Composer Commission Pay in the United States - New Music USA
As academia becomes adjunctified, composers need to think about how to make a living when commission are so low. This pertains mainly to concert music.
It is still worthwhile, but realism helps steer the course. And there needs to be more discussion and advocacy for composers being paid adequately for their hard work.
Was just having this discussion with my son (music performance) as he has several composition major friends in his conservatory. Seems many end up teaching music theory or in administration at conservatories. So much talent, creativity and hard work involved in composing. In my opinion, musicians are generally underpaid. But composers really seem to struggle to get their work out there and compensated.
Teaching is one option- and mostly part-time with no benefits. Of course new full-time professors may teach 4 classes and have committee responsibilities but at least the summer is off. And that work is stimulating.
Administration jobs are salaried and have benefits, but generally work summers and have a couple of weeks off per year. It is tough to progress as a composer when you cannot do residencies, festivals, fellowships at summer programs, travel for performances of work and so on. It is even tough to work all day and create- at least for some.
It can work out, balance can be found, but it takes perseverance and patience and few can rely on commissions to support themselves.
There is snobbery in the classical world toward âmusic for new media,â including film scoring and writing for commercials or video games. But it is understandable that a lot of young people are heading in that direction.
Indeed. Just as there is some disdain for playing âpops classical musicâ. But one needs to pay the bills. And sometimes that great summer orchestra gig involves those 4th of July standards that the brass and piccolos love. And the audiences picnicking on the green enjoy. Whatever brings people to experience live music (or supports new composers and performers)
I do see that many student and professional orchestras are featuring music by new composers more frequently than in the past.
I am hoping musicians are reading this because in some cases, they are the ones who pay composers! Sometimes it is larger orchestral organizations but often smaller ensembles do the commissioning, get the grants, and pay the composer 
I was hoping for more comments and discussion. For parents of high school composers looking to enter a BM program, or grad school, how does this affect your kid (and your) view of the future? What alternative pathways besides academia are presenting themselves?
For parents of instrumentalists and vocal performers, is this issue on your kidâs or your radar at all? Are your kids playing any living/ contemporary composers? I have read that some conservatories are requiring a contemporary piece in an audition. Does the potential need to pay a living composer encourage sticking to the traditional repertoire of mostly white males in another century?
I have a kid with a PhD in music who is figuring things out. No regrets. But after quite a few years posting on this forum, I would love to see a realistic conversation since new strategies are needed to live the creative composerâs life while supporting oneself.
My kid played in the New Music Ensemble most of his time at Temple - because it seems more contemporary pieces feature interesting use of percussion. We were just visiting Chicago and went to Ravinia where the CSO played a variety of pieces - contemporary one, violin concerto and an old âdead white guyâ standard.
It seems to me that major orchestras are starting to feature more new works in their programs - even if itâs the first one on the bill. The one the CSO played was commissioned by the local classical radio station - so itâs not always the usual suspects paying composers.
One thing not mentioned here is that a significant portion of a composerâs income can come from live concert royalties through their membership in either BMI or ASCAP. But they only receive the royalties if the presenting ensemble pays their annual dues to the organizations - dues which are significantly less for the individual organization than even one composer can receive.
For instance, a nonprofit small chamber ensemble may pay an annual fee of only $250, and yet if they perform a 10 minute string quartet three times at a small community venue- the composer may receive $150 per performance. (Just guessing at the amount - it varies by the venue, the audience, if admission is charged, etc.)
As I mentioned, the amount the composer receives varies on the size of the ensemble, the venue, if tickets are sold, the numbers of musicians, the length of the work - and then the variable of the number of all the licensed works that are performed that year by member ensembles. The pot is divided evenly - famous composers get the same share as emerging composers. BMI and ASCAP have their own methods for dividing up the monies received. BMIâs is directly tied to the performances. ASCAP may use a slightly different system.
What this is all to emphasize - is that even if the ensemble is small and only performs at local storefronts, churches and schools - it is incredibly helpful to composers for that ensemble to pay their annual dues to ASCAP and BMI. If they donât, the composer gets nothing. Unless the venue itself is already paying the dues. My S has lost out on literally thousands of dollars because of performances at unlicensed venues by individual performers whoâve not considered paying the dues.
My son is graduating next year and he would like to continue studying. As far as I know he would love to teach at the university level. At least this is what he is aiming right now. This might change for sure. He is also studying music theory in addition to his composition degree. So far he earned money from the competitions he joined. He gives lessons at a community outreach program which is unpaid but it is a good experience for him.
We have another composer in our family who lives in Europe. He is specialized on film scoring. He is a ghostwriter for movies, TV shows , advertisements , video games etc. He also teaches, works with small children. He does his work over the zoom and work with different people in different countries. In his case networking is very important. I am not sure how much he is paid. He seems to be happy.
Two things: concert music and film scoring are entirely different. And Europe is a great place to be as a composer, including experimental/ânew musicâ composers. There is a lot more funding available to artists of all kinds.
@Doransa, what kinds of competitions did you son participate in? Were these competitions for commissions, similar to those found on Composers Site? Were the payments in line with the numbers in the study I linked in my first post?
A doctorate will be 6 or 7 more years, living on a stipend and working as a teaching assistant. Possibly teaching as an instructor towards the end. If he is flexible about where to live, a position that is not part-time is certainly possible, especially if he is willing to teach theory.
He applied to several competitions. I think some were from the Composers site and some of them from his studio teacher. His studio teacher does a great job to informing the whole studio about the upcoming competitions.
I need to check what he was paid. I know they were kind of late with the payments. He is in a music festival right now, once he is back I will ask him about the payments.
@Doransa I am curious what you mean by âcompetitions.â Your son, as an undergrad, may not yet be relying on commissions. But I am not that familiar with competitions.
@compmom There are some regional competitions for young, emerging composers, as well as international competitions just for composers. Robert Avalon International Competition for composers is one of them. It is mostly for recognition, and winners gets small amount of money. I only mentioned because that is the only time I saw my son earning money from his music. By no means it is a reliable source of income.
He is an undergrad @Doransa and not yet a professional. The article about the pay scale for commissions relates to professionals, most with doctorates or extensive experience in the field. I wanted to make a distinction between competitions and commissions.
Congrats to him on his winnings! Competition â Foundation for Modern Music
@SpiritManager royalties tend to be low unless music is performed by a larger organization- just like the commissions. And making any money from royalties depends on repeat performancesâŠlike. every day!
I am not trying to be discouraging. I am just pointing to the need for all to be aware of this issue and for some advocacy to happen. Actors and writers are striking. Maybe composers are next!
ps Charles Ives worked as an insurance agent Nothing wrong with having a non-academic job on the side!
@SpiritManager , I am confused.
My understanding was that it is not the responsibility of the performing musicians to have a license, but rather the hosting venue that must be licensed. The musician should ask if the venue has the appropriate license before signing contracts.
From ASCAP website: " Arenât musicians, entertainers and DJâs responsible for obtaining permission for music they perform?
Some people mistakenly assume that musicians and entertainers must obtain licenses to perform copyrighted music or that businesses where music is performed can shift their responsibility to musicians or entertainers. The law says all who participate in, or are responsible for, performances of music are legally responsible. Since it is the business owner who obtains the ultimate benefit from the performance, it is the business owner who obtains the license. Music license fees are one of the many costs of doing business."
and here
https://www.ascap.com/music-users/licensefinder
Glad to learn new information if wrong all these years⊠Also not familiar with all license types.
Ticket sales obviously do not go to the composers. I hear that the composers I know get $200 at the end of the year, at most, from membership at BMI or ASCAP.
I think a distinction here needs to be made between large, well-known organizations/venues and smaller (scrappier!) ones. Ditto large orchestras versus small (more experimental) ensembles.
The idea that royalties help composers is based on the idea of pieces being played all the time, which doesnât even happen for well-known composers let alone emerging ones.
Agreed. I find some of this conversation a bit confusing too. But I donât know a lot about composingâŠso thatâs probably why!
My D, as a vocalist, doesnât pay the composerâŠthe theater or organization does. She has done some ânew worksâ with composers (usually small side projects). I know that one of the groups got a grant and paid the composer, vocalist and pianist $500 each for a project. There were 5 groups of three, I believe, for the project. The project had one performance and was a passion project for my Dâs friend so she agreed to it. It is pretty low pay for the time/effort but my D will do it for the ârightâ peopleâŠmeaning easy to work with. She has done a few projects like this over the years. Still there is no way my D would be looking to pay anyoneâŠwhen sheâs very busy trying to get paid herself!!
My D interacts mainly with composers that did not come through the academic route. Almost all were performers firstâŠinstrumentalists, singers, songwriters for their bands who started composing for stage performance maybe in their 30s. So their work is more commercial, pop, sometimes sillyâŠfor musical theater (think Elton John but in a much smaller way, lol)âŠand they seem to have little concern about highbrow music and commissions with orchestras. Itâs just a different world.
I only mention this as I do know my D works with composers/performers who seem to make a livingâŠbut not simply off composing, I would guess. As I have mentionned before, being multi-talented helps. Being able to compose seems to open doors for many performers over time. But I do understand that not all composers perform. In that case my comments may not be helpful.
Agreed! Sadly most performers are scrambling to get paid. I canât imagine my kid and his cohort just starting out in the professional world opting (or even being able) to pay a composer. I agree that they do play pieces for composer friends and colleagues at a lower rate, as @bridgenail states above. But that means the musicians are playing with little pay, not paying the composer.
My kid (PhD) just got a commission from musicians who are indeed paying her, but the musicians obtained a grant.
There are a lot of different musical worlds out there so this discussion is going to get confusing. I posted the study on commissionsâ pay mainly thinking of âclassicalâ concert music and what is often termed ânew music.â Even within that realm there is wide variation in aesthetic and scale, including orchestral works, string quartets, solos, mixed media/interdisciplinary works, installations, electronics, various experimental realms etc.
The post is by New Music USA so I think we can assume it refers to contemporary composers in ânew musicâ and all that entails.
In our experience, in that world, musicians are indeed paying composers. Not always, but it certainly happens. It is often friends working with friends and it is a small world.
I would add that âemerging composersâ are often not paid at all and are supposed to be grateful for the chance for a performance. Note on the chart in the article that 37% of works performed were unpaid.
And @oboemom all the musicians we know are busting their b**ts to pay rent!