General Discussions

Something that I've thought about recently, and in my opinion would be a very good resource to have, would be some sort of living database/spreadsheet of per-service rates for orchestras (I guess mostly in the US, where this model is most active, but could include international examples as well).

A basic idea of what information it would contain:

• Name of orchestra

• Year contracted (so the database could be updated over time, or even backdated)

• Position (section, principal, assistant/associate principal, concertmaster, etc.)

• Substitute or Permanent musician

So what goes on in librarian auditions? How do they work? I always wonder, but it seems like a secret only librarians get to know 😂

Hi all-

I've been seeing people post how (insert name) WON the spot for (instrument) at New World. I personally have a problem calling this "winning an audition." They were chosen, yes. There is not a union. Screens, which are of great importance, are not used. I have heard it to be very beneficial to get your face in front of the folks at NWS many times over the years so they get familiar with you and see your growth.

Do we want to use the lingo of "winning" when someone gets accepted at a school? How about when someone gets into a chamber ensemble? Did they "win?"

I've never been a fan of calling it winning. I tend to ask when an audition happens, "did they choose anyone?" Chosen is a more comfortable word to me than winning. We aren't "beating" people. We're offering a way of performing music…

I’m very curious about this as a hispanic trans musician - In auditions where the judges can see your face/body, have you ever felt as if the results of your audition had very little to do with your playing, but moreso because you showed up with big natural hair, face piercings, or tattoos ? For the lgbtq+ musicians, have you ever felt like you were on the losing side of audition politics simply because you’re visibly lgbtq+?