The Conductors Guild

An advocacy organization based in the USA created to provide resources, training opportunities and support for American-based conductors.  They have a new Executive Director efffective in the second-half of 2016.  Under Jan Wilson’s direction,  the Guild will eventually be able to offer the full array of services it has aspired to for many years.  A good organization to join and support if still struggling under the weight of a volunteer and largely ineffective Board structure. Graduate conducting students particularly should get involved with the Guild’s activities in tandem with being up on the high-level work of the American Symphony Orchestra League (see below).

American Symphony Orchestra League

The go to resource on everything to do with orchestras in the USA.

Association of British Orchestras
The ABO is the national body representing the collective interests of professional orchestras, youth ensembles and the wider classical music industry throughout the UK. They run, as do the American Symphony Orchestra League, a very fine conference annually.  Very professional organisation, very capably run.

Newland Custom Batons,Inc.
Tate Newland’s batons are the Rolls Royce of batons for professional conductors.  If you’re serious about how the baton works in your hand, then talk to Tate or Maribeth.  I’m particularly fond of Tate’s wooden shaft batons.


A solid organization dedicated solely to the advancement and education of college and university conductors in the U.S.A. Some useful resources and a network if you aspire to a career in academia. Includes former librarian of the Philadelphia Orchestra, Clinton Neiweg’s, Errata. Be careful of some of the submitted bowings, which are only appropraite for collegiate or amateur orchestras.

Orchestral Music: A Handbook Online
David Daniels’ online version of his Orchestral Music: A Handbook. Priceless. Use in conjunction with Aranowsky’s Performing Times of Orchestral Works and companion volumes to Daniels on Chamber Music and Pops and you’re at least 50% covered. The other 50% is just a grind trying to find and source music from unpublished sources with sometimes difficult and unhelpful publishers.

Naxos Music Library
Essential to have a membership. Doesn’t have everything, but it’s a great starting point.

The Tempowatch
TempowatchNo longer made, but if you can find one second-hand do so, then throw away your metronome Apps and Dr. Beats etc. Alternatively, the other device that is brilliant is the Yamaha Clickstation, but guess what, Yamaha don’t make it anymore either. These are very good for pro pit work on Broadway musicals etc.


[To be updated]



ASCAP Musical Theatre Workshop
Probably the most sought after reading opportunity for emerging writers of new musicals.  And rightly so.  Overseen by the Director of Musical Theatre for ASCAP, Michael A. Kerker, and directed by Stephen Schwartz, who wouldn’t to do 45-50 minutes of new work in front of a panel led by Stephen?

The Dramatists Guild of America
Without qualification, the single, most professional source of information, advice and articles of interest to the playwright, composer and librettist publicly available.  The recent series of articles on the vexed issue of Subsidiary Rights alone is worth making application for membership (various levels applicable).

Mercury Musicals Development (UK)
A UK-based organisation dedicated to the development of new musicals and, predominantly, UK-based writers.  Criticism: Their membership structure; or more exactly, the criteria used to determine an appropriate level of membership is pointedly ‘status’ driven and consequently limited by an implied, bias.  Otherwise one of only very few organisations in the UK for UK-based writers.

National Alliance For Musical Theatre
The mission of the NAMT, through its Festival of New Musicals, is to nurture the creation, development, and production of new musicals. They present eight musicals in 45-minute staged readings with high-caliber casts and creative teams before an audience of theatre industry professionals with the experience and resources to move these shows forward. The long-term goal is to expand the musical theatre repertoire, bringing new progressive musical theatre to thousands of audience members on stages around the world.

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