Theatre Design & Technology - May 1966 - 8

By 1942, an agreement was forged which recognized
AFM jurisdiction over concert instrumentalists and
accompanists.
AGMA remained the exclusive bargaining agency for solo concert artists, including
solo instrumentalists, for the purpose of their activities in the concert field. AGMA therefore does not
control "accompanists, conductors, arrangers, instrumenta I groups and orchestra s {symphony and
opera, etc.)."10
The Guild's Constitution further
states that it is "the purpose and intent of the Guild
to co-operate with the American Federation of
Musicians, within their respective jurisdiction, for
the common good." 11

tion claiming over 277,400 members in 680 regional
groups located throughout the United States and
Canada.

AGMA is organized with five artistic categories:
Choristers; Dancers and Choreographers; Solo Singers
and Narrators; Instrumentalists; and Stage Managers,
Stage Directors and their Assistants.
In addition,
the union separates its 4,500 performing members
into nine classifications: Active Solo, Chorus, and
Dance Members (who have appeared in 12 productions
and have been AGMA members for one year); Associate Solo, Chorus, and Dance Members; Honorary
Members; Charter Members; and Active Life Members
(nominated for their distinguished service). Active
choristers are further divided into members (A) who
have passed the AGMA audition requirement of
fifteen standard grand operas, (B) members who have
not, and (C) Concert Choristers. Dancers may be
classified as Premier Dancers, Coryphee, or Corps
de Ballet.

problem encountered by many other unions with similar policies. AFM does work to aid its members by
creating job opportunities, providing benefits outside
employment, enforcing wage scales, and exactly
specifying working conditions.

The union faces a continuing problem caused by the
oversupply of instrumental performers. This condition began in the late 1920's when talking movies
began to take the place of vaudevi lie with its live
orchestras.
Radio, television, and electrical transcriptions have further reduced the need for live
performance.
A report published in the 1963-64
Occupational Outlook Handbook 13 paints a continuing dark picture for the remainder of the 1960's.
Concerts, recitals, major orchestra openings, uniSince AGMA's activities exist on several orofessional versity and college jobs, private teaching, live night
levels, itis difficult to provide a single chronological. clubs and theatre performance opportunities-all these
list of their accomplishments. Three, however, stand present a demand much smaller than the number of
out as basic to the Guild's over-all success.
The available and qualified musicians. The authors of
first union agreement negotiated by AGMA was signed the Handbook also contend that "opportunities for
with the Southern California Symphony Association in performers are not expected to increase over the long
1935. Opera jurisdiction was established with the run."14 This problem has been studied by the AFM
Metropolitan Opera in 1938. The concert field was since its 1928 Convention.
organized by a basic bargaining agreement signed in The Federation admits all professional musicians.
1939 with a group that became the National Concert As a result, it has not been able to limit its memberand Artists Corporation.
sh ip and thereby ba lance supply-demand inequa Iity-a

A public music fund administered by AFM provides
admission-free musical entertainment in communities
allover the United States and Canada. It is financed
mostly by employers in the recording industry and
has existed since 1943-first as the AFM Trust Fund
and later as the Mu sic Performance T rus t Fund. T 0day, the MPTF is the largest employer of singleengagement musicians.
The same idea (royalties
from recorded music) has also been extended to
segments of the television industry who U5e filmed
music.

The American Federation of Musicians maintains
"Any person who ha s performed, now performs or a Department of Legislation in Washington to activeintends to perform within the jurisdiction of the
ly pursue its interests with members of Congress.
Guild ... shall be eligible for membership."12
This lobbying activity resulted in the first halving of
the federal "cabaret tax," an assessment the FederaAMERICAN FEDERATION OF MUSICIANS (AFM) tion has always regarded as unfair to its interests.
The AFM is the last performer union to be discussed The tax was toto Ily removed in December 1965.
and the only one which is not under the umbrella of
The Annual Congress of Strings is an educational
the AAAA.
activity sponsored by the union and its locals. Its
The AFM was preceded by an organization called the purpose is to discover and encourage young, skilled,
National League of Musicians. The League, active string players. AFM locals award free annual summerduring the 1800's; was dominated by members who school scholarships to provide instruction to qualified
considered themselves artists as opposed to crafts- participants. Symphony Symposia are also sponsored
men.
After ten years, controversy over this point with the purpose of improving wages, working condicaused the League's dissolution.
The Federation tions, and playing seasons for symphony orchestras.
was, in fact, created as a result of disagreement
The AFM Constitution states that: "The object of
concerning international affiliation. The American
the American Federation of Musicians shall be to
Federation of Musicians has held an AFL charter
unite all local unions of musicians ... into one grand
since its beginning on October 19, 1896.
organ ization for the purpose of genera I protecti on and
The musicians started with a membership of 6,000 in advancement of their interests and for the purpose of
only 26 Locals. However, AFM has grown during its enforcing good faith and fair dealing ... "15 The folseventy years into a complex and powerful organiza- lowing appears in the By-Laws: "Consistent with

8

InSITT

THEATRE DESIGN AND TECHNOlrK;Y



Table of Contents for the Digital Edition of Theatre Design & Technology - May 1966

Contents
Theatre Design & Technology - May 1966 - 1
Theatre Design & Technology - May 1966 - 2
Theatre Design & Technology - May 1966 - 3
Theatre Design & Technology - May 1966 - Contents
Theatre Design & Technology - May 1966 - 5
Theatre Design & Technology - May 1966 - 6
Theatre Design & Technology - May 1966 - 7
Theatre Design & Technology - May 1966 - 8
Theatre Design & Technology - May 1966 - 9
Theatre Design & Technology - May 1966 - 10
Theatre Design & Technology - May 1966 - 11
Theatre Design & Technology - May 1966 - 12
Theatre Design & Technology - May 1966 - 13
Theatre Design & Technology - May 1966 - 14
Theatre Design & Technology - May 1966 - 15
Theatre Design & Technology - May 1966 - 16
Theatre Design & Technology - May 1966 - 17
Theatre Design & Technology - May 1966 - 18
Theatre Design & Technology - May 1966 - 19
Theatre Design & Technology - May 1966 - 20
Theatre Design & Technology - May 1966 - 21
Theatre Design & Technology - May 1966 - 22
Theatre Design & Technology - May 1966 - 23
Theatre Design & Technology - May 1966 - 24
Theatre Design & Technology - May 1966 - 25
Theatre Design & Technology - May 1966 - 26
Theatre Design & Technology - May 1966 - 27
Theatre Design & Technology - May 1966 - 28
Theatre Design & Technology - May 1966 - 29
Theatre Design & Technology - May 1966 - 30
Theatre Design & Technology - May 1966 - 31
Theatre Design & Technology - May 1966 - 32
Theatre Design & Technology - May 1966 - 33
Theatre Design & Technology - May 1966 - 34
Theatre Design & Technology - May 1966 - 35
Theatre Design & Technology - May 1966 - 36
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http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966May
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1966Feb
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Dec
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965Oct
http://www.nxtbook.com/nxtbooks/hickmanbrady/tdt_1965May
http://www.nxtbookMEDIA.com