artistic coachtorépétiteur
A artistic coach already meets 30% of what the répétiteur role asks for. The move turns on 20 required skills not yet in the profile.
30%
75.5/ 100
1 Share of the répétiteur role’s weighted skill requirement already met by the artistic coach profile. Required skills count in full, supplementary skills at 0.35. Directional: the figure for the reverse move differs. 2 Combines what is missing with how specialised it is, so a gap of general skills scores easier than the same number of narrow ones.
Why this move works
A répétiteur role treats 8 of its required skills as things a artistic coach already does. These are the ones it depends on most.
- create a work environment where performers can develop their potential
- identify performers' needs
- maintain safe working conditions in performing arts
- manage artistic career
- manage personal professional development
- stimulate performers' imagination
What stands in the way is 20 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 13 skills that carry over, these are the ones fewest other occupations ask for. A répétiteur role needs them, and most people applying for one will not have them already. This is the part of a artistic coach background worth leading with.
- already held work with broad variety of personalities communication, collaboration and creativity
- already held identify performers' needs communication, collaboration and creativity
- already held create choreographic material communication, collaboration and creativity
- already held stimulate performers' imagination management skills
- already held create a work environment where performers can develop their potential management skills
- already held subject of music coaching education
All 13 carried skills, including the 8 the répétiteur role treats as required.
Table 3 · What you would need to learn
The 28 missing skills fall into 6 areas of the ESCO skill hierarchy, numbered below in the order worth working in: the areas carrying the most required skills come first, and inside each one the required skills sit above the supplementary ones.
- required, not held select music for training required
- required, not held self-promote required
- required, not held participate in music studio recordings required
- required, not held play musical instruments required
- required, not held prepare rehearsals required
- required, not held read musical score required
- required, not held transpose music required
- required, not held work with an artistic team required
- required, not held write musical scores required
- required, not held develop a coaching style required
- required, not held manage feedback required
- optional, not held analyse a script optional
- optional, not held develop drama production process optional
- optional, not held identify requirements of the work in the artistic performance optional
- optional, not held manage prompt book optional
- optional, not held perform music in ensemble optional
- optional, not held perform music solo optional
- optional, not held prompt performers optional
- optional, not held record music optional
- required, not held music literature required
- required, not held musical theory required
- required, not held intellectual property law required
- required, not held labour legislation required
- required, not held analyse music score required
- required, not held study music required
- required, not held guide performers' training sessions required
- required, not held analyse own performance required
- required, not held perform musical improvisations in therapy required
Table 4 · Where to start
The 3 entries a répétiteur role is least likely to hire without. The ordering is computed from the skill data, not from what pays.
- 01 select music for training skill · occupation specific
- 02 self-promote skill · occupation specific
- 03 analyse music score skill · sector specific
Each entry opens a course search for that skill. Career Overlap earns nothing from these links.
Appendix · The rest of the record
All 13 skills that carry over
- already held create a work environment where performers can develop their potential skill
- already held identify performers' needs skill
- already held maintain safe working conditions in performing arts skill
- already held manage artistic career skill
- already held manage personal professional development skill
- already held stimulate performers' imagination skill
- already held subject of music coaching knowledge
- already held work with broad variety of personalities skill
- already held create choreographic material skill
- already held develop codified movements skill
- already held manage artistic project skill
- already held show intercultural awareness skill
- already held work in an international environment skill
8 supplementary skills, helpful but not required
- optional, not held analyse a script optional
- optional, not held develop drama production process optional
- optional, not held identify requirements of the work in the artistic performance optional
- optional, not held manage prompt book optional
- optional, not held perform music in ensemble optional
- optional, not held perform music solo optional
- optional, not held prompt performers optional
- optional, not held record music optional
22 held skills the répétiteur role does not ask for
- not needed by the target role analyse your fight discipline expertise skill
- not needed by the target role assess data collected to improve community arts programme skill
- not needed by the target role assess your competences for artistic coaching skill
- not needed by the target role be a role model in community arts skill
- not needed by the target role clarify how various components work together skill
- not needed by the target role collaborate with coaching team skill
- not needed by the target role contribute to the choreographer's process of reflection skill
- not needed by the target role create new fight sequences skill
- not needed by the target role define artistic approach skill
- not needed by the target role describe artistic experience skill
- not needed by the target role develop methods for choreographic integration skill
- not needed by the target role develop proposed choreographic language skill
- not needed by the target role identify artistic niche skill
- not needed by the target role inspire dance participants to improve skill
- not needed by the target role inspire enthusiasm for dance skill
- not needed by the target role manage participants' expectations in arts skill
- not needed by the target role match needs of target community with your skills skill
- not needed by the target role provide arts coaching sessions skill
- not needed by the target role study community as a target community skill
- not needed by the target role teach dance skill
- not needed by the target role understand the emotional dimension of a performance skill
- not needed by the target role work with respect for own safety skill
4 gaps that are knowledge rather than practice
Knowledge gaps usually close through study. Practical skill gaps usually need something you can point at.
- required, not held music literature required
- required, not held musical theory required
- required, not held intellectual property law required
- required, not held labour legislation required
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.