Understanding the classical music profession: the past, the by Dawn Elizabeth Bennett
By Dawn Elizabeth Bennett
Realizing the Classical tune career
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Recognition of the problem has also resulted in the commission of regular economic reports, four of them under the leadership of economist David Throsby. The first of these – published in 1984 before the establishment of the ACLC – found Australian statistical data to be insufficient, inadequate, fragmentary and ‘impossible to obtain’. ’21 19 Australian Centre for Industrial Relations Research and Training (ACIRRT), University of Sydney, The Working Life of Visual Artists in Australia, Working Paper 9, Visual Artists Industry Guidelines Research Project – NAVA Member Survey 2001, Strategic Partnerships with Industry for Research and Training Project, funded by the Australian Research Council and the Australia Council, 2002.
It is interesting to note that the substantial contributions made by individual orchestral musicians to their communities in the form of community music-making, chamber music and education are not recognized in the assessment of orchestras’ societal contribution. With an uncertain level of funding, most orchestras are hired out for private functions and perform regularly for touring acts to raise their public profiles and to meet costs. Corporate sponsorship has become essential to the survival of orchestras and many other arts organizations, and inevitably involves functions, free tickets and parking, and logos emblazoned on programmes and stages.
Hoegh-Guldberg and Richard Letts confirm that existing statistics are insufficient to create a comprehensive picture of the music sector, key components of which would be economic, cultural and social significance. They adopted the term ‘music sector’ for their report titled ‘A Statistical Framework for the Music Sector’ on the basis that industry concerns economic inputs whereas sector involves individuals and groups. 1, cultural policy as such came into existence after World War II with the overriding theme of cultural democracy, which posits that different cultural traditions will co-exist and not dominate over one another and that participation should be available to everyone within a democratically controlled cultural life.