Jessica Marsh

Research Paper
Advocacy & Lobbying
AGAD 101

November 3rd
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Professional Musicianship & the Pay Scale.

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Position Statement:

The goal of my campaign is to advocate professional musicianship by raising
awareness about the importance of being paid what a professional musician is worth (to
scale). Likewise, I would like to show venues the importance of paying to scale to
support artists and their unique product. Everybody in the music industry relies on one-
another to determine what the scale price for performing is going to be. Today,
musicians settle for the rate of pay a venue offers, which usually is not sufficient to the
cost of expenses of the show and the cost of the product. My goal is to advocate to these
emerging artists, as well as relative arts organizations, clubs, and post-secondary Music
programs in Edmonton. Because musicians follow each others trends, a general rate of
pay has been set for musicians (which is not to scale and not nearly enough). We need to
target emerging artists to give them the knowledge to know how much they are worth
and to enforce it together as a union.



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The General Issue:

Musicians fight for respect from other people in a sense that most people dont
understand the difficulty to train as a musician. A musician is blessed to be doing what
they love for a living, so why underpay them when it is giving people a greater medium
for disrespect towards musicians? Other professions get respect from perfecting their
jobs (ex: business people, engineers, architects, scientists), so why not musicians? Other
professions do not sell their work for less then what it is worth, so why should
musicians?

Tommy Banks once told me, Whatever you do in the music business, its the music
business. Music is a profession. It is the greatest achievement you can possibly obtain if
you can do something you love for a living. So no matter which path you go down in
life, it is important to have respect. Professionals expect you to have respect for the
profession you are in. This used to be true of the music business from the 60s to 80s.
Edmonton was a paradise for musicians because many people could make a living
playing music. There was an abundance of clubs, bars, cabarets, and no musician earned
less than scale. Respect for the business you are in, each other, and the music you play,
is crucial for a stable deserving industry.

The general issue is the fact that emerging artists in Edmonton dont know what
scale is, nor do they know anything about negotiating their price to a venue. Usually,
they end up playing for whatever the venue tells them the gig pays and its left at that.
The truth is, musicians just want to play. Half of them would play for free if they were
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asked, and it is here where musicians need to draw the line. The worst thing you can do
is to give your craft away. No other occupation thinks about doing this, so why do
artists? Its hard to put a price on talent, because its hard to put a price on an arts
experience. You dont pay a singer to sing O Canada for 78 seconds, you pay a
musician for the ability to sing O Canada.
Currently, the only union that seems to supply a contract that negotiates
appropriate wages is the American Federation of Musicians:

The American Federation of Musicians of the United States and Canada is the largest
organization in the world dedicated to representing the interests of professional
musicians. The AFM can negotiate agreements and administer contracts, procure
valuable benefits and achieve legislative goals. The AFM also negotiates wages and
working conditions in order to maintain minimum standards for its members involved
in recording, TV shows, music videos, commercials, films, video games and traveling
theatrical productions. The AFM also can provide a legally binding contract for any
type of engagement, and when properly executed and filed with the local union, they
allow the local officer to help collect payments in the case of a default. (Online source
with numbered paragraphs: (AFM, pars. 1, 5).

Otherwise, if you have the knowledge of what a music contract should contain, there are
many sites that you can go to that will allow you to either print for free, or charge you a
small fee. Alberta Music Industry Association (AMIA) has speakers that will come and
talk about the importance of a legally enforceable contract and getting paid to scale,
which is important in spreading the word.
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The average salary for musicians is significantly less than scale and will only
decrease over time, as Tommy Banks has noted previously and also personally
witnessed. According to the Bureau of Labour Statistics, the average salary for
musicians is as follows:

Median hourly wages of wage-and-salary musicians and singers were $21.24 in May
2008. The middle 50 percent earned between $11.49 and $36.36. The lowest 10 percent
earned less than $7.64, and the highest 10 percent earned more than $59.92. Median
hourly wages were $23.68 in performing arts companies and $12.50 in religious
organizations. Annual wage data for musicians and singers were not available because of
the wide variation in the number of hours worked by musicians and singers and the
short-term nature of many jobs. It is rare for musicians and singers to have guaranteed
employment that exceeds 3 to 6 months.

Median annual wages of salaried music directors and composers were $41,270 in May
2008. The middle 50 percent earned between $26,480 and $63,200. The lowest 10
percent earned less than $16,750, and the highest 10 percent earned more than
$107,280.

For self-employed musicians and singers, earnings typically reflect the number of jobs a
freelance musician or singer played or the number of hours and weeks of contract work,
in addition to a performer's professional reputation and setting. Performers who can fill
large concert halls, arenas, or outdoor stadiums generally command higher pay than
those who perform in local clubs. Soloists or headliners usually receive higher earnings
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than band members or opening acts. The most successful musicians earn performance or
recording fees that far exceed the median earnings.

The American Federation of Musicians negotiates minimum contracts for major
orchestras during the performing season. Each orchestra works out a separate contract
with its local union, but individual musicians may negotiate higher salaries. In regional
orchestras, minimum salaries often are less because fewer performances are scheduled.
Regional orchestra musicians frequently are paid for their services without any
guarantee of future employment. Community orchestras often have limited funding and
offer salaries that are much lower for seasons of shorter duration.

Although musicians employed by some symphony orchestras work under master wage
agreements, which guarantee a season's work up to 52 weeks, many other musicians face
relatively long periods of unemployment between jobs. Even when employed, many
musicians and singers work part time in unrelated occupations. Thus, their earnings for
music usually are lower than earnings in many other occupations. Moreover, because
they may not work steadily for one employer, some performers cannot qualify for
unemployment compensation and few have typical benefits such as sick leave or paid
vacations. For these reasons, many musicians give private lessons or take jobs unrelated
to music to supplement their earnings as performers.

(Online source with numbered paragraphs: (Bureau of Labour Statistics, Earnings, par.
1-5).

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Pay Scales:

Pay scales are set collectively by Local 1000 members to establish a minimum
wage. Many AFM members negotiate payment well above scale. If you perform under a
Local 1000 contract you must receive at least scale wages. This applies as well to any
musician appearing with you, whether or not they belong to the union.

The founding members of Local 1000 decided to make these scales as simple as
possible, and to expand upon them as the Local grows. You decide which scale is
appropriate to a given job (within reason). Most members perform under concert or
small concert scales.
Solo Scales
Concert: $220.00
Small Concert/Club: $110.00
Opening Act: $70.00
Festivals: $225.00 per day
K-12 School Engagements: $200.00 performance
(2 performances within 3 hours may be counted as one.)
Higher Education Engagements: $350.00 per performance
Special Event Scale:
Leader: $400
Sideperson: $175
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Note: If you perform under a union contract you will receive a pension contribution of
8% to 15% of scale. The employer pays this amount in addition to your performance fee.
Suppose you get $220 for your performance, plus a 10% pension contribution.
10% of $220 = $22
$220 + $22 = $242 (your total compensation)

Ensemble Scales
For each additional musician, add half of the applicable solo scale amount; for example,
concert scale is $330 for a duo, $440 for a trio, etc.
(Online source with numbered paragraphs: (Locale 1000, pay scales, par. 3).

Currently, the best-paid musicians in Edmonton are the Symphony Orchestra
musicians because they have a contract and it is agreed upon. The ESO musicians sign
a contract to get paid a wage they think is appropriate for coming to their shows.
Independent musicians should do the same in order to get the rate of pay they deserve
without the venue going back on their agreement. You would also negotiate the other
costs so the musician is getting enough back in order to stay true to their product. The
best way to establish a business in any profession is to have a legally enforceable
contract. A legally enforceable contract is an agreement (not necessarily in writing)
between two or more competent parties, which is supported by a mutual consideration
to do some legal act voluntarily.
(See the Canadian Live Performance Contract below, from the Local 1000 website)


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(Online source with numbered paragraphs: (Locale 1000, Union Contracts, par. 2).


Live Performance Contract for Canada (LPCC)
(CANADIAN ENGAGEMENTS ONLY )
PARTICULARS OF ENGAGEMENT (S) Mark appIicabIe boxes and specify terms. - PIease print.
Type: Steady Casual Concert Other_________________________ Local Broadcast (prior approvaI by LocaI ______ is required)
Event or Production ______________________________________________________________________________________________________________
Venue Address and Telephone_____________________________________________________________________________________________________
______________________________________________________________________________________________________________________________
Performance Date (s): ________________________________________ Hours: start/finish time: ____________________________________________
RehearsaI Date (s): ___________ Hours: start/finish time: _____________________________________________
Note: Unspecified overtime is subject to the availability of the performing Musician (s) and payment of additional fees as agreed to by the Engager and Leader.
"TOTAL FEE AGREED UPON" $_______________ to be paid immediately on completion of engagement (s) or as follows:
Advance Payment: $________ Payable: Mo____ Day ____ Year ______ Balance of Amount: $________ Payable: Mo____ Day ____ Year _____
f applicable, the following amounts at A. and B. are included in the "TOTAL FEE AGREED UPON
A. Total GST/HST Payment: $ B. Total AFM - EPW Fund (Canada) Payment : $
Rider attached for additional terms: Yes No No cancellation / no refund after: Mo____ Day ____ Year _______________
This contract is Ior the services oI musicians. made this ______day oI _________. ____________. between the undersigned purchaser (hereinaIter called the
~Engager) and (#)______musician (s) (hereinaIter called the "Musicians") represented by the undersigned representative (hereinaIter called the
"Leader"). This document conIirms that the Engager contracts the services oI the individual Musicians severally. and that the individual Musicians sever-
ally. through the representation oI the Leader. agree to render collectively to the Engager their services as musicians according to the terms and conditions set
out herein and as Iurther speciIied in Schedule 1 (on Side 2 hereoI or as attached).
It is acknowledged by all parties named herein. that the Musician (s) including their representative 'Leader are members oI Local (s) (herein reIerred to as
the 'Local) oI the American Federation oI Musicians oI the United States and Canada (herein reIerred to as the 'AFM) and nothing in this contract shall
ever be so construed as to interIere with any obligations which the Musician (s) may owe to their respective Local as provided under its rules. regulations.
bylaws or constitution and those oI the AFM which. under the circumstances. may be appropriate; and said member Musician (s) including the 'Leader: ac-
cording to said rules. are bound to adhere to the proIessional standards (!"#$ "% $&'(!)) as established and maintained by the AFM and its Locals;
ARTIST/ GROUP NAME : consisting of Musician (s)
ENGAGER (Or state proper corporate name) The signatory accepts personal
liability for the fees payable herein unless the said Signatory is the authorized representative of a pur-
chaser who is legally solvent and has the legal capacity to be bound by all provisions hereof.
Name: ________________________________________________________
Address: ______________________________________________________
City:_______________ Prov: ______ Postal Code: ____________________
Phone:________________Fax:________________ Email: ______________
Signature: _______________________________Date: ____/ ____/ ____
II applicable AFM/Local TariIIs or negotiated agreements stipulate that contributions be paid to the American Federation oI Musicians` and Employers` Pen-
sion WelIare Fund (Canada) |AFM-EPW Fund (Canada)|. the Engager shall pay. or hereby directs the Leader to remit on the Engager`s behalI. a portion oI
the 'Total Fee Agreed Upon to the AFM-EPW Fund (Canada) as pension contributions on account oI the Musician (s) perIorming herein. pursuant to the
terms and conditions oI the AFM-EPW Fund (Canada).
This part to be completed by a designated representative of the AFM Local having jurisdiction. AFM Local No.
This conIirms that AFM - EPW Fund (Canada) pension contributions in the amount oI $ are in conIormity with the re-
quirements oI Local tariIIs or negotiated agreements reIerenced above and are being remitted based on applicable scale wages.
By: Title: / /
(Signature oI Local Representative) Month Day Year
NOTICE: This Iorm oI contract is protected by copyright. Its use to cover the services oI any Musician (s) who are not member (s) oI the AFM is strictly prohibited and may
subiect the non-member user to legal sanctions.
We the signatory parties, confirm the terms detaiIed herein and in ScheduIe 1, (on Side 2 hereof or as attached).
LEADER (Or state artist/group's proper corporate name)
The Signatory/Leader acknowledges being the Musician (s)' representative, who on behalf of the Musi-
cian (s) mentioned herein, represents that said Musician (s) will hold themselves available to perform
according to the terms set out herein.
Name: ________________________________________________________
Address: ______________________________________________________
City:_______________ Prov: ______ Postal Code: ____________________
Phone:________________Fax:________________ Email: _______________
Signature: ______________________________ Date: ____/ ____/ ____
LPCC Iorm. Side 1 (Revised May 20. 2008).
AMERICAN FEDERATION OF MUSICIANS OF THE UNITED STATES AND CANADA LOCAL . AFM
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Rationale

The biggest issue with pay scale for musicians is that it is not being
implemented by nearly anybody. It took me a lot of searching and research to even find
the websites that give pay scale and contract information. The AFM website describes
how they give musicians the tools to help you pay to scale, but in order to actually
obtain numbers, you need to become a member, which is relatively expensive. The Local
1000 website (www.local1000.com) is a separate website but is actually a part of AFM.
Its where I found the pay scale numbers and downloadable contract forms, but it took a
long time. When I was in the Music Program at Grant MacEwan University from
2008-2010, we took a Professionalism course, which covered a number of important
topics about becoming a professional musician once you graduate. Speakers from AFM,
AMIA, and SOCAN came in and all touched on the basis of pay scale for musicians and
how important it was, and then directed us to the website to become a member, which
no music student could really afford. It didnt direct us to the Local 1000 website, which
gave the free information.

If this pay scale was to be enforced, it needs to be more accessible to students,
and the speakers that are supposed to be speaking passionately about this topic need to
give more information. They cant expect these students to run out and become an
AFM member after they leave the room, there is not incentive to do that. Pay scale for
musicians will only work if more people are knowledgeable on the topic, and are eager
to set a standard again. This means a more accessible website of information, more
knowledgeable and passionate spokespeople, a pamphlet or two of information, and all
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on a larger scale with reach to more emerging artists. Maybe a student discount to
become a member of AFM, or a two-for-one deal on memberships on the day the
speaker gives musicians this information. This issue is important now because the pay
scale has only decreased over the years. It is difficult in a time of economic stress to try
to straighten out what the pay scale for musicians should have been in the first place.
But people are stubborn to change, and music is experiential and therefore hard to put a
price on. I think if musicians were well informed and determined to make change, we
can get back on track and Edmonton musicians can thrive once again in the music
industry.

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Works Cited

American Federation Of Musicians. "AFM." Why Join?. 2010. . 02 November
2010. <http://www.afm.org/why-join>.

The Travelling Musicians Union. "Pay Scales." AFM. undefined. . 02 November
2010. <http://local1000.com/members/dues-fees-scales>.

The Travelling Musicians Union. "Union Contracts." AFM. undefined. . 02
November 2010. <http://local1000.com/members/union-contracts>.

U.S. Bureau of Labor Statistics. "Musicians, Singers, and Related Workers."
Earnings. 17 December 2009. United States Dept. of Labour. 02 November 2010.
<http://www.bls.gov/oco/ocos095.htm#earnings>.