bring
Of the 12 skills that carry over, these are the ones fewest other occupations ask for. A musician role needs them, and most people applying for one will not have them already. This is the part of a choirmaster/choirmistress background worth leading with.
- already held manage musical staff management skills
- already held select musical performers management skills
- already held study musical scores information skills
- already held develop musical ideas communication, collaboration and creativity
- already held work with composers communication, collaboration and creativity
- already held collaborate with music librarians communication, collaboration and creativity
All 12 carried skills, including the 1 the musician role treats as required.
Table 3 · What you may need to learn
The 50 missing skills fall into 7 areas of the ESCO skill hierarchy, numbered in the order worth working in. Areas carrying the most required skills come first, and inside each one the required skills sit above the optional ones. Nothing here is a verdict on you: it is a list of what this particular job asks for that your current one does not.
- still to learn follow time cues required
- still to learn perform live required
- still to learn study roles from scripts required
- still to learn work independently as an artist required
- still to learn work with an artistic team required
- still to learn attend rehearsals required
- still to learn collaborate with a technical staff in artistic productions required
- still to learn follow directions of the artistic director required
- still to learn interact with an audience required
- still to learn interact with fellow actors required
- still to learn manage feedback required
- optional, not held act for an audience optional
- optional, not held advise on music pedagogy optional
- optional, not held complete final musical scores optional
- optional, not held compose music optional
- optional, not held create musical forms optional
- optional, not held design a music show optional
- optional, not held draw up artistic project proposals optional
- optional, not held evaluate musical ideas optional
- optional, not held improvise music optional
- optional, not held manage artistic career optional
- optional, not held orchestrate music optional
- optional, not held participate in artistic mediation activities optional
- optional, not held participate in music studio recordings optional
- optional, not held perform for young audiences optional
- optional, not held perform music in ensemble optional
- optional, not held perform music solo optional
- optional, not held play musical instruments optional
- optional, not held play the piano optional
- optional, not held promote music optional
- optional, not held record music optional
- optional, not held rewrite musical scores optional
- optional, not held select music for performance optional
- optional, not held sing optional
- optional, not held specialise in a musical genre optional
- optional, not held transcribe ideas into musical notation optional
- optional, not held transcribe musical compositions optional
- optional, not held transpose music optional
- optional, not held write musical scores optional
- still to learn cope with stage fright required
- still to learn organise a repertoire required
- still to learn analyse own performance required
- optional, not held manage artistic project optional
- optional, not held work within communities optional
- still to learn legal environment in music required
- optional, not held link between dance and music style optional
- optional, not held musical instruments optional
- optional, not held perform musical improvisations in therapy optional
- optional, not held study music optional
1 further area in the appendix
Table 4 · Where to start
The 3 entries a musician role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 cope with stage fright practise this
- 02 follow time cues practise this
- 03 legal environment in music study this
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 12 skills that carry over
- already held work with composers skill
- already held collaborate with music librarians skill
- already held develop musical ideas skill
- already held manage musical staff skill
- already held music literature knowledge
- already held musical genres knowledge
- already held musical theory knowledge
- already held plan musical performances skill
- already held read musical score skill
- already held select musical performers skill
- already held study musical scores skill
- already held supervise music groups skill
The 1 learning area not shown above
- optional, not held edit recorded sound optional
35 supplementary skills, helpful but not required
- optional, not held act for an audience optional
- optional, not held advise on music pedagogy optional
- optional, not held complete final musical scores optional
- optional, not held compose music optional
- optional, not held create musical forms optional
- optional, not held design a music show optional
- optional, not held draw up artistic project proposals optional
- optional, not held edit recorded sound optional
- optional, not held evaluate musical ideas optional
- optional, not held improvise music optional
- optional, not held link between dance and music style optional
- optional, not held manage artistic career optional
- optional, not held manage artistic project optional
- optional, not held musical instruments optional
- optional, not held orchestrate music optional
- optional, not held participate in artistic mediation activities optional
- optional, not held participate in music studio recordings optional
- optional, not held perform for young audiences optional
- optional, not held perform music in ensemble optional
- optional, not held perform music solo optional
- optional, not held play musical instruments optional
- optional, not held play the piano optional
- optional, not held promote music optional
- optional, not held record music optional
- optional, not held rewrite musical scores optional
- optional, not held select music for performance optional
- optional, not held sing optional
- optional, not held specialise in a musical genre optional
- optional, not held study music optional
- optional, not held transcribe ideas into musical notation optional
- optional, not held transcribe musical compositions optional
- optional, not held transpose music optional
- optional, not held write musical scores optional
- optional, not held perform musical improvisations in therapy optional
- optional, not held work within communities optional
17 held skills the musician role does not ask for
- not needed by the target role art-historical values knowledge
- not needed by the target role business management principles knowledge
- not needed by the target role collaborate with choreographers skill
- not needed by the target role communicate performance aspects skill
- not needed by the target role conduct guest soloists skill
- not needed by the target role coordinate performance tours skill
- not needed by the target role cultural projects knowledge
- not needed by the target role develop cultural activities skill
- not needed by the target role engage composers skill
- not needed by the target role manage fundraising activities skill
- not needed by the target role organise cultural events skill
- not needed by the target role participate as a performer in the creative process skill
- not needed by the target role position musicians skill
- not needed by the target role select vocalists skill
- not needed by the target role strive for excellence in musical performance skill
- not needed by the target role subject of music coaching knowledge
- not needed by the target role work with soloists skill
3 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- still to learn legal environment in music required
- optional, not held link between dance and music style optional
- optional, not held musical instruments optional
Other moves recorded from choirmaster/choirmistress
Common questions about this move
Can a choirmaster/choirmistress become a musician?
Yes, and it is a career change move. A choirmaster/choirmistress already covers 15% of what a musician is expected to do: 12 skills carry over, 1 of which the musician role treats as required.
What skills does a choirmaster/choirmistress need to become a musician?
15 required skills are missing, plus 35 optional ones. They fall into 7 areas of the ESCO skill hierarchy, led by communication, collaboration and creativity. The single most important is cope with stage fright.
How hard is the move from choirmaster/choirmistress to musician?
Its learning distance is 85.9 out of 100, which is the career change band. That accounts for both how much is missing and how specialised those skills are.
How this record was compiled
Both occupations are taken from ESCO, which lists the skills and knowledge each occupation is expected to have and marks every one required or optional. Nothing here is a prediction about hiring, and nothing here knows that a particular employer wants a particular certificate. Treat Table 3 as a starting point for your own research rather than a syllabus. The full method states what these figures can and cannot tell you.