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59-570: In 1959, two school music teachers, Martha Wendt and Gilbert Papp, along with well-known local television weatherman Wyndham Roberts, started the process that eventually led to the formation of (as it was initially called) the Champaign-Urbana Civic Symphony Orchestra. On the academic side of his meteorology career, Roberts was a scientist at the Illinois State Water Survey, and both Wendt, a violinist, and Papp,

118-461: A $ 9-million rise in nightclub bookings by 1960. In 1966, the tax was finally repealed. In 1955 the AFM formally asked Congress to subsidize the arts industry. The federation cited its concern for preserving America’s cultural heritage and protecting the country’s less commercially viable styles: jazz, folk and symphonic music. The effort paid off in 1965 when President Johnson signed 20 U.S.C. 951, creating

177-707: A May 14, 1969, concert at the end of CUSO's ninth season, when the orchestra moved from Smith Music Hall to the Great Hall of the newly built Krannert Center for the Performing Arts . Bernard Goodman was music director of the Champaign-Urbana Symphony Orchestra for its first fourteen seasons. In November 1973, he announced his retirement from both the CUSO and the University of Illinois, and continued to direct

236-427: A better arrangement for paying royalties. In 1918, two important legislative measures, Prohibition and a 20 percent cabaret tax to support the war effort, negatively impacted many musicians. Prohibition ended after 13 years, but the cabaret tax took its toll on the music industry for many years to come. The Copyright Act of 1909 created the first compulsory mechanical license stipulating royalty payments be paid by

295-464: A clarinetist, were teachers in the Unit 4 (Champaign) school district. These two teachers were American Federation of Musicians members and they, together with Roberts and Dr. Bernard Goodman, on the music faculty at the University of Illinois, were convinced that the orchestra would best succeed if the musicians were paid for both concerts and rehearsals, so fundraising from individuals as well as corporations

354-442: A criminal offense for a union to use coercion to win observance of its rules by radio stations. Collective bargaining with broadcasters over hiring standby musicians and paying for rebroadcasts of live performances became illegal. As a result, live broadcasts on radio were almost completely eliminated. When Petrillo retired, Herman D. Kenin took over as AFM president. In 1958–59, rank-and-file committees of recording musicians sat at

413-553: A global scale. In 1961, the AFM participated in the Rome Convention to develop an international treaty extending copyright protection. However, because of pressure from American broadcasters, the federal government declined to sign the treaty. To date, only the US, China and North Korea have not signed the treaty. Therefore, American musicians and record companies receive no performance royalties from terrestrial AM/FM radio. Through much of

472-472: A law prohibiting all armed-services members from competing with civilians. During the World War I era, general unemployment affected musicians. Silent films displaced some forms of traditional entertainment, and with a declining economy and other factors, many musicians were laid off. Among the best known AFM actions was the 1942–44 musicians' strike , orchestrated to pressure record companies to agree to

531-481: A meeting with representatives of radio, transcription and record companies, threatening to halt all recording work nationwide. After 14 weeks, the stations agreed to spend an additional $ 2 million to employ staff musicians, but the Department of Justice later ruled the agreement illegal. Labor leader James Petrillo took command of the AFM in 1940. He took a stronger stance, challenging technological unemployment. Among

590-444: A member of a board of directors for a corporation , such as a company , cooperative or nongovernmental organization , who usually holds a managerial position with the corporation. In this context the role is usually contrasted with a non-executive director who usually holds no executive, managerial role with the corporation. There is much national and cultural variation in the exact definition of an executive director. The title

649-578: A time when musicians were losing income as phonograph records replaced radio orchestras and jukeboxes competed with live music in nightclubs. The AFM founded the Music Defense League in 1930 to gain public support against canned music in movie theaters. The AFM set higher scales for the recording work than for live work, negotiating the first industry-wide agreements in the labor movement. While musicians flocked to Los Angeles hoping for high-paying recording work, fewer than 200 new jobs were created by

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708-473: Is used for the chief executive officer of several UN agencies, such as UN Women . In the US, an executive director is a chief executive officer (CEO) or managing director of an organization , company , or corporation . The title is widely used in North American not-for-profit organizations , though many United States nonprofits have adopted the title president or CEO. Confusion can arise because

767-680: The Canadian Labour Congress , the federation of unions in Canada. Founded more than 125 years ago, the purpose of the American Federation of Musicians remains the same: to elevate, protect, and advance the interests of all musicians who receive pay for their musical service. The roots of the musicians’ collective action began with the New York City-based Musical Mutual Protective Union, which took

826-747: The National Endowment for the Arts (NEA). At the 1966 AFM convention, the initial $ 2 million in NEA appropriation was announced. Much of the subsequent growth in professional symphony orchestras in the US was a direct result of the NEA. AFM president Ray Hair said: "Government arts funding is critical to the ongoing financial and artistic well-being of American professional musicians. ... For nearly 50 years NEA funding has enriched our communities, supported our jobs, and helped achieve cultural balance within virtually every congressional district." The Parliament of Canada used

885-672: The 20 percent cabaret tax. Amid the beginning of the British Invasion in 1964, Kenin lobbied directly to the US Secretary of Labor , W. Willard Wirtz , to place an embargo on rock and roll musicians coming to the US from the UK. Kenin worried about British musicians taking away jobs from Americans, contending that there was little difference between their music, making it unnecessary for the Beatles and other acts to perform. When Kenin's desire to ban

944-609: The AFL and the Knights of Labor first invited the National League of Musicians to affiliate with the trade-union movement, but the offers produced deep divisions within the National League of Musicians. Some members objected to musicians being called laborers, insisting instead that they were "artists and professionals." As the American music scene prospered and more symphony orchestras were founded,

1003-406: The AFM's records since 2006, when membership classification was first reported, about 81 percent of the union's membership are "regular" members who are eligible to vote for the union. In addition to the other voting eligible "life" and "youth" classifications, the "inactive life" members have the rights of active union members except that "they shall not be allowed to vote or hold office" according to

1062-428: The Beatles was widely reported, Beatles fans from across the US sent letters to the AFM condemning the organization. The AFM also sought to lend its voice to national labor issues such as the fight against right-to-work laws. In 1951, lobbying efforts against the cabaret tax paid off when nonprofit organizations, including symphony orchestras, were exempted. In 1957, Congress reduced the tax to 10 percent, resulting in

1121-418: The CUSO has established a number of musical landmarks, including the performances of commissioned works and the showcasing of internationally acclaimed guest artists. The opening concert of the 1991–1992 concert season, "Celebration!" featured only music that was composed and performed by African-Americans. A historic event, this performance was heard nationally over American Public Radio's "Performance Today" and

1180-576: The CUSO reaches approximately 15,000 youths through its Youth Concerts, In-School Concerts, and events such as the Instrument Petting Zoo. In addition to the approximately 65 contracted players and the music director, the CUSO employs five administrative staff members: an executive director , development director , operations manager , office administrator , and music librarian . The orchestra also employs many area musicians as substitute or extra musicians on an as-needed basis. Formed in 1962,

1239-598: The Champaign-Urbana Symphony Orchestra Guild serves in a fundraising and support capacity to the CUSO. The guild is the primary source of funding for the CUSO's educational programs. The 2024–2025 season will consist of five concerts: American Federation of Musicians The American Federation of Musicians of the United States and Canada ( AFM / AFofM ) is a 501(c)(5) labor union representing professional instrumental musicians in

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1298-662: The FAA Modernization and Reform Act of 2012, which was implemented in 2015. The law states that if the instrument fits in the airline luggage bins and the owner boards early enough to have available space in the bins, a musician cannot be forced to check their instrument. In early 2020, the AFM faced what would become its biggest challenge yet, when the pandemic and subsequent quarantines put thousands of musicians out of work and careers on hold. The AFM quickly adapted agreements to allow live streaming of concerts and recording work to be done at home instead of in-studio. According to

1357-402: The National League of Musicians in order to form a more egalitarian organization, inclusive to all musicians. Seeking to give meaning to the phrase "In unity there is strength", the first standing resolution of the AFM was: "That any musician who receives pay for his musical services, shall be considered a professional musician." The first convention, upon which the American Federation of Musicians

1416-703: The Northwest Symphony Orchestra in suburban Chicago until 2013. He continued as Director Emeritus there, and the Northwest Symphony Orchestra is continuing both the Paul Vermel Young Artist Award program and the Paul Vermel Conductor Apprenticeship Program. In June 1994, the CUSO announced that two concerts during the 1994–1995 season would be conducted by Vermel, with the other four concerts conducted by outside guest conductors, each with specific strengths: At

1475-603: The Sound Recording Special Payment Fund. Numerous labor actions in the following decades improved industry standards and working conditions for musicians. New agreements covered TV programs, cable TV, independent films and video games. Pension funds were established and musicians also secured groundbreaking contracts providing royalties for digital transmissions and from recordings of live performances. Petrillo’s tactics were not universally accepted. While his 1955 negotiations had led to increased payments into

1534-654: The US, it is known as the American Federation of Musicians (AFM), and in Canada, it is known as the Canadian Federation of Musicians/Fédération Canadienne des Musiciens (CFM/FCM). The AFM is affiliated with AFL–CIO [the largest federation of unions in the United States]; the Department of Professional Employees , the International Federation of Musicians (FIM) , the National Music Council , and

1593-545: The United States and Canada. The AFM, which has its headquarters in New York City, is led by president Tino Gagliardi. Founded in Cincinnati in 1896 as the successor to the National League of Musicians, the AFM is the largest organization in the world to represent professional musicians. It negotiates fair agreements, protects ownership of recorded music, secures benefits such as healthcare and pension, and lobbies legislators. In

1652-547: The board of directors and reports to the board on a regular basis as defined by the organization's bylaws. The board sets the vision through a high-level strategic plan, but it is the role of the executive director to create implementation plans that support the strategic plan. The executive director is a leadership role for an organization and often fulfills a motivational role in addition to office-based work. Executive directors motivate and mentor members, volunteers, and staff, and may chair meetings. The executive director leads

1711-498: The bylaws in exchange for the rate less than "life" members. As of 2019, there were 60,345 "regular members" (83 percent of total), 11,297 "life" members (15 percent), 549 "inactive life" members (1 percent) and 880 "youth" members (1 percent). In June 2023, the delegates to the 102nd AFM Convention in Las Vegas elected Tino Gagliardi as AFM international president, succeeding Ray Hair, who did not seek reelection following 13 years at

1770-691: The committee selected four finalists and, in the spring of 2012, the CUSO Board announced that the 2012–2013 season would serve as a search year, with five guest conductors, four of whom would be candidates for the director's post: In late March 2013, the Board announced that Stephen Alltop would become the fourth director of the orchestra. The CUSO is an orchestra that performs five to six subscription concerts and three to four Youth Concerts each season. The CUSO reaches more than 45,000 people each year through live performance and concert broadcasts. Throughout its history,

1829-493: The death duties of two Canadian millionaire estates to establish the Canada Council for the Arts in 1957. According to an International Musician article the council was responsible for "creating an aura of musical achievement such as the country has never witnessed." In 2014 and 2015, the council allocated $ 155.1 million to the arts in Canada. By 1960, tape recorders were making sound and video recordings easier and cheaper on

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1888-436: The early history of the AFM, union locals were segregated for black and white musicians. Black and white locals eventually began to merge, starting with Los Angeles in 1953, and by 1974 all locals were integrated. Through lobbying efforts to amend copyright law and generate new, innovative agreements, the AFM continues its work to protect and compensate musicians in the increasingly digital world. The AFM & SAG-AFTRA Fund

1947-482: The end of that season, the CUSO Board had reached no decision about a new director and only three subscription concerts were scheduled for the 1995–1996 season, conducted by two University of Illinois professors, Ian Hobson and Chester Alwes. Paul Vermel conducted a scheduled benefit concert, and a systematic strategy of cost cutting and fundraising was undertaken. The director search was reopened and in April 1996, Steven Larsen

2006-454: The first steps toward creating uniform scales for different types of musical employment in 1878. By March 1886, delegates from 15 different protective unions across the US came together to form the National League of Musicians to discuss and rectify common issues, such as competition from traveling musicians. The American Federation of Labor recognized the American Federation of Musicians (AFM) in 1896. A group of delegates had broken away from

2065-583: The first two concerts were announced and the organization applied for membership in the American Symphony Orchestra League . Meanwhile, Goodman, who joined the faculty at the University of Illinois in 1947 and who was a longtime member of the Walden String Quartet and had conducted the highly respected University of Illinois Symphony Orchestra since 1950, was starting to choose the musicians. By midsummer, Bernard Goodman had accepted

2124-500: The funds, the lack of a scale increase angered some full-time recording musicians. Musicians were promised a voice at the next round of meetings in 1958, but talks broke down and a strike was called. When calls for Petrillo to reopen negotiations were rejected, a group of disgruntled Los Angeles musicians formed a dual union, the Musicians Guild of America. In 1946, Congress passed an act known as "the anti-Petrillo Act" that made it

2183-470: The helm. Executive director Executive director is commonly the title of the chief executive officer (CEO) of a non-profit organization , government agency or international organization . The title is widely used in North American and European not-for-profit organizations, though in the United States many have adopted the title ' president ' or CEO. It generally has the same meaning as CEO or managing director . The title may also be used by

2242-477: The most significant AFM actions was the 1942–44 musicians' strike (sometimes called the "Petrillo ban"), orchestrated to pressure record companies to agree to a royalty system more beneficial to the musicians. The strike forced the recording industry to establish a royalty on recording sales to employ musicians at live performances. This resulted in the Music Performance Trust Fund (MPTF), which

2301-529: The need for a national organization for musicians increased. In 1897, the union became international when the Montreal Musicians Protective Union and Toronto Orchestral Association joined. By 1900, the union changed its name to the American Federation of Musicians of the United States and Canada and was actively organizing on both sides of the border. A 1903 resolution was passed prohibiting foreign bands taking work from domestic bands. It

2360-471: The number of recording companies. As the nation recovered from World War I, technology advanced and there was diversity in recording and producing music. In 1927, the first " talkie " motion picture was released and within two years, 20,000 musicians lost their jobs performing in theater pits for silent films. Minimum wage scales were created for vitaphone , movietone and phonograph recording work. In 1938, film companies signed their first contract with AFM at

2419-499: The orchestra through the 1973–1974 season. In May 1974, it was announced that Paul Vermel, music director of the Portland Symphony Orchestra , would succeed Goodman at the CUSO, and Vermel directed the symphony for the next twenty seasons. In early 1994, Paul Vermel announced his retirement both as music director of the Champaign-Urbana Symphony Orchestra and as professor at the University of Illinois. He went on to direct

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2478-478: The orchestra's first season consisted of two concerts: one on October 20, 1960, with pianist Theodore Lettvin as guest artist, playing Beethoven's "Emperor" Piano Concerto ; and an all-Tchaikovsky concert on April 20, 1961, featuring violinist Mischa Mischakoff as soloist in the Tchaikovsky Violin Concerto . The over-sixty-year run (to date) of the orchestra had begun, a success that was enhanced in

2537-426: The organization and develops its organizational culture . In the UK, an executive director is a member of a board who is also an employee with a senior role. It is common for boards to have several executive directors, e.g. for different departments. There is no legal difference between an executive and a non-executive director (NXD or NED), but there are considerable differences in the expectations associated with

2596-406: The organization in a manner that is both cost and time-efficient. The executive director is also responsible for the day-to-day operation of the organization, which includes managing committees and staff as well as developing business plans in collaboration with the board. In essence, the board grants the executive director the authority to run the organization. The executive director is accountable to

2655-458: The post of conductor; a plan for subscription levels was adopted; a good portion of the first-year $ 8,500 budget was received or pledged, mostly as relatively large donations; and the beginnings of a Symphony Orchestra Guild had been undertaken, led by Ruth Youngerman. Later in July, a widespread publicity and fundraising effort was launched. In the early fall, the makeup of the orchestra was settled and

2714-563: The pressing issues was competition from both foreign musicians and off-duty military musicians. In its first 10 years, the AFM had organized 424 locals and 45,000 musicians in the US and Canada. Virtually all instrumental musicians in the US were union members. In 1906, the 10-year-old organization made a donation of $ 1,000 to earthquake victims in San Francisco. A 1908 appropriations bill banned armed-services musicians (exempting Marines ) from competing with civilians. In 1916, Congress passed

2773-407: The safe transport of instruments on planes and through customs. Disparate airline policies regarding the transportation of instruments long plagued musicians. This problem worsened after the 9/11 attacks and stricter security checks that followed. The AFM spent more than a decade trying to clarify and improve the ability of musicians to fly with instruments as carry-on baggage. These efforts resulted in

2832-511: The table while Kenin negotiated favorable agreements with the recording, television and jingle industries. The Musicians Guild of America was defeated in a 1960 representation election and the AFM regained bargaining rights for motion-picture studios. During the 1960s, the AFM organized its political lobbying efforts, creating the TEMPO political action committee. Among the pressing issues of the day were government funding for music programs and repeal of

2891-437: The technology. To help musicians find fair pay and union jobs, the AFM created a booking-agent licensing policy in 1936, and in 1938, developed a similar program for licensing record companies. While national scales were set for live musicians working on fledgling radio networks, some stations had already begun using recordings. The 1937 AFM convention mandated Weber to fight against the use of recorded music on radio. He called

2950-425: The user of a composer’s work, but the law excluded musicians. In the 1920s, new technologies challenged live music for the first time. The advent of recording and radio forever changed the landscape of musician employment. At AFM conventions, the union decried the use of canned music and forbid orchestra leaders from advertising their orchestras free of charge on radio. By the end of the 1920s, many factors had reduced

3009-408: The words executive and director occur both in this title and in titles of various members of some organizations' boards of directors. In the US nonprofit sector, the executive director role is the highest ranking position within the organization. It corresponds to a CEO position in a for-profit corporation. The role of the executive director is to design, develop and implement strategic plans for

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3068-434: Was created to administer and distribute statutory noninteractive digital performance and audio home recording royalties established under copyright law and royalties from various foreign territories. In 2020, more than 42,000 session musicians and vocalists in all 50 states and Canada shared $ 62 million in royalties collected by its Intellectual Property Rights Distribution Fund. The performance rights organization SoundExchange

3127-563: Was established in 1948 and continues to sponsor free live performances throughout the US and Canada. When the MPTF began disbursals, it became the largest single employer of live musicians in the world. Petrillo organized a second recording ban from January 1 to December 14, 1948, in response to the Taft–Hartley Act . In the 1950s, the MPTF was reapportioned to form the AFM Pension Fund and

3186-441: Was established to collect and distribute performance revenue from noninteractive digital services, including those on cable, satellite, and internet webcasts. It works on behalf of 650,000 creators and has paid more than $ 10 billion in distributions to date. The globalization of the industry has also increased the need for musicians to cross international borders for work. Among the challenges musicians face are regulations regarding

3245-552: Was followed by a 1905 letter from the AFM petitioning president Theodore Roosevelt to protect American musicians by limiting the importation of musicians from outside Canada and the US. By 1905, an official position on the International Executive Board was created to provide Canadian representation at the federation level. Early accomplishments of the union included setting the first scales for orchestras traveling with comic operas, musical comedies and grand opera. Among

3304-740: Was founded, was held October 1896 at the Hotel English in Indianapolis, Indiana. The group had 3,000 members and Owen Miller became the first AFM president. In 1896, Miller said: "The only object of AFM is to bring order out of chaos and to harmonize and bring together all the professional musicians of the country into one progressive body." At the same time, the trade-union movement was taking hold throughout North America. Unions representing all types of laborers were forming to exercise collective strength to raise wages, improve working conditions and secure greater dignity and respect for working people. In 1887,

3363-504: Was honored with an American Society of Composers, Authors and Publishers (ASCAP) Award for Adventurous Programming. The CUSO continues its long-standing tradition of collaboration with the University of Illinois Oratorio Society in the presentation of major choral works. One of the Champaign-Urbana Symphony Orchestra's main goals is to provide high-quality music education for the youth of the Champaign–Urbana metropolitan area. Each year,

3422-527: Was made a high priority. During the spring of 1960, more people were brought into the process, the organization was incorporated with nonprofit status, and it was announced that the board of directors consisted of John Dimond, president; Stanley W. Rahn, secretary; Verrollton C. Shaul, publicity; Donald D. Richmond, attorney; and H. I. Gelvin, Ruth Youngerman, Martha Wendt, Doris Dodds, and Audrey Stewart, members. Also, Wyndham J. Roberts and Gilbert Papp served as vice president and treasurer, respectively. Dates for

3481-554: Was named as the new director. From 1996 to 2012, Steven Larsen was music director of both the Rockford Symphony Orchestra and the Champaign-Urbana Symphony Orchestra. In 2011, he indicated that he wanted to reduce his workload, and intended to direct just the Rockford Symphony Orchestra after the 2011–2012 season. Therefore, during 2011, a music director/conductor search committee was formed, comprising both CUSO Board members and CUSO musicians. From 17 applications received,

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