Elements and Performance Criteria

The range statement relates to the unit of competency as a whole. It allows for different work environments and situations that may affect performance. Bold italicised wording, if used in the performance criteria, is detailed below. Essential operating conditions that may be present with training and assessment (depending on the work situation, needs of the candidate, accessibility of the item, and local industry and regional contexts) may also be included.
Relevant personnel may include:
artists and performers
artist managers
publishers
advertising agencies
public relations companies
media personnel, such as:
broadcasters
critics
journalists
digital distributors/aggregators.
Aspects of creative acts may include:
artists' culture, image and stage name
artwork associated with performances and recordings
characteristics of artists' live and recorded sound
current and predicted popularity, professionalism, status and standard of artists
past, current and predicted collaborations with other artists
popularity of artists' style, genre and repertoire with intended audience demographic, including:
age
artistic preferences
competing interests
cultural affiliations
disposable income
loyalty
predicted spending patterns
projected personality of artists, e.g. media or stage
recent successes of artists, including:
radio
television
online
live performances
recordings.
Artists may include:
arrangers
composers
songwriters
performers:
musicians
singers
dancers
actors
circus performers
writers
visual artists
craftspeople
designers.
Risk analysis may involve:
balancing artistic returns with promotional costs
balancing average bar tab per head of audience from recent performances with anticipated audience numbers for future performances
balancing expectations and preferences of audience to style, genre and repertoire of artist
balancing market appeal of artist with anticipated audience loyalty
balancing ticket prices with predicted spending patterns of intended audience demographic
mitigating non-attendance of audience, artists and/or promotional staff.
Activities may include:
advertisements
attention-seeking gimmicks
competitions
industry functions
internet broadcasts
live performances:
auditions
festival appearances
headline acts
supporting acts
media announcements and interviews
podcasts
product launches, e.g. artist websites
radio broadcasts
television appearances.
Strategies may be for:
live events
print media
online:
artists' own websites
social networking sites
digital distribution agents
radio
television.
Media outlets may include:
print
television
radio
internet:
artists' websites
broadcast email lists
YouTube
Facebook
MySpace
blogs
digital communication devices, e.g. mobile phones.
Promotional materials may include:
artist profiles, e.g. biographical and professional
artist websites
print, such as:
banners
brochures
business cards
flyers
handbills
pamphlets
posters
stickers
demonstration recordings:
digital downloads
filmed performances
interactive media products, e.g. podcast
music recording and/or videos, e.g. CD and DVD
media kits
novelty giveaways
photographs
portfolios
presentations
press releases
prototypes
publicity shots
reviews
scores
T-shirts.
Design principles may include:
accuracy
brevity
conciseness
amusing
attractive and well presented
clearly reflective of genre and musical culture of artist
convincing
creative
easy to read
media readiness, such as:
clarity of photographs
quality of recordings
resolution of digital images
visually interesting.
Capturing publicity opportunities may include:
filming
audio recording
photographing.
Sources may include:
discussions with industry personnel and promotional consultants
music charts, including:
internet
radio
television
print
music downloads, websites and blogs
industry associations
media, including:
articles
bulletins
directories
information sheets
journals
magazines
newsletters
reviews
subscriptions
trade papers
industry productions and events, including:
awards
competitions
conferences
conventions
exhibitions
festivals
functions
performances
trade fairs
suppliers of products and services.
Industry knowledge may relate to:
business trends:
360 degree business model
all rights under one deal
passive rights deal
distributed patronage
new and emerging distribution systems
new forms of marketing, branding and product placement
alliances with allied technologies and businesses
revenue structures
opportunities for increased airplay of music through:
digital radio
digital television
mobile phones
internet
advances in software applications
new terminology
social, political and environmental developments
changing nature of work, including:
occupations that are disappearing and how they are being replaced
changes to the mix of skills and knowledge required in different areas of the industry.
Industry contacts may include:
artist and repertoire (A&R) managers
artist managers
artists
booking agents
education and training organisations
entrepreneurs
legal counsel and accountants
digital distributors/aggregators
industry associations
journalists
producers
promoters
publishers
wholesalers and retailers
radio presenters
record producers
recording engineers
studio/venue managers
production personnel, such as:
front-of-house
lighting
sound
staging
vision systems
tour managers.
Dealing effectively with the media may involve:
ensuring that the message conveyed in media interviews promotes the artists' image
maximising media opportunities for artists
techniques for responding to and prompting different types of questions, such as:
clarifying
basic questions of the 'what', 'who', 'where', 'why' and 'how' variety
closed or open-ended
hypothetical
leading.

The Evidence Guide provides advice on assessment and must be read in conjunction with the performance criteria, required skills and knowledge, range statement and the Assessment Guidelines for the Training Package.
Overview of assessment

Critical aspects for assessment and evidence required to demonstrate competency in this unit
Evidence of the ability to:
develop viable promotional strategies for an artist or creative act
promote the artist or creative act in line with promotional strategies
develop and maintain a network of contacts for promotional purposes.
Context of and specific resources for assessment
Assessment must ensure:
access to an environment where promotional activities can be actively and safely facilitated
access to artists and industry contacts
use of culturally appropriate processes, and techniques appropriate to the language and literacy capacity of the candidate and the work being performed.
Method of assessment
The following assessment methods are appropriate for this unit:
case studies to assess candidate's ability to communicate effectively within a range of promotional situations
direct observation of candidate promoting creative acts
written or oral questioning to assess knowledge of testing and sampling strategies
problem-solving activities to assess ability to manage contingencies in promotional activities.
Guidance information for assessment
Holistic assessment with other units relevant to the industry sector, workplace and job role is recommended.