New investigation reveals major weaknesses in the reporting routines of the Ministry of Culture.
/ 23/02/2011 / codexThe Norwegian Composers' Association has investigated what the Norwegian symphony orchestras played over a period of 4 seasons from 2003 to 2007, by measuring within each category of music. It turned out that the proportion of Norwegian music measured in time was barely 10% (9,72), all types of orchestral music included. The proportion of new Norwegian orchestral works*
The operation of state-run Norwegian orchestras* is financed from the state budget with a total of just over 466,000,000, almost half a billion tax kroner. This constitutes almost 50% of the total state appropriations for music purposes in Norway. In the proposed state budget for 2011, an increase of over 26 million is proposed for the orchestras, out of a total increase for the entire music area of approximately 58.7 million.
* National, as well as regional/county institutions under items 70 and 71 in the State Budget: Oslo Philharmonic Orchestra, Bergen Philharmonic Orchestra, the symphony orchestras in Trondheim, Stavanger and Kristiansand as well as the North Norwegian Opera and Symphony Orchestra and the Norwegian Wind Ensemble
The Ministry of Culture bases its funding policy for the (entire) music sector on the following objectives:
1. make music of high artistic quality available to as many people as possible
In order for the Ministry of Culture to be able to assess how the political objectives are being met, the orchestras report annually to the ministry via their organization, the Norwegian Theatre and Orchestra Association. The reporting includes audience figures, number of transmissions (broadcasts on radio/TV), concerts and performances in various categories, such as premieres, Norwegian/foreign, number of contemporary works, etc.) The proportion of Norwegian and/or contemporary music is measured in the number of works played.
"Work" in this context can mean a 2-minute fanfare, an arrangement of a pop song, or a four-movement symphony. This gives a misleading picture. Larger independent orchestral works from recent times, created by Norwegian composers, are in reality conspicuous by their absence and are mostly considered curiosities in the repertoire lists of Norwegian orchestras.
In Norway, almost half of all tax money that goes to the music sector (just over 966 million in total) is spent on state orchestras – an environment that overall spends less than 1% of its playing time on newly written orchestral works, and less than 10% of its total capacity on Norwegian music – regardless of genre and era.
In connection with Report to the Storting no. 21 (2007–2008) Collaboration – A boost for rhythmic music, more specific goals were developed for grants for rhythmic music: “To facilitate and develop a diversity of Norwegian rhythmic music that is recognized for its high quality, characterized by musical breadth, diversity and innovation and that reaches a large audience in Norway and internationally.” These goals are to be achieved through “a good concert offer throughout the country – good access to high-quality recorded music – strengthened competence development and quality.”
In the rhythmic field, the word "Norwegian" is automatically associated with important concepts such as quality and innovation in goals. This is not the case in the field of orchestras.
– Following the survey, the Norwegian Composers' Association has initiated a discussion about more accurate reporting criteria towards the orchestras' organization, the Norwegian Theatre and Orchestra Association. The response has been positive, and already on March 1 and 2, a conference will take place between the Norwegian Composers' Association's board and Norwegian orchestra directors. Next, we hope to establish a constructive dialogue with the Ministry of Culture about a concrete change to the reporting criteria, but also about a necessary clarification and concretization of the political goals for Norwegian orchestras. We have many concrete proposals for how the intention to promote artistic development and renewal can be realized without compromising artistic freedom. Fortunately, there is no shortage of money, says chairman of the Norwegian Composers' Association Asbjørn Schaathun.
21. February 2011
Norwegian Composers' Association