Orchestral music has somewhat benefited from rationalization. Blind auditions increased the standard for musical production. Musical notations constrained performers, which allowed for greater coordination amongst large groups of musicians. However, the classical music industry remains highly irrational. The members of the orchestra hold more negotiating power than management, while production is characteristically slow and costly. The very nature of authentic orchestral music stands as a barrier to rationalization. Nevertheless, the future of the orchestra and those that enjoy its security is uncertain. The pandemic has revealed some of its structural weaknesses concerning management and its ability to control the workers. Presently, the controversy is how rationalized can the modern orchestra become until it loses its charm. Needles to say , there is merit to preserving such an integral part of western culture.
Baroque
The baroque period was for all intended purposes the father of the classical era. During this period most musicians were court musicians. Composers famously wrote pieces in figured bass notation, giving the freedom to improvise chord voicing. The willingness for composers to allow performers to improvise distinguished the baroque period from the era that followed. The structured orchestra was at its most irrational state. Musical production reflected the lack of defined roles and tasks. A flute player could easily be interchanged with a violinist. A harpsichordist was free to play the parts written for other instruments and vice versa. One could count on a tenured position through family name alone, over ability.
Classical
During the classical period The idea of independent musicians grew in viability. The middle class had grown in wealth, and the French revolution had displayed weakness in the aristocratic class. Musicians began to seek greater social status and demanded more compensation for their performance. As a result, the cost of maintaining an orchestra grew significantly.
“We now pay 30 guilders for a pair of boots, 60 also 70 for a skirt, etc. The executioner gets the economic-musical-my 4000 guilders were something last year before the French came, this year it is not even 1000 guilders convention money”. (Ludwing van Beethoven, 1825)
Performers had acquired a greater standard for compensation from their employers. On the other side of the coin, employers had new standards for performers. Musicians who sought to freelance had to prove their abilities before getting a tenured position. Coincidentally, around this time the figured bass notations that provided artistic freedoms for the musicians had fallen out of commission. The roles and tasks of musicians grew strict. A violin part could only be played by a violinist, etc. One could speculate that these changes came as a result of composers seeking ever-growing control over their work, their investment.
Romantic
The romantic period prioritized self-expression and rejected the industrial revolution, a historical moment of rationalization. Performers were allowed to display greater musicality; however, they were criticized by the same standards from the classical era. They had to prove their abilities as worthy of a tenured position. What was clear was the greater middle-class access to live performance. Nevertheless, a greater middle-class attendance meant that music from the classical, baroque, and romantic periods had lost its exclusivity. The idea of music reserved for the aristocratic class was dying. Therefore, the wealthier class gradually ceased to invest funds.
Calculability
An antithesis to calculabilty, the modern orchestras prioritizes quality rather than quantity, a barrier to rationalization. This decision can be felt economically. In fact, despite being a monopoly orchestra “run an operating deficit, in the sense that the money they earn from concerts, records and so forth does not cover their expenses,"(Robert Flanagan 2017).
Money is spent on lodging, transporting, and feeding a group ranging from 45 to 100 tenured musicians. These costs are fixed for the most part., the very nature of the music performed undermines any sort of calculability. The audience expects a standard quality of music over a standard length of music. In fact, contrary to the fast-food chain where more is better, more is less for live orchestra performance.
Predictability
Predictability as defined by Ritzer is, “the assurance that products and services will be much the same over time and in all locales.”. In the case of an orchestra, the concepts of predictability that would otherwise create profit, returns the opposite. Like calculability, the roots lie in the nature of the music being produced. Classical music attempts to stay true to its roots all the while attracting an older and younger audience. In some cases, the orchestra prioritizes the younger audience. This has been recently achieved by performing with pop and rock artists in an effort to gain greater exposure. More common ways orchestras seek to break outside the box is by hiring well-known soloists, and conductors. However, breaking out of the box isn’t cheap. For instance, many, “conductors are paid fees that frequently come close to millions of pounds or dollars taking their earnings way above those of even the Principal players” (Justin Wildridge, 2020)..
Control
Most music an orchestral musician plays has been written down. He/she is told what to play when to play, and how to play every note. These constraints seem to limit the ability of musicians who spent years mastering their craft. The audience feels the same force of control. They can’t clap between movement, making sound is an atrocity, and both the musicians and audience are bombarded with formal procedures. Audiences are fed performances that “cannot be too daring or risky” (Cut Common 2016). In this case, the orchestra has chosen to maintain rationalized control in a manner that neither benefits the audience or inspires the performers.
Efficiency
In terms of efficiency, the modern orchestra remains irrational, “orchestras generally, “spend two or three days in rehearsal and then do two or three performances" (Throsby 2017). live performances last from 90 minutes to an hour, with only one performance a day. Furthermore, Classical music is structured in a way that speeding up or omitting part of the music discredits its authenticity. The only form of efficiency that seemed to have a positive effect has been the specialization of instruments. High standards for auditions forces specialization for a limited range of instruments. Over time the musician becomes incredibly proficient at that one instrument. Meaning less time and money spent on rehearsal.
Management
With the pandemic some of the irrationalities are moving to the forefront of discussion. The Metropolitan opera faced a disagreement between management and performers to cut pay by $1500 a week due to the pandemic. Unable to reach an agreement the members were locked out without pay on April 2020. Performers recognize the danger of giving in to management, and “unions fear that the concessions being sought could outlast the pandemic, and reset the balance of power between management and labor” (Julia Jacobs, 2020).
Source:
Dr. Zannie, Giraud,et al. “Orchestra Facts: 2006-2014A Study of Orchestra Finances and Operations, Commissioned by the League of American Orchestras.” Www.Arts.Gov, League of American Orchestras, Nov. 2016, www.arts.gov/sites/default/files/Research-Art-Works-League.pdf
Bedol, Laura. “A Study of Women’s Experiences in Becoming Professional Classical String Musicians.” Proquest.Com, May 2019, search.proquest.com/docview/2300226282?pq-origsite=summon.
Bostein, L. “The Future of the Orchestra.” Silverchair.Com, 1996, watermark.silverchair.com/189.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAsAwggK8BgkqhkiG9w0BBwagggKtMIICqQIBADCCAqIGCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMp91nkGjewJsej7gnAgEQgIICc-G3VIun1NtHiAFvGgxFN8i7Kgef6UN358Z_e5DZrBiOQuSKAQHh6du17v4r2TfuZn9z_SmITi6LGMhAyg88PRZ9IBsrKoROtC8wZBPhEyPeB3re_Nrp5KfU3hXuDhYcDu5I0bkRZNh9bWUWV0Gq1cYLaGhNGPDA013yZbibH3vyrZIfwp0_gqZpqcRZLy-zt8o6JZ-nddBaEgi7wtdt4obHMP7tEbGAr4hZlvbeIoCc7mMHwp2xC9qLouRUJkm3uDj6Czoxd5La1hyDOuxm_-7Z21OZfnhwZW1do3jaPWac2hN0TPizMw4lABaxxWO9mxuxeGma-T467deDYHL-Y_E__vE9xenyG6kbo-gH4p1PL1SP7hddRDI9QJkRRsyyy6ajaQOWdr_Gr8NWGy15ddQS_snUqTeivgPhFK98crroOsqT36eLIlfoV46v3HIwMrmxqH34TOnl_C_oZyK64pDIi0gJkPWrGKZq8sG35QUQrx6M0_lED65LOs4_5mgInBI3zQyOiFEwNW-aQRKLRzNYzTQwaDHgCwrnVOsJAJoYK_3Nq_te9wwns09GS3wd0N_Baebv-0GeqqASjRB1UA6fn5SdMcVcpyevHjlMEgncRxYUyKtw8eVTA-CDg3u_95bL_jD3vanv4jDadeZMWYtepoMB73KSzQnitPlP0B8WU3G7u5Vys5GUsF6TftlRXTEk13AeVQXchnJYKsK_p9uIWIBj60KP98_0ZeBsQds2H3a7obAeXyFTrpz7bh50ywpDg5TJbf6dyuV0W7GvqQWd0S5U-IS9J3o4lEUnNKlY09pfiAL7t54VuG7jOsIGQhKCSw.
Carole MCauley, Mary. “Baltimore Sun - We Are Currently Unavailable in Your Region.” Baltimoresun.Com, 6 Feb. 2019, www.tribpub.com/gdpr/baltimoresun.com.
Deutsche Welle (www.dw.com). “Why Beethoven Snubbed Princes and Put His Music First.” DW.COM, 2020, www.dw.com/en/why-beethoven-snubbed-princes-and-put-his-music-first/a-19544501.
Goldin, Claudia, and Cecilia Rouse. “Orchestrating Impartiality: The Impact of ‘Blind’ Auditions on Female Musicians | Gender Action Portal.” Harvard.Edu, 1 Feb. 2021, gap.hks.harvard.edu/orchestrating-impartiality-impact-%E2%80%9Cblind%E2%80%9D-auditions-female-musicians.
House Bonn, Beethoven. “How Beethoven Invented the Freelance Artist.” Google Arts & Culture, 1825, artsandculture.google.com/story/how-beethoven-invented-the-freelance-artist-beethoven-haus-bonn/vgXBORPxpYtqYA?hl=en.
Jacobs, Julia. “Even When the Music Returns, Pandemic Pay Cuts Will Linger.” The New York Times, 18 Dec. 2020, www.nytimes.com/2020/12/17/arts/music/performing-arts-unions-pandemic.html.
Lebrecht, Norman. “A Chicago Cellist Explains: Why We Work Only 20 Hours a Week.” Slipped Disc, 16 Oct. 2015, slippedisc.com/2015/10/a-chicago-cellist-explains-why-we-work-only-20-hours-a-week.
---. “Why Auditions Fail (and the NY Times Is so Wrong).” Slipped Disc, 21 July 2020, slippedisc.com/2020/07/why-auditions-fail-and-the-times-is-so-wrong.
Locsin, Aurelio. “What Is the Pay Scale for the Average Member in an Orchestra?” Work - Chron.Com, 9 Nov. 2016, work.chron.com/pay-scale-average-member-orchestra-5246.html.
McClintock, Alex. “Why No Symphony Orchestra in the World Makes Money.” ABC News, 4 Apr. 2017, www.abc.net.au/news/2017-04-04/why-no-symphony-orchestra-in-the-world-makes-money/8413746.
Ng, David. “Cast Tops 1,000 for Mahler’s ‘Symphony of a Thousand’ in L.A.” Los Angeles Times, 15 Mar. 2019, www.latimes.com/entertainment/la-xpm-2012-feb-04-la-et-symphony-1000-preview-20120204-story.html#:%7E:text=The%20bulging%20roll%20call%20consists,choruses%20and%20eight%20vocal%20soloists.
“Performing During A Pandemic: How The Dallas Symphony Orchestra Has Managed In-Person Concerts.” Art&Seek, 16 Dec. 2020, artandseek.org/2020/12/16/performing-during-a-pandemic-how-the-dallas-symphony-orchestra-has-managed-in-person-concerts.
Robert Levine, and Seymour Levine. “Why They’re Not Smiling: Stress and Discontent in the Orchestra Workplace.” Rochester.Edu, Apr. 1996, www.esm.rochester.edu/iml/prjc/poly/wp-content/uploads/2012/02/Stress_Discontent_Levine.pdf.
Team, StringOvation. “The Romantic Period of Music.” Connolly Music Company | String Family: Violins, Violas, Cellos, 20 Mar. 2019, www.connollymusic.com/stringovation/the-romantic-period-of-music.
Temple, Ian. “10 Epic Collaborations Between Bands and Orchestras.” Soundfly, 21 Dec. 2020, flypaper.soundfly.com/discover/10-non-classical-bands-playing-with-an-orchestra.
“The Morning Call - We Are Currently Unavailable in Your Region.” Mcall.Com, 25 Mar. 2020, www.tribpub.com/gdpr/mcall.com.
Thompson, Clive. “How the Phonograph Changed Music Forever.” Smithsonian Magazine, 6 Jan. 2016, www.smithsonianmag.com/arts-culture/phonograph-changed-music-forever-180957677.
Tom Service. “Millionaire Maestros Are Paid Too Much.” The Guardian, 18 Apr. 2017, www.theguardian.com/music/tomserviceblog/2009/may/18/classical-music-conductors#:%7E:text=Stellar%20conductors%20can%20earn%20a,US%20is%20just%20over%20%24100%2C000.
Tommasini, Anthony. “To Make Orchestras More Diverse, End Blind Auditions.” The New York Times, 16 July 2020, www.nytimes.com/2020/07/16/arts/music/blind-auditions-orchestras-race.html.
Credits:
Created with images by TravelCoffeeBook - "opera orchestra music" • falco - "leipzig saxony germany" • HeikeFrohnhoff - "classic recorder flute" • Bluemount_Score - "piano ivory ebony" • WikiImages - "ludwig van beethoven bust composer" • Gina_Janosch - "music sheet music piano sheet music" • Pexels - "violins musicians orchestra" • takazart - "symphony orchestra concert philharmonic hall" • artesitalia - "conductor andrea vitello concert" • ernestoeslava - "orchestra music musical" • Funki50 - "waldbühne concert berlin philharmonic orchestra" • HeungSoon - "cello music instrument"