Success Beyond The Score

Players of over 20 orchestras across the UK have joined forces with the Musicians Union to demand that the government addresses the lack of streaming royalties. While streaming services have made music more accessible than ever, most of the money that they earn never reaches the people who perform the music. This is a particularly harrowing issue with non-featured musicians, including session and orchestral players, as the viola player Rachel Bolt explains in this reel:

 

 

 

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The Musicians Union has assessed that the solution lies on updating the copyright law. As it currently stands, streaming services must give part of their revenue to copyright owners, who are mainly record labels and publishers. Changing it in a way that guarantees equitable remuneration for streaming income would give musicians their due revenue back, without making the State incur in additional expenses.

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Everything in life entails a risk, even not doing anything at all. Assessing and managing risks is part of life, but it becomes critical in professions that involve large numbers of people, like live music.

If you've followed Millicent as an artist or as an educator for any amount of time, you know that she strongly advocates for musicians getting paid for their work. This is a position that she shares with the Musician Union, of which she has served as member of the Executive Committee and the Midlands Regional Committee. In a campaign called "Work Not Play", the MU offers resources to empower musicians so they don't feel pressured to accept unpaid jobs. This includes a list of fair play venues, a digital tool to define your rates, training to improve your negotiation skills, and more.

Millicent has also created her own resources to tackle this issue. In the free gifts section of our website, you can find the leaflet "Ten Reasons Why They Will Pay You Before Gig Day". In the store, the e-learning course "How To Work Out Your Gig Fee, Collect Your Payment And Manage Your Money" will walk you through everything you need to know in order to get paid as a professional musician.

Remember: b...

The Musicians' Union is cautious about the government consultation currently going on in regard to copyrighted material being used to train generative artificial intelligence (genAI). The consultation is a direct successor of a government-proposed exception that saw the light in 2023, and didn't go through due to strong opposition from the creative industry. The difference this time is that the government has outlined a way for right holders to prevent their works from being used to train AI systems. Alternatively, they could opt to negotiate a presumably paid licence for their use.

In the realm of music, the right holders are mainly record labels and publishers. However, musicians who signed their contracts and transferred their rights before the boom of genAI had no way to foresee the weight this technology would have in the cultural landscape and industry, or the impact its use would have in their revenue. For this reason, the Musicians' Union advocates for each creator having the...

The Government is running an independent Curriculum and Assessment Review with the aim to gather perspectives and evidence that can help refresh and update the national curriculum and statutory assessment system in England. The Musicians' Union is responding to it on behalf of its members, submitting arguments in favour of arts and music education, and you can do the same by answering to the review online before Friday, 22nd November.

The Review has a big scope, and it's looking for solid evidence and potential solutions to the main problems faced in the education of children and teenagers aged 5 to 19. If you feel that you don’t have an informed opinion to contribute to the discussion regarding one specific section of this massive enterprise, it's alright: you can answer only to what matters to you, and your opinion will be taken into account anyway.

The Musicians' Union has highlighted the sections more relevant to arts and music education, and has some advice on how to respond to ...

The boom of generative AI brings difficult challenges to the music industry. In an effort to keep regulations on par with the development of this technology, the Musicians' Union is pushing for copyright law to be upheld in relation to it, and for new rights to be introduced that will protect musicians and music creators from any unauthorised use of their works and performances.

Generative AI needs massive amounts of data —in the case of music, the input is millions of songs and sound samples— to train with, before it can generate pieces from given prompts. This data so far has been collected without explicit consent by its original, human creators. Developers argue that their LLMs (large language models, generally referred to as "AI") learn from the source data in a way similar to humans, therefore they can't incur in copyright infringement. However, these systems are unable to create their own ideas. Instead, they search for patterns in pre-existing music so, when they get a prompt,...

We know what you first thought was: Is there someone campaigning in favour of female mediocrity?! What's that supposed to mean?!

 In an article posted by the Musicians' Union as part of their guest blogs, Christine Anderson explains her point. This viola player, who's a member of Her Ensemble, as well as an orchestral and chamber musician, shares her experiences and thoughts on women and diversity within the classical music industry in a thought provoking article that starts like this:

The classical music industry is changing. Admittedly, the pace could generously be described as glacial: according to Donne - Women in Music, in the 2021-22 season, across 111 orchestras in 31 countries, just 7.7% of pieces played were by women, of which 5.5% were white (while 27.5% of pieces were by the same ten historical, white European men).

But this is at least a slight improvement on the previous year, where just 5% of compositions were by women. And out with the big, established orchestras, the...

Millicent has been part of the Musicians’ Union’s Executive Committee for a few terms now. The current one finishes at the end of December this year, and she has taken the decision not to continue because she successfully got on the NatWest Accelerator programme offered by NatWest Bank, which runs for six months. 

The programme supports and empowers entrepreneurs of the United Kingdom to scale their businesses to the next level. Millicent joined to boost Success Beyond The Score as a whole, but in particular Time For My Music, the online community for emerging female musicians that you can find in this link. 

The NatWest Accelerator sessions run on Wednesdays, which makes them overlap with the monthly sessions of the Musicians’ Union’s Executive Committee. Given that Millicent has already had the opportunity to contribute to the union through that committee for a meaningful and rewarding time, she decided to step down and focus on the NatWest Accelerator in order to complete it succe...

As musicians, we require that the venues where we play provide us with certain things in order for us to be able to offer our best performances. Some examples are tables to locate our equipment, dressing rooms to get ready after a long ride to the venue, parking space near or in front of the venue with the possibility to offload, ramp access, etc. While some might think those are a given that all venues offer by default, the truth is that many of them do not. This is particularly troublesome for musicians with disabilities. After all, if you require certain accommodations due to a disability, you might be hesitant to try your hand at gigging due to fear of venues ignoring your needs.

First of all, rest assured knowing that all musicians have the same right to perform at public venues, no matter whether they have a disability or not. To ensure that this is a reality, the key is that artists and venue owners communicate in advance to clarify the needs of the show and take action for ...

Recently, I have had quite a lot of gigs. The occasions are different and so are the circumstances. Sometimes, I am playing on a terrace, some others, on a function room, or a hall, or at a bar... As I usually have to bring my own PA system, and even when I don't, I have to think about the safety of everybody involved, including myself, when I set it.

A few weeks ago, in London, I arrived to the venue where I was going to play when the guests were already at the bar, coming from the wedding ceremony to attend the drinks' reception. I had to survey where the plug points were, and think where to set up, without the guests seeing me directly. I had to make sure that my speakers were firm on their stands and that the cables connecting them to the console were not a tripping hazard for me or other musicians coming on stage.

Sounds a bit nerve-wracking, doesn't it? Well, it is not too bad, especially not after years of practise, but you have to be attentive and careful, and always make sur...