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	<title>Musical America Blogs &#187; orchestra</title>
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		<title>Can We Loan Sheet Music?</title>
		<link>http://www.musicalamerica.com/mablogs/?p=8544</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=8544#comments</comments>
		<pubDate>Wed, 28 Nov 2012 05:02:04 +0000</pubDate>
		<dc:creator>ggartslaw</dc:creator>
				<category><![CDATA[Arts Management]]></category>
		<category><![CDATA[Contracts]]></category>
		<category><![CDATA[Copyrights]]></category>
		<category><![CDATA[Law and Disorder: Performing Arts Division]]></category>
		<category><![CDATA[Liability]]></category>
		<category><![CDATA[Licensing]]></category>
		<category><![CDATA[Music Rights]]></category>
		<category><![CDATA[Non-Profits]]></category>
		<category><![CDATA[Recordings]]></category>
		<category><![CDATA[Brian Taylor]]></category>
		<category><![CDATA[community orchestras]]></category>
		<category><![CDATA[copyright]]></category>
		<category><![CDATA[copyright infringement]]></category>
		<category><![CDATA[copyrightable material]]></category>
		<category><![CDATA[Goldstein]]></category>
		<category><![CDATA[Liable]]></category>
		<category><![CDATA[license]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[orchestral performances]]></category>
		<category><![CDATA[orchestras]]></category>
		<category><![CDATA[ownership]]></category>
		<category><![CDATA[permission]]></category>
		<category><![CDATA[recording]]></category>
		<category><![CDATA[sheet music]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=8544</guid>
		<description><![CDATA[By Brian Taylor Goldstein, Esq. Dear Law and Disorder: May we loan music that we own for orchestral performances by other non-profit organizations (schools, community orchestras, etc? Would the other group still need to obtain performing/recording permissions? Could we be liable if they don’t? It depends how define “own.” If by “own”, you mean that [...]]]></description>
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		<title>Do We Need Visas For Orchestra Support Staff?</title>
		<link>http://www.musicalamerica.com/mablogs/?p=6133</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=6133#comments</comments>
		<pubDate>Wed, 18 Jul 2012 04:14:52 +0000</pubDate>
		<dc:creator>ftmartslaw</dc:creator>
				<category><![CDATA[Artist Management]]></category>
		<category><![CDATA[Independent Contractors]]></category>
		<category><![CDATA[Law and Disorder: Performing Arts Division]]></category>
		<category><![CDATA[Touring]]></category>
		<category><![CDATA[Visas]]></category>
		<category><![CDATA[administrative staff]]></category>
		<category><![CDATA[Brian Taylor]]></category>
		<category><![CDATA[Goldstein]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[orchestras]]></category>
		<category><![CDATA[support staff]]></category>
		<category><![CDATA[technical crew]]></category>
		<category><![CDATA[Tour]]></category>
		<category><![CDATA[visa fee]]></category>
		<category><![CDATA[visa petition]]></category>
		<category><![CDATA[visa petitions]]></category>
		<category><![CDATA[work visa]]></category>
		<category><![CDATA[work visas]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=6133</guid>
		<description><![CDATA[By Brian Taylor Goldstein Dear Brian: We are touring an orchestra in the United States next season and have been grappling with the idea of whether the staff from the concerts team need to have visas for this tour, regardless of whether they are employees or freelance (we’ve had different opinions expressed). In the past, [...]]]></description>
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		<title>Am I Obligated To Accept Unsolicited Emails from Managers?</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4864</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4864#comments</comments>
		<pubDate>Wed, 23 May 2012 04:30:30 +0000</pubDate>
		<dc:creator>ftmartslaw</dc:creator>
				<category><![CDATA[Agents]]></category>
		<category><![CDATA[Artist Management]]></category>
		<category><![CDATA[Law and Disorder: Performing Arts Division]]></category>
		<category><![CDATA[Liability]]></category>
		<category><![CDATA[Non-Profits]]></category>
		<category><![CDATA[Presenters]]></category>
		<category><![CDATA[501 c 3 organizations]]></category>
		<category><![CDATA[agent]]></category>
		<category><![CDATA[Brian Taylor]]></category>
		<category><![CDATA[commercial messages]]></category>
		<category><![CDATA[ftm]]></category>
		<category><![CDATA[Goldstein]]></category>
		<category><![CDATA[manager]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[sending emails]]></category>
		<category><![CDATA[unsolicited commercial emails]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4864</guid>
		<description><![CDATA[By Brian Taylor Goldstein Dear FTM Arts Law: I am the executive director of a well-established regional symphony orchestra. As with most orchestras, I frequently receive emails from managers and agents asking me to consider their artists. After a number of emails from the same manager all within the same week, I wrote and told [...]]]></description>
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		<title>Charles Anthony, No Unsung Hero</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4081</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4081#comments</comments>
		<pubDate>Mon, 27 Feb 2012 18:56:54 +0000</pubDate>
		<dc:creator>Alberich2</dc:creator>
				<category><![CDATA[A Rich Possession]]></category>
		<category><![CDATA[career]]></category>
		<category><![CDATA[Charles Anthony]]></category>
		<category><![CDATA[guinness book of world records]]></category>
		<category><![CDATA[James Conlon]]></category>
		<category><![CDATA[metropolitan opera]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[ripley s believe it or not]]></category>
		<category><![CDATA[symphony]]></category>
		<category><![CDATA[the met]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=4081</guid>
		<description><![CDATA[by James Conlon On February 15, one of the great men of opera passed away. Charles Anthony will be long remembered for the stunning statistics of his career at the Metropolitan Opera: 2,928 performances of 111 roles in 69 operas in 57 years. He appeared there more than any other artist in the Met’s history. [...]]]></description>
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		<title>Getting a Feel for Fees</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3789</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3789#comments</comments>
		<pubDate>Thu, 02 Feb 2012 04:15:05 +0000</pubDate>
		<dc:creator>Edna Landau</dc:creator>
				<category><![CDATA[Ask Edna]]></category>
		<category><![CDATA[Managing Your Own Career]]></category>
		<category><![CDATA[askedna]]></category>
		<category><![CDATA[career]]></category>
		<category><![CDATA[Edna Landau]]></category>
		<category><![CDATA[musicalamerica]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[performer]]></category>
		<category><![CDATA[young artist]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3789</guid>
		<description><![CDATA[By: Edna Landau To ask a question, please write Ask Edna. Dear Edna: I am a pianist, seeking to obtain performance opportunities without a manager. Can you please give me some guidance with regard to negotiating a fee? How can I tell what is reasonable and within the budget of the organization in question? How much [...]]]></description>
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		<title>Omus in Person</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3775</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3775#comments</comments>
		<pubDate>Wed, 01 Feb 2012 16:50:28 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Aaron Kernis]]></category>
		<category><![CDATA[Alicia de Larrocha]]></category>
		<category><![CDATA[Allan Kozinn]]></category>
		<category><![CDATA[Berg]]></category>
		<category><![CDATA[Brian Kellow]]></category>
		<category><![CDATA[carnegie hall]]></category>
		<category><![CDATA[Christopher Hunt]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[classical music]]></category>
		<category><![CDATA[Deborah Borda]]></category>
		<category><![CDATA[Festival]]></category>
		<category><![CDATA[Jane Moss]]></category>
		<category><![CDATA[Juilliard]]></category>
		<category><![CDATA[Kirk Varnedoe]]></category>
		<category><![CDATA[lincoln center]]></category>
		<category><![CDATA[Mary Lou Falcone]]></category>
		<category><![CDATA[mozart]]></category>
		<category><![CDATA[musical america]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[new york times]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[performer]]></category>
		<category><![CDATA[Schmidt]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[symphony]]></category>
		<category><![CDATA[Town Hall]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3775</guid>
		<description><![CDATA[by Sedgwick Clark I first met Omus Hirshbein in Carnegie Hall’s executive offices, where he worked for a brief time in 1973 between tenures at the Hunter College Concert Bureau and the 92nd Street Y. He was walking out of a planning meeting, saying in frustration to anyone nearby, “They won’t listen to me—they should [...]]]></description>
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		<item>
		<title>Cellphones and Their Ilk</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3617</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3617#comments</comments>
		<pubDate>Wed, 18 Jan 2012 18:12:18 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[Berlin]]></category>
		<category><![CDATA[carnegie]]></category>
		<category><![CDATA[Carter Brey]]></category>
		<category><![CDATA[Clark]]></category>
		<category><![CDATA[Herbert von Karajan]]></category>
		<category><![CDATA[Kurt Masur]]></category>
		<category><![CDATA[Mahler]]></category>
		<category><![CDATA[New York]]></category>
		<category><![CDATA[Newark]]></category>
		<category><![CDATA[orchestra]]></category>
		<category><![CDATA[Sedgwick]]></category>
		<category><![CDATA[sedgwick clark]]></category>
		<category><![CDATA[Sibelius]]></category>
		<category><![CDATA[Simon Rattle]]></category>
		<category><![CDATA[Sir Thomas Beecham]]></category>
		<category><![CDATA[symphony]]></category>
		<category><![CDATA[Tony Tommasini]]></category>
		<category><![CDATA[Valery Gergiev]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3617</guid>
		<description><![CDATA[by Sedgwick Clark   Many years ago I was sitting next to the p.r. director of the Berlin Philharmonic at Carnegie Hall when a cellphone went off as Simon Rattle conducted. When the piece ended I asked him if that happened in Berlin. &#8220;Everywhere,&#8221; he said sadly.    I left for vacation two days after the cellphone brouhaha at the New [...]]]></description>
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