Discussion Panel: Page 43

Moderator’s Note: Nathan’s contribution is in response to the following statement from Carla Johnson’s contribution on Monday, 4/17/06: We need to create an operating climate in our organizations in which it is possible for everyone to prosper as we provide music to the community. I believe we should ponder this hard truth and consider how […]

Several of our writers have mentioned musicians’ participation in standing or ad hoc multi-constituency committees which can influence the strategic direction of an orchestra. If the musicians are willing to participate in these groups, the communication can be invaluable, and it does give the musicians, who tend to be the stakeholders with the most longevity […]

I have read the interesting and diverse opening statements. There are, however, some underlying congruencies in our views. One area is in musician/committee service. In my venue, rarely, if ever, are musicians selected by Management for its committees. This would make the musicians suspicious of Management’s motives for one thing, and, additionally, of the musician’s […]

I can’t claim to speak to how things work in orchestras in general, but my experience here in Dayton is that (1) musicians can and do have a significant voice in influencing the artistic and economic strategic direction of their orchestra, and (2) for the most part, this voice does not come through or in […]

Moderator’s Note: Due to a recent injury, Robert Levine is obliged to join the Virtual Panel Discussion a few days late. In the meantime, all of the panelists and everyone at Polyphonc.org wish Robert a speedy recovery.

Is the collective bargaining agreement negotiation environment the most effective tool professional orchestra musicians can use to influence the artistic and economic strategic direction for their respective organization? Ideally, musicians and their orchestra need both the collective bargaining process and structured committees (such as long-range planning committees and artistic advisory committees) in order for musicians […]

If effective, as in “achieving the desired results”, is the most important word in the question, the answer must be yes. What is not effective about advancing an agenda through the often emotion-laden and contentious process of collective bargaining and having that agenda codified in a collective bargaining agreement? If we examine the question purely […]

The negotiation process has been a part of my life since I was first elected to the Utah Symphony Orchestra Committee in the mid 1980s. I witnessed several negotiations as Orchestra Committee Chairman, and became intimately involved in the process when I assumed the Local 104 Presidency in 1994—not as negotiator, but as “overseer.” Negotiations […]

If the question is to be taken literally, the answer is – no. We must first separate and understand several issues presented within the question. The right to bargain is a statutory right granted by the National Labor Relations Act, enacted by Congress in 1935. The NLRA permits employee’s to organize and elect a representative […]

Our learned moderator has asked the panelists to address the following question: Is the collective bargaining agreement negotiation environment the most effective tool professional orchestra musicians can use to influence the artistic and economic strategic direction for their respective organization? A collective bargaining relationship is a necessary prerequisite to meaningful and effective musician participation in […]