German orchestral association

The Deutsche Orchestervereinigung eV (DOV) is the professional association and the union for musicians in municipal, state and state orchestras, radio orchestras and big bands and for radio choirs, freelance musicians as well as lecturers and students at music colleges. The DOV cooperates with the United Service Union and numerous other associations and institutions, such as B. the German Music Council . Almost all members of German professional orchestras and radio choirs belong to it, a total of around 12,800 people.

The DOV negotiates collective agreements for its members with the German Stage Association (TVK - collective agreement for cultural orchestras) and the broadcasting companies and individual employers. In addition, she is active in the field of cultural policy by advocating the preservation and further development of the German orchestral landscape and public broadcasting. As a co-partner of the Society for the Exploitation of Ancillary Rights, it looks after the copyright and financial interests of over 100,000 performing artists. DOV is a member of the young ears network , which has been bringing together music education projects in German-speaking countries since 2007.

literature

Hermann Voss: The collective bargaining rights of the members of the German cultural orchestras, cultural orchestra tariff regulations (TO.K) together with changes taking into account the collective agreements of October 6, 1956 and September 21, 1957 , Mainz 1957.
Arnold Jacobshagen: Structural change in the orchestra landscape: the cultural orchestras in reunited Germany , Cologne 2000.
Gerald Mertens: orchestras, radio ensembles and opera choirs. 2016 http://www.miz.org/static_de/themenportale/einfuehrungstexte_pdf/03_KonzerteMusiktheater/mertens.pdf

Web links

German Orchestra Association eV
The time from November 16, 2007 contribution is no longer online. Suggestion: delete
German Orchestra Foundation

Individual evidence

↑ The origin of the concept of the cultural orchestra was examined by Lutz Felbick (The “high cultural assets of German music” and the “degenerate” - on the problem of the concept of the cultural orchestra, in: Zeitschrift für Kulturmanagement , 2/2015, pp. 85–115) . The work by Jacobshagen (2000) only mentions the conversion of the tariff regulation for the German cultural orchestras of March 30, 1938 (TO.K) into the collective agreement for the musicians in cultural orchestras agreed on July 1, 1971 and presents the more recent history below Musicology has to do extensive work on the continuity of the 1938 tariff system that was still in force in 1952 when the DOV was founded, cf. Voss 1957.
↑ 2. Gerald Mertens writes on this in an article for the German Music Information Center (orchestras, radio ensembles and opera choirs. 2016, page 2): Since the 1930s, the so-called cultural orchestras have generally been used to refer to all of the aforementioned concert, radio and opera orchestras, because they - according to the somewhat dusty collective agreement definition - play "predominantly serious music". The word “cultural orchestra” is a purely legal functional term that is also used in legal texts and collective agreements to distinguish certain professional orchestras from other ensembles. The decisive criterion, however, is likely to be that these orchestras are all largely publicly funded (from tax revenues or broadcasting fees), have a permanent workforce all year round and do not play pure entertainment or marching music.

[1] The origin of the concept of the cultural orchestra was examined by Lutz Felbick (The “high cultural assets of German music” and the “degenerate” - on the problem of the concept of the cultural orchestra, in: Zeitschrift für Kulturmanagement , 2/2015, pp. 85–115) . The work by Jacobshagen (2000) only mentions the conversion of the tariff regulation for the German cultural orchestras of March 30, 1938 (TO.K) into the collective agreement for the musicians in cultural orchestras agreed on July 1, 1971 and presents the more recent history below Musicology has to do extensive work on the continuity of the 1938 tariff system that was still in force in 1952 when the DOV was founded, cf. Voss 1957.

[2] 2. Gerald Mertens writes on this in an article for the German Music Information Center (orchestras, radio ensembles and opera choirs. 2016, page 2): Since the 1930s, the so-called cultural orchestras have generally been used to refer to all of the aforementioned concert, radio and opera orchestras, because they - according to the somewhat dusty collective agreement definition - play "predominantly serious music". The word “cultural orchestra” is a purely legal functional term that is also used in legal texts and collective agreements to distinguish certain professional orchestras from other ensembles. The decisive criterion, however, is likely to be that these orchestras are all largely publicly funded (from tax revenues or broadcasting fees), have a permanent workforce all year round and do not play pure entertainment or marching music.