The document summarizes a research project on the history of the Musicians' Union in the UK and industrial relations in the British music profession. Over the past 120 years, the MU has influenced policy and working conditions for musicians in three key areas: pay and conditions for musicians, performers' rights, and supporting musical events. While facing challenges from changes in employment law and the music industry, the MU has taken a pragmatic approach by negotiating with employers and providing services to members.

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