presentation on MU research given at UEA, Norwich on 15th April 2014

1. +
Conflict and Consensus: the Musicians’
Union and industrial relations in the
British music profession
Martin Cloonan and John Williamson
14th April 2014

2. Introduction
• Context – project and MU history
• Industrial relations in the British music profession since 1893:
• Musical labour and employment
• How the MU has influenced policy
• The MU within the trade union movement / musicians as
workers

3. Our project
• Funded by the AHRC and ESRC – 4 years from 2012-16
• Key aims & objectives:
• ‘full account of the history of the MU. . .’
• ‘ways in which the MU has influenced British music and
musicians’
• ‘an account of the changes in the career of the professional
musician in Britain’
• ‘role of the MU in influencing public policy’

4. A Potted History of the Musicians’ Union
• Formed by Joseph B. Williams as Amalgamated Musicians’ Union
(AMU) in Manchester, 1893.
• “A protection union . . to protect us from amateurs, unscrupulous
employers and ourselves.”
• 1890s – period of growth in musical work and trade unions.
• Splits between London / elite musicians and rest of country.

5. History, contd.
• Merger with NOUPM (formerly London Orchestral Association)
in 1921.
• Talkies + economic problems —> decline & unemployment in
1930s
• Growth through Voluntary Organising Groups + BBC + recording
industry + post War demand for live entertainment.
• Relatively stable membership - currently 30 446 (2012), slower
decline than trade unions generally.

6. 120 years of industrial relations in 2 minutes . .
• When we think of musicians as workers what happens?
• EMPLOYERS: in 1895 places of work included theatres and music
halls; assemblies and dances; balls; lectures and entertainments;
bazaars; Garden Parties, Wedding parties; church services +
summer seasons at seaside (piers, etc.)

7. 120 years of industrial relations in 2 minutes . .
• Initial negotiations with individual theatre owners, then groups
of them, then employers’ organisations
• Growth in number of employers reliant on state funding via BBC,
Arts Council, etc.
• Ever changing locations of employment in private sector: music
halls, theatres, cinemas, restaurants and cafes, ballrooms, palais,
cruise ships, resorts, ice rinks, etc.

8. 120 years of industrial relations in 2 minutes . .
• musicians often viewed by other workers as ‘double jobbers’
• 3 (fluid / flexible) types of musical employee: permanently
employed; self-employed and freelance employees; casually
employed musicians.
• Most fall into self-employed / freelance category.
• DHA: “only 10% of musicians are full-time salaried employees. . Half
of musicians have no regular employment whatsoever” (2012:14)

9. MU and policy
• 3 major areas of policy of concern to the Union:
•Copyright – since 1911; agreement with PPL in 1946; performers’
rights; copyright terms extension on sound recordings.
•Broadcasting – since 1922 – 3 phases: BBC monopoly; advent of
independent television (1955) and radio (1973); lightly regulated
market since MMC report (1989) and Broadcasting Act (1990)
•Employment - live performance – police / military bands /jazz “ban” /
protecting jobs for British workers / subsidy: Music Promotion
Committee

10. Musicians’ Union / methods
• How have they gone about influencing policy - (i) on their own
and (ii) with other Unions or employers.
• On their own: collective bargaining / threat of strike action – but
only de facto closed shop in orchestras and few strikes, so
negotiation and threat of strike action
• Long and short term alliances: with other trade unions
nationally and internationally / with employers where interests
align (e.g. copyright?) or government pressure (UK Music)

11. Conclusions
• 3 major contributions made by the MU since its formation:
•pay and conditions: rates (in some cases) remain high and over
provision of orchestras remains
•performers’ rights: lengthy campaign- finally recognised in
Rome Convention and British copyright law in 1996.
•patron of musical events: support for orchestras, jazz through
Music Promotion Committee

12. Conclusions
• Context of changes in music / cultural industries since 1979 as
well as changes in employment law.
• 1980s Union legislation + MMC Collective Licensing report(1988)
+ Broadcasting Act (1990) ended most restrictive practices set up
by Union
• MU a forerunner of ‘new unionism’- already worked with
employers and extensive range of services provided.

13. Conclusions
•Peripatetic nature of workforce + non-essential nature of the work
+ ‘entrepreneurial’ tendencies of members result in
•Pragmatic rather than dogmatic leaders willing to engage with
employers and (on occasion) privilege needs of individual members
over notions of collectivism

14. Contact Us. . .
Thanks for listening.
Please have a look at the website. (www.muhistory.com )
Feel free to get in touch . . .
John Williamson: John.C.Williamson@glasgow.ac.uk
Martin Cloonan: Martin.Cloonan@glasgow.ac.uk