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The vast majority of the Musicians Union collection has now been catalogued and added to our online catalogue. The collection includes material from Central and District offices and also material from over 65 branches of the Musicians Union spread across the whole of the United Kingdom from Aberdeen in the north, to Bournemouth in the south. As you might expect the records tell us much about the administration of the MU, its structure and operation. The campaigns around the use of recorded music, promoting live music as well as defending the terms and conditions of working musicians and supporting them in times of hardship are well documented throughout the branch records.
For some branches we have a large number and a wide range of records. For example for Glasgow, Manchester and Liverpool we have records that reflect the size of the union in terms of individual members in those areas and the range of employment opportunities for musicians.
The minutes of committee meetings and correspondence record the concerns of the Union, for example in protecting terms and conditions of employment for musicians employed in local orchestras and in local theatres. Liverpool minutes MU/4/5/1/5
We have membership records that provide not only evidence of the size of the branches in terms of recorded members but also provide information which may be of interest to family historians. Membership registers include names, address, date of joining the union, instruments played and if the person had transferred from another branch or moved to another branch. The membership records cover more than a century of MU membership from 1893 onwards.
It is perhaps not surprising that the MU branches in these large cities produce many records; however some small towns also had very active branches. For example we have records from the Blackpool branch which reflect its history as a popular seaside resort with several theatres and attractions including the Tower Ballroom. The minutes of the Blackpool branch meetings and correspondence record negotiations with the Blackpool Tower Company over the terms and conditions of musicians. MU4/15/3/1
The impact of historical events is also present in branch records for example the Blackburn branch was involved in negotiations with the local council for the Coronation of Queen Elizabeth in 1953 and the use of recorded music. MU/4/11/3/1
The BBC looms large in many branches especially in those branches where members are employed in the BBC orchestras. Much of the correspondence of the Glasgow branch covers negotiations with the BBC over cuts to orchestras and the resulting strikes during the 1980’s.
The strike in Bournemouth in 1950 is well documented in a Strike Day by Day Scrap book MU4/18/5/1
The John Grierson Archive has been held at the University Archives since the early 1970s and continues to be one of our most popular collections. This reflects Grierson’s importance in cinema history, often being described as ‘the father of documentary film.’
There seems to be a renewed interest in Grierson in the ether at the moment. His bust now stands proudly in Stirling Train Station, placed there as part of the great efforts of the Stirling Rotary Club to improve the building. The choice of the station is apt as one of Grierson’s best known films is Nightmail, the 1936 documentary tracing the journey of the post train from London to Scotland made by the GPO Film Unit. The film has also recently been the inspiration for a new track by Public Service Broadcasting, a musical project inspired by old public information films:
Another musical response to Grierson’s work was recently created by the band Field Music who composed a new live score to accompany Drifters, Grierson’s 1929 documentary about North Sea fishermen. The band premiered this new soundtrack at the Berwick Film Festival and plan further performances in the coming months.
Drifters was originally a silent film, but Grierson was aware of the potential of music to heighten the dramatic intensity of the heroic struggles of the fishermen he recorded. He laid out very clear instructions for his suggested musical accompaniment to the film, choosing pieces of stirring classical music such as Mendelssohn’s Fingal’s Cave to accompany the action.
As we head towards xmas it’s time to collect and collate the statistics for the use of our collections in 2012 to create our end of year chart. We’ve combined the information recorded in our enquiries database with the records of visitors to our reading room and have a new No. 1 this year, knocking the ever-popular John Grierson Archive into the No. 2 spot.
In 2012 our most used collection was the Musicians’ Union Archive. The collection provides a comprehensive record of the work of the union and its responses to the various challenges (both political and technological) which have faced musicians over the last 130 years. There are a number of factors that contributed to the collection’s popularity in 2012:
- The increased accessibility of the collection due to cataloguing, making previously unaccessible material available to researchers
- The heavy use of the collection by an AHRC-funded project based at the University of Glasgow which is researching the history of the Musicians’ Union
- The centenary of the sinking of the Titanic which led to many enquiries from the media and researchers relating to the musicians on board the ship
The collection also received many genealogical enquiries from people tracing the careers of family members, the membership records providing a wealth of useful information, and a range of enquiries from researchers investigating various aspects of political, social and musical history.
Cataloguing of the Musicians’ Union Archive will continue in 2013 as the records of the local branches located across the UK are added to the catalogue, providing a comprehensive record of union activity from Aberdeen to Exeter.
Further down the chart our Lindsay Anderson Archive made the top 3 for the second year running, the final fruits of the work of our ARHC research project being published in November. It was also encouraging to see the university’s own institutional records being well used (at No. 4) and featured in an exhibition celebrating the 40th anniversary of the macrobert in September and on television in a report on the Howietoun Fishery on BBC 2 Scotland’s Landward in November.
The statistics for our flickr pages highlight the success of our Going Wild In the Archives exhibition which took place across the campus in the spring of 2012. The top 10 most-viewed flickr images all hail from the natural history collections which were photographed for the exhibition and include beautiful Victorian illustrations of birds of paradise, sea anemones, butterflies and Himalayan plants. With plans in place to open-up some interesting new accessions to researchers in the new year we’re looking forward to a busy and stimulating 2013!
The Musicians Union Archive includes a full set of the various journals, reports and bulletins produced by the union over the years for its members. These publications provided information relating to union activity and reported on the major issues affecting musicians. From 1921 – 1931 the union produced the Musicians Journal. This publication is notable for the cartoons which featured in many of its issues, these images both entertaining the journal’s readers and illustrating many of the threats to the livelihoods of musicians in the period.
The first cartoons, which begin to appear in 1923, reflect the working conditions of many of the union’s members with amusing scenes depicting such common complaints as overcrowding in orchestra pits. The benefits of union membership begin to be stressed in the aftermath of the General Strike of 1926 with a number of cartoons illustrating the valuable role played by the union and urging members to renew their (increased) subscriptions.
Towards the end of the decade technological advances in film and sound presented a major threat to musicians employed in cinemas and the Journal includes a series of cartoons which reflect the concerns felt by its members by these new developments. A number of these cartoons also illustrate the views expressed in a number of journal articles that the ‘talkies’ were a passing fad. Facing the new decade of the 1930s the fears of an uncertain technological future were summed up in the Journal in this striking image from the January 1930 issue…