{"id":1909,"date":"2012-02-22T10:31:10","date_gmt":"2012-02-22T15:31:10","guid":{"rendered":"https:\/\/www.icsom.org\/senzasordino\/?p=1909"},"modified":"2019-03-22T10:42:03","modified_gmt":"2019-03-22T14:42:03","slug":"perilous-life-symphony-orchestras-artistic-triumphs-economic-challenges","status":"publish","type":"post","link":"https:\/\/www.icsom.org\/senzasordino\/2012\/02\/perilous-life-symphony-orchestras-artistic-triumphs-economic-challenges\/","title":{"rendered":"The Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges<\/em>"},"content":{"rendered":"

\"\"Title<\/strong>: The Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges<\/em>
\nAuthor<\/strong>: Robert J. Flanagan
\nPublisher<\/strong>: Yale University Press
\nPublication Date<\/strong>: January 24, 2012 [December 05, 2011 according to publisher website]
\nISBN<\/strong>: 9780300171938
\nHardcover<\/strong>: 240 pages<\/p>\n

N<\/span>o one is going to read this book.<\/p>\n

Well, perhaps I exaggerate. A handful of people will read this book, and maybe a few will actually make it all the way to the end. Such brave souls will earn my admiration, because reading this book is like shaving with a cheese grater.<\/p>\n

Many people, though, will claim to have read it. It will sit on prominent display in the offices of executive directors, and they will reach for it whenever they need to point to a chart or graph, probably out of context, to support some negative claim about the future of classical music in America. Some will even engage in some \u201cmarginalia,\u201d but others, I suppose, will follow the lead of The Great Gatsby, a character who at least knew enough not to cut the pages in the unread books that merely decorated the library in his East Egg Mansion.<\/p>\n

My initial instinct was to ignore the book, but I decided that I had to write a review. Since virtually no one will actually make it to the end (or beyond the first five pages, really), reviews will become what the book is about, and there will most certainly be reviews written.<\/p>\n

While there is no doubt that there is some truth in this volume (which, by the way, costs $50 for 186 pages, not counting the appendixes and such), this book seems to be written by someone who simply doesn\u2019t understand his subject. It analyzes the state of symphony orchestras in America, but the tale is told in the unauthoritative voice of someone who sounds like he might never have been backstage at a symphonic rehearsal.<\/p>\n

I was reading it backstage at one of my orchestra\u2019s concerts, and when I went onstage to perform with my colleagues, I felt disoriented. Nothing I had been reading in this book seemed to have any relationship to the music we were playing\u2014or to the nearly sold-out audience of young and old music lovers listening to the innovative program we were presenting.<\/p>\n

This book evolves from the controversial 2008 paper \u201cThe Economic Environment of American Symphony Orchestras,\u201d commissioned by the Andrew W. Mellon Foundation. Much has been written about that report, and musicians are likely most familiar with it from seeing it waved at them across the bargaining table.<\/p>\n

One of the most controversial aspects of that report was the data it used. The data was supplied by the League of American Orchestras and was widely acknowledged to be inconsistent at best. In fact, the League joined with ICSOM, ROPA, and the AFM in the Collaborative Data Project (CDP) to see if sense could be made by having a shared data set. But instead of achieving success in gathering accurate industry-wide information, the CDP process was injured when the data we were examining was given to Professor Flanagan, with virtually no restrictions aside from the direction that specific orchestras could not be identified through the data.<\/p>\n

The time frame for any such study is crucial, of course, and the appendix to Chapter One of the professor\u2019s book identifies the dates of analyzed data as between 1987\u20131988 and 2005\u20132006. This means, of course, that many of the book\u2019s conclusions are unaffected by the large salary concessions given by musicians as they recognized the economic crisis that began with the Great Recession of 2008.<\/p>\n

But first, let\u2019s just start with the cover. It is a musical staff, but instead of notes, the staff has dollar and euro signs. I think one can immediately conclude that this won\u2019t be a book that recognizes the highest aspiration to beauty that artists seek to achieve. But to be fair, it isn\u2019t supposed to be.<\/p>\n

The numbers are numbers, and I won\u2019t attempt to compete with a Stanford economist in analyzing the numbers he was given. But his peripheral analysis of the field is simply fraught with over-simplifications. On page one he writes about a specific orchestra\u2019s difficulties, saying:<\/p>\n

The Musicians\u2019 union subsequently rejected that proposal, citing the impact on the income of the symphony\u2019s musicians.<\/p>\n

Well, no … not exactly. In my travels to meet with this orchestra as well as the board chair and CEO, I never ran into the professor. Those actually on the ground in this dispute know that the argument was not as much about salaries as it was the musicians\u2019 view that management\u2019s path would permanently harm the artistic quality of the orchestra, which in turn would diminish the organization\u2019s ability to survive the economic downturn. The musicians had readily agreed to large concessions on numerous occasions.<\/p>\n

It is this shortsighted, half-informed analysis that disturbs me so greatly. Especially since people who will never read past page one will think they know what is in the book and won\u2019t have an opportunity to question the environment in which the analysis was completed.<\/p>\n

I have to share my favorite passage in the book. Professor Flanagan writes:<\/p>\n

If the trend continues, the percentage of regular season seats sold will decline by about four percentage points (for example, from 70 percent to 66 percent) … .<\/p>\n

I appreciate the illustrative example, and I think I know what he is trying to say. But, while I may not be a Stanford economist, I do know how to subtract four from virtually any number. (Did I mention that I had to pay $50 for this thing?)<\/p>\n

The book focuses on the \u201ccost disease\u201d and \u201cstructural deficits\u201d and how musicians\u2019 salaries outpace an organization\u2019s ability to balance its budgets. But in a field where guest artists command huge fees negotiated by powerful and apparently untouchable artist management agencies, this book spends barely three paragraphs on those exorbitant fees. And, at a time when musicians are seeing CEO salaries reach stunning rates, of that there is virtually no analysis. I\u2019m not picking on CEOs\u2014really, I\u2019m not. I am delighted that the good ones are well-paid. Some of the highest paid are doing amazing things, and that is great. I\u2019m a capitalist (for the most part!), and I think everyone should make more money. But in a field that is supposedly nearly at death\u2019s door from the cost disease, the burgeoning salaries of CEOs aren\u2019t worthy of analysis, while the analysis of the field focuses on musicians\u2019 salaries and how they are unsustainable.<\/p>\n

Further, Flanagan writes:<\/p>\n

Pay change shows little sensitivity on average to the financial balance of orchestras.<\/p>\n

I think that the countless musicians who have agreed to major concessions in recognition of the financial balances of their organizations since the onset of the recession would dispute that, but since the study stops in 2006, there is no room for inclusion of that fact.<\/p>\n

As has always been our contention, there are orchestras that are simply better managed than others. Well-managed organizations are accomplishing great things, which is even more remarkable given the world-wide economic downturn.<\/p>\n

Even Professor Flanagan lets this obvious fact slip in two places. Perhaps the most important sentences of the book could easily go unnoticed, buried as they are in charts and graphs. He writes,<\/p>\n

If they (orchestras) were in more direct competition with each other, one might expect superior practices to be widely emulated, generating more similar revenue and expense structures.<\/p>\n

He then goes further, almost acknowledging what we have long said about the need to study places that are succeeding instead of a conglomeration of data from places that have failed.<\/p>\n

While this is not an industry in which competitive forces may provoke an aggressive search by individual orchestras for better practices, the variance in actual practice at least raises the question of how much symphony orchestras learn from each other\u2019s policies and experiences.<\/p>\n

There are so many other points to make, but writing about this book is as fatiguing as reading it. The book misrepresents the AFM-EPF as just a union fund, without acknowledging that it is, in fact, a joint management-labor Taft-Hartley fund. I\u2019m sure the Professor knows that, and it is probably an error of editing. There is a misspelling, too, which doesn\u2019t mean anything to me except that probably the editors had a hard time reading his turgid prose as well.<\/p>\n

But still, I wish the professor well. While I believe his work has done harm to a field I love, I\u2019m certain he doesn\u2019t understand why I feel that way. I suspect that I am one of the people he dismisses as \u201coptimists\u201d and \u201cthose who wish to maintain the status quo.\u201d<\/p>\n

Maybe someday he\u2019ll allow me to take him to visit the incredible musicians who spent their lives in selfless dedication as they seek to preserve the greatest music ever written as well as the organizations that serve the public by elevating the human spirit, enhancing the business community and educating the next generation of Americans.<\/p>\n

Actually, I think people should read this book\u2014but nobody will. Still, be prepared to see it sitting on the table at bargaining sessions. You might want to check to see if the book\u2019s spine shows any signs of wear.<\/p>\n","protected":false},"excerpt":{"rendered":"

Title: The Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges Author: Robert J. Flanagan Publisher: Yale University Press Publication Date: January 24, 2012 [December 05, 2011 according to publisher website] ISBN: 9780300171938 Hardcover: 240 pages No one is going to read this book. Well, perhaps I exaggerate. A handful of people will read… [Read more]<\/a><\/p>\n","protected":false},"author":2,"featured_media":1898,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[14,148],"tags":[],"class_list":["post-1909","post","type-post","status-publish","format-standard","has-post-thumbnail","category-chairperson-reports","category-february-2012","entry"],"acf":[],"yoast_head":"\nThe Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges | Senza Sordino<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.icsom.org\/senzasordino\/2012\/02\/perilous-life-symphony-orchestras-artistic-triumphs-economic-challenges\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges | Senza Sordino\" \/>\n<meta property=\"og:description\" content=\"Title: The Perilous Life of Symphony Orchestras: Artistic Triumphs and Economic Challenges Author: Robert J. 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